parts. They read, crossing back and forth whenever the coach thinks
they ought to cross, and it doesn't mean a thing. I watched that very
thing in an amateur show not so long ago, and it was inane. Nobody
should move from one place on the stage to another without a reason
for moving. There is a reason for every inflection of the voice. A
person with common sense will read a part intelligently, but only a
person with a dramatic spark inside of the body will be able to act a
part naturally. If the dramatic spark is not there, no human being
will put it there. If it is there, a real director will discover it
and awaken it and make much of it.

After this first reading rehearsal, where the parts should be cast,
more than one person can be tried out for the different parts. I make
a call for the dialogue rehearsal where I walk them through the
action, holding the parts in their hands as they walk through the
physical action of the play. You will find that each one has his or
her own idea as to how it should be done. I have them speak their
lines distinctly and slowly at first. While this is going on I do not
allow any visitors. Not one word is spoken except by the person who is
reading the lines, or myself. I make notes as to who reads the parts
best. Many times you will find that the local folks will have ideas
about who is to play this part or that part. I pay no attention to
them at all. I always use my own judgment about such things; in fact,
about everything concerning the production. I don't allow anybody else
to dominate the show or arrange anything for me. But you must know
your business before you can assume such an attitude.

After the dialogue rehearsal is over, all the participants are
carefully marked, noting the ones who are most natural and apt at the
dialogue; those who have resonant voices that will dominate the
auditorium as well as those who have positive personalities. You know
there are a great many negative people on the stage; they never get
anything over. I always have tried to pick personalities that will go
over. I can take a crowd of professionals or amateurs and place them
before me in a semi-circle, seated; get them to read a play for me and
immediately pick those who will score a success. This, of course, is
the result of years of experience, yet if you try this you will have
some with strong personalities dominating your little semi-circles.
They will usually dominate your show. There is alwa