Paramount Pep-O-Grams (1927)

Page Ten P E P-O-G RAMS HOW TO STAGE A PUBLIX PRODUCTION by FRANK CAMBRIA I have often been asked to tell just how a stage show is created — How to build settings — How to engage talent — How to secure proper music — How to light a setting— So for those who are interested in this profession, I am outlining, herewith, a brief formula. GENERAL COMMENTS: The presentation problem is one that may best be explained by a specification which embodies the virtues of a perfectly constructed object. No two productions should be alike. To entertain the audience is its chief objective. How best to do this job is primarily the “dream” of the producer. To outguess the audience is a difficult problem, because audiences differ. In the East, West, North and South, a different psychology exists and to infuse into a presentation those virtues that have a universal appeal is a problem of infinite study, and since audiences generally are rather fickle, responding readily to any commercial or social reaction, it is a constant study. Audiences easily become accustomed to a certain level of perfection and grandeur — always demanding more. This presents another problem, touching a very serious subject, “budget.” There must be a limit to the expenditure and the producer again, is expected to be a shrewd buyer of those things which are necessary to build up an interesting production by the process of eliminating those things which are not of prime importance, yet not injuring the effect of grandeur. We deal with a human element (talent) which not being a mechanical apparatus is subject to the whims of climate and sometimes does not deliver with the same enthusiasm— -thereby affecting the production. A dancer may injure a foot or leg. A singer may catch cold and so on — all are sources of continual worry. I. SCENERY Architecture must be historically correct. LI.se perspective so that greater depths may be attained than the actual depth of stage. Colors that are harmonious, well blended, to be fashioned in such a manner that they form a pattern pleasing to the eves. 2. COSTUMES Costumes to be historically correct. Special costumes to be designed for each number. Miss Irene Scott, as chairman of the Educational Committee, is certainly right on the job in her mission of securing interesting information on phases of vital activity within the boundaries cf our organization. Here, for instance, is a remarkably comprehensive insight into the details cf why and how a Publix presentation comes into being. It was written by Frank Cambria, one of the internationally renowned producers on the staff of Publix Theatres Corporation. Each member of the cast is to be measured for costumes and attend at least two fittings and one dress rehearsal. This applies also to the shoes — shoes are to fit, else they will cause much trouble to dancers. Costumes and shoes are to be made of materials and workmanship that will insure longevity. Stockings, tights, hats, wigs, gloves, accessoiies must be correct as to period and style. Each item of jewelry is to be selected as per character of the costume and period. 3. LIGHTING Light and shade or “chiaroscuro” so that proper projection of plastic relief majr be I attained. Study the effect of colored light upon colored surfaces to procure proper effect. Use proper distribution and proper sources of light from a myriad of electrical apparatus. Study central focus for most important objects on setting. Aerial perspective should give the illusion that objects take their proper place in the distance. 4. MUSIC Music must always be properly balanced so that it will not slow up or speed too rapidly the beauty of harmony — and proper contrasts between “loud and soft” and “fast and slow.” Appropriate music should be carefully selected and songs sometimes specially written to fit the action and also written in keys to fit the voice of the singer. Proper instrumentation must be suitable to the different orchestras. 5. ATMOSPHERE Must envelop each number — scenically, musically and racially. 6 PERSONALITY Engage pleasing personalities, smart performers, and magnetic talent of every de| scription. (Continued on Page 12)