hat they are worn. These plots are then typewritten according
to the sequence of the show. This is most important. They show every
change in costume that every one of the ensemble makes during the
performance. The same thing with the principals. Always figure the
time you have allowed each person to change costume, otherwise you
will strike a snag which may ruin the performance.

The show is taking a definite form by this time. I then start to give
them formations or groupings on the scene. When the curtain goes up
sometimes they are discovered on the scene. Some scenes I arrange for
the purpose of obtaining a good, effective picture, according to the
architecture and atmosphere of the scene, or I may give them some very
effective entrance movement coming down a staircase, through an arch
or gateway, or over a fence. This is influenced by the set. I
sometimes arrange surprise entrances, or little surprise exits which
are inspired by the lyrics or music. Sometimes I may use a personality
in the ensemble and give her an entrance or exit last. I resort to any
sort of producer's magic, as I call it, to get an effect or to provoke
applause, always keeping the costumes and the color schemes in mind.
Of course, I have my own "bag of tricks" with which I can insure the
success of any musical play that has any sort of entertainment appeal,
and you, no doubt, will have yours in time, with experience.

During the dialogue rehearsals, I make the principals speak the
dialogue in time, the same as the dances are done in time. They are
not allowed to use their own conception of how the lines should be
spoken unless I think their conception is better than mine. Every
syllable they utter will have to dominate the entire auditorium. That
is something that the coach must understand. When the house is full,
the audience makes a difference in the acoustics. Your people in the
show don't know anything about that, and so you must govern the volume
of the dialogue and set every inflection, attitude of the body, and
gesture definitely. But never let them use gestures that are obvious.

We will next assume that up to this time we have been working in a
hall. Now to perfect the dialogue it is sometimes necessary to go over
one speech fifty times or a hundred times, to get a certain inflection
and to set the accompanying "stage business." Stage business--all of
it--creates some dramatic value for the performance. That has to be
worked out, if yo