they shall be carried out to the letter, unless good cause is shown to the contrary. He has his own way: and if the piece is a success, he feels that he has contributed more than the mere words that are spoken. At the same time, if Facile is not a self-sufficient donkey, he is only too glad to avail himself of valuable suggestions offered by persons who have ten times his experience in the details of stage management. And so the piece flounders through rehearsal, the dingy theatre lighted by a T-piece in front of the stage which has no perceptible effect at the back; the performers usually (at all events during the first two or three rehearsals) standing in a row with their backs to the auditorium, that the light may fall on the crabbed manuscripts they are reading from; the author endeavouring, but in vain, to arrange effective exits and entrances, because nobody can leave the T-piece; the stage-manager or prompter (who follows the performers) calling a halt from time to time that he may correct an overlooked error in his manuscript or insert a stage direction. The actors themselves pause from time to time for the same reason. Every one has (or should have) a pencil in hand; all errors are corrected and insertions made on the spot; every important change of position is carefully marked; every "cross" indicated as the piece proceeds; and as alterations in dialogue and business are made up to the last moment—all of which have to be hurriedly recorded at the time—it will be understood that the "parts" are in rather a dilapidated condition before the rehearsals are concluded.
Eventually the piece is ready for representation—
