their services to and interests in the show may consist,
would puzzle many theatre-goers to determine with any degree of
accuracy.

Let me take you "behind the scenes," as you may call it, but
"back-stage," as we say in the theatre-world, in this matter and
disclose the forces that move the puppets on the stage; the powerhouse
that generates the current that moves the whole machinery of
production. The intricacies of theatre management may come as a
surprise to you.

Chief of all comes the owner, the promoter, known to the profession as
the Theatrical Manager. He it is who selects the author of his
contemplated production, and also the writer of the lyrics and the
composer of the musical score. He engages the producer, the creative
genius who realizes the possibilities of the production and directs
and rehearses it, and the principal actors and singers, and some of
the members of the chorus as well, but the producing director usually
recruits his own chorus and dancers. A most important step is the
choice the manager is to make of a producer, or production director,
on whom is to devolve the entire handling of all matters back of the
curtain line from the day of his selection to the rising of the
curtain on the initial public performance. He is well aware of the
importance of this choice, and places his reliance only on a man known
to be thoroughly experienced and competent in this line of work.
Having selected him, the theatrical manager steps out of the picture
and the producing director assumes control. And this control is
absolute in his domain. Not even the power behind the throne, the man
who placed him in his position, is allowed to interfere in any way
whatsoever with his orders or plans. The wise theatrical manager
possesses full knowledge of this and keeps hands off. Should he
venture to countermand a single order of his producer, the latter
would be certain to say "Take your show and direct it yourself," and
walk out.

And the reason why no producer of the first magnitude will brook
interference, opposition or disobedience from any source is, that he
is held strictly responsible to the owner for the form that the show
takes and for the manner in which it is performed. His own reputation
is always at stake in every production of which he accepts control. He
makes the show a success, if he is that kind of a producer, and is
entitled to the credit of successful accomplishment. If, on the other
hand, he gain