those giving it, to the form and degree of ritual desired. Censers and candles may be used or not, altar appointments and priestly vestments may be chosen to suit the taste of those concerned. Indeed, in all respects, a play must be suited to the conditions under which it is presented and the audience before whom it is given; and while the text may not be altered or added to, lines may be omitted if desired.

The information here given has been gathered from frequent working over of the material but at best it can only help in a general way. Any one producing a play must work out his own problems in detail. One of the things that makes the staging of plays such fascinating work is the exercise it affords the imagination in overcoming obstacles.

SCENERY

SCENERY.

For the sake of facing the most difficult form of the problem of amateur staging, let us suppose that this play is to be given in a parlor or hall, without platform, without proscenium arch or curtains, with the walls, floor and ceiling of such material and finish that no nails may be driven into them, and that the depth of the stage is only nine feet. It looks hopeless but it can be done.

Under such conditions the only possible form of scenery is the screen. If the "scenery-man" is a bit of a carpenter, he can build the screens himself, making them as strong and as light as possible, with four leaves a few inches shorter than the height of the room in which they are to be used, and proportionately wide.—The framework should be braced by cross pieces in the middle of each leaf, and should have stout leather handles nailed to them for convenience in lifting the screen. The right side should be covered with canvas such as is used for scenery, and the screens can then be easily repainted or recovered for later plays.

If it is not possible to have the screens made to order, ordinary Japanese screens may be borrowed or rented, and made to serve as front curtain, and framework for scenery.

Those indicated in the plan as A A and B B serve as the front curtains, the center sections (marked B B) being drawn aside by persons stationed behind them to show the interior of the hut when the play begins. The four screens marked C D and E E form the walls of the hut. In using screens it will be necessary to do without the window and the actual door unless the person in charge of the scenery is clever enough to paint in a window on one panel of the screen and make a door in another. If not, turn the end panel of the screen marked C to run at right angles with the other part, giving the impression of a passage with an imagined door at the unseen end, and wherever in the business of the parts, the children are said to look out of the window, let them instead look down this passage, as though they were looking through the open doorway.

On the right side of the room in the screen marked D, a fire-place may be constructed by cutting away a portion of the screen to suggest the line of the fire-place, putting back of this opening a box painted black inside to represent the blackened chimney, and finishing with a rough mantel stained brown to match the wall tint. Of course if the screens are borrowed the fire-place will have to be dispensed with.

At the moment when the vision of the cathedral is to appear, the screens marked E E are parted and folded back disclosing the chancel. Perhaps some church nearby has stored in its basement an old stained glass window, which may be borrowed and used as background for the church scene. Such a window was used in a performance of "Much Ado About Nothing" given some years ago at one of the Eastern colleges. It was dimly lit from behind by electric globes and proved very successful in creating a churchly atmosphere. If this can not be done, cover two of the tallest possible screens with any rich sombre colored drapery and stand them against the back wall. In the Los Angeles production, the chancel was represented by a curtain of black velvet, flanked by two silver pillars, between them the altar. Black makes an exceedingly rich and effective foil for bright colored costumes. Whatever is used for backing in the chancel can be masked if unsatisfactory by Christmas greens, which should be arranged in long vertical lines that carry the eye up as high as possible and give a sense of dignity, or in the Gothic curves suggestive of church architecture.

Against this background, and in the center of the space, place the altar. This can be made of a packing box painted gold or covered with suitable hangings. In one performance of this play a sectional bookcase which stood in the room was hung with purple cheese cloth and served as an altar. Should the stage space be deep enough broad steps before the shrine will give an added height to the priest and the angel.

If it is possible to have real scenery the most illusive method of revealing and hiding the chancel is to have the back of the hut painted on a gauze drop, which is backed by a black curtain. At the cue for showing the chancel the lights in front of the gauze go out leaving the stage dark, then the black opaque curtain is rolled up or drawn aside and as the light is slowly turned on the chancel, the vision begins to take form through the gauze, the latter becoming invisible and transparent when there is no light in front of it. The gauze prevents Holger from actually placing the pennies in the priest's hand but if the two approach the gauze as though it were not there, and stretch out their hands so that they seem to touch, the priest being provided with additional pennies which he holds up at the altar, no one in the audience would guess that the coins had not been given him by the child.

Very few halls ostensibly built to house amateur play-giving are adequate for the purpose.—Often the stage is merely a shallow platform without curtains to separate the actors from the audience, and the ceiling and walls surrounding the stage are so finished that the necessary screws for hanging curtains, may not be driven into them. The amateur manager reaches the depths of despair when he finds that even the floor of the shallow platform offered him, is of polished hardwood and may not be marred by the screws of stage braces.

Amateurs who have any voice in the preparation of the stage being built for them, should urge the following specifications:

1. The ceiling of the stage to be at least twice as high as the proscenium arch.

2. The depth of the stage to be at least fifteen feet, deeper if the size of the place permits.

3. The flooring, walls and ceiling of the stage to be of soft wood, into which nails and screws may be driven; or if the main construction is of brick, concrete or metal, some inner wooden scaffolding or other overhead rigging capable of supporting scenery should be provided.

4. There should be some space on both sides of the stage for keeping scenery and properties to be used later in the play, and as a waiting place for actors temporarily off the stage. The platform forming the stage proper should be continued over these wings so that actors leaving the scene may walk off on a level and not seem to plunge cellarward in making their exits.

LIGHTING.

The important thing to be remembered about the lighting is the crescendo of light which occurs as the play runs its course. First the dim little hut so lit by the firelight, that the expressions on the faces of the actors can just be seen without straining the eyes of the audience. Then the