and some of your own way, in
order that the theatricals may be successful?

If you say Yes, we will proceed at once to the first--and perhaps the
most important--point, on which you will have to display two of an
actor's greatest virtues--self-denial and good temper:--

THE STAGE-MANAGER.

If your numbers are limited, you may have to choose the one who knows
most about theatricals, and he or she may have to act a leading part
as well. But by rights _the stage-manager ought not to act_;
especially as in juvenile theatricals he will probably be prompter,
property-man, and scene-shifter into the bargain.

If your "company" consists of very young performers, an elder sister
is probably the best stage-manager you could have. But _when once your
stage-manager is chosen, all the actors must make up their minds to
obey him implicitly_. They must take the parts he gives them, and
about any point in dispute the stage-manager's decision must be final.
It is quite likely that now and then he may be wrong. The leading
gentleman may be more in the right, the leading lady may have another
plan quite as good, or better; but as there would be "no end to it" if
everybody's ideas had to be listened to and discussed, it is
absolutely necessary that there should be one head, and one plan
loyally supported by the rest.

Truism as it is, my dear Rouge Pot, I am bound to beg you never to
forget that _everybody can't have everything_ in this world, and that
_everybody can't be everything_ on the stage. What you (and I, and
every other actor!) would really like, would be to choose the play, to
act the best part, to wear the nicest dress, to pick the people you
want to act with, to have the rehearsal on those days, and that part
of the day, when you do not happen to want to go out, or do something
else, to have the power of making all the others do as you tell them,
without the bother of hearing any grumbles, and to be well clapped and
complimented at the conclusion of the performance. But as this very
leading part could only be played by one person at the expense of all
the rest, private theatricals--like so many other affairs of this
life--must for everybody concerned be a compromise of pains and
pleasures, of making strict rules and large allowances, of giving and
taking, bearing and forbearing, learning to find one's own happiness
in seeing other people happy, aiming at perfection with all one's
might, and making the best of imperfecti