BACK-STAGE SCENES.

Waikato Times, Volume 121, Issue 20183, 1 May 1937, Page 15 (Supplement)

BACK-STAGE SCENES.

i THE MARCUB BHOW PEOPLE.. HAPPY AND HARD-WORKING. Entertaining as a show is from the stalls, it is much more fascinating from the wings, for then one sees “how the wheels go round” and gets an idea of all that goeu towards the smooth running of a production. The audience sees only the finished article —the looker-on from “behind” sees the wonderful team-work, perfectly controlled, that makes that finished article possible. Going back stage at Auckland during a performance of “ Broadway Vanities" by the Marcus Show, I was received very cordially by Mr and Mrs Marcus, and was immediately Impressed by the happy spirit prevailing—one could sense it everywhere. It was like calling on a harmonious family, and I was not surprised to learn later from the music director, Mr Albert Coleman, a young French-American, that the members of the company are a happy crowd, and that quarrels are practically unknown. Everyone works for the good of the show. The Hard-working Girls. It is surprising how the old idea persists that the show girls of the stage have a gay time, with champagne suppers galore and plenty oT admirers in the background to provide them with all that the heart of a girl desires. Perhaps the films have tended to foster that impression. But the reality is very different l The modern stage girl lives a strenuous life, with many rehearsals, and much hard work. She spends much of the day practising, and she is kept very busy during the show. The intervals between her appearances on the stage are usually occupied in changing her costume, and the time available for this is often very limited, so much so that she usually arrives in the wings almost breathless and Just in time to go on stage again. Endless Activity. While the audience Is enjoying the jhow there is endless activity “behind” —the setting of the next act behind the curtain, the performers waiting in the wings for their cue to go on, other performers rushing off, girls practising 6teps, men testing “props,” the man at the switches waiting for instructions regarding lights, the principals discussing a change in costume to add to the effect, the stage directors with their eyes on everything, and Mrs Marous “ mothering ” the girls as they shiver with the cold. With the strange effect of heavy make-up seen at close quarters, multitudinous costumes, and dim lighting, tt is all rather weird but very fascinating to the pressman w’ho has wandered “'behind.” But these stage people are all so friendly that he feels quite at home. Rehearsing at 2 a.m.! I suppose the people who saw the Marcus Show the night I did in Auckland thought: “What, a lovely time those people have, all life and gaiety.” But they didn’t »see them, as I did from the wings, shivering with the cold before, with a gay smile and exhilarating steps, they dashed on to the stage. New Zealand theatres are very draughty, and these charming Americans are used to steam-heated buildings.

And the audience, too, did not realtee that a rehearsal was to be held after the show (called for 11.30 p.m.) for the following week’s revue. At 2 a.m., when I left the theatre, some of those girls were still rehearsing. Oh, yes, it’s a gay life—perhaps! When one considers the strenuous work done and the long hours put in, it Is amazing that the performers retain their sparkle as they do. A Tireless Producer.

I have seen many producers at work, but never have I seen one get his results so quickly and with apparently so little fuss as Leon Miller. Mr Miller, who is a brilliant dancer, leads many of the comedy numbers in the show,-yet he came to the midnight rehearsal apparently as fresh as if he' were starting work instead of having Just finished a strenuous performance. His flair for grouping is amazing—a girl placed here, a man there, and he had the realistic setting for an Oriental scena. Then he demonstrated what he 1 wanted, both in acting and dancing, and soon the dramatic little story was In full swing, with John and Loretta Clymas giving vivid performance's as the tragic slaves. A thrillingly realistic “fight” which brought the scene to a close, with everything depending on perfect timing, wan rehearsed again and again, and I marvelled not only at the ability of the performers but at their thoroughness and eagerness to rehearse and rehearse and rehearse—until they get the results they want. The speciality dancers are often hurt during their work, but they carry on cheerfully. Miss Clymas had big bruises on her leg, and during the rehearsal knocked her heel sharply against, a step, but after resting for a few mlnutm she carried on, though evidently suffering. Delight In Their Work. Then the apparently tireless Mr Miller turned his attention to a group of girls in dancing numbers. And the girls came to it. apparently just as fresh as the producer, and one was again struck by their delight in their work and their keenness. They took up the instruction smartly, and when not in stage action were to be seen “ limbering up ” or going through “ bits ” with each other. Never for a moment did they rest—they didn't seem to want to I Only occasionally did one see a touch of sternness. “Well, girls, it rests with you," said Mr Miller at one period. “ I don’t mind staying here until 6 o’clock, so if you want to get home—“and he finished with an expressive gesture. They soon got the movement desired 1 The Good-natured Conductor. In the orchestral well was the lone conductor (the rest of the orchestra had gone home). Just as keen as the rest. Whistling sometimes, fiddling ut other times, lie gave the performers their cues with unfailing good nature. And so it went on, all very interesting and fascinating, until we left at after 2 a.m. with cheery good-nights from the company. I came away convinced that the people of the Marcus Show are as “ keen as mustard ’’ on their job, and very happy in their work: also that they can surely find little time for tlie so-called gay life.