Aria da Capo | Page 7

play to the reader, may make it bare of
suggestions and somewhat baffling to the producer, I am adding here
some remarks which have been found of value in preparing it for
presentation on the stage.
Since the production of Aria da Capo by the Provincetown Players, I
have received a great many letters from the directors of little theatres,
asking for copies of it with a view to producing it. Very often, after I
send the play, I receive a letter in reply asking for some suggestions for
its presentation, and enclosing direct questions on points that have been
difficult. It occurred to me finally that it would be reasonable to make
up a sort of informal prompt-book to send about with the play; and it is
that which is printed below. It will be found incomplete and uneven, in
some instances unnecessarily detailed, in others not sufficiently so; all
of which is due to the fact that it was put together loosely, from
answers to chance questions, rather than logically, as an entity in itself.

SUGGESTIONS FOR THE PRODUCTION OF "ARIA DA CAPO"
SETTING:
The setting required is simple:--a grey curtain, a long black table, two
slender black high-backed chairs, and a raised platform.
Instead of wings and back-drop the Provincetown Players cleverly

utilized painted screens, the heights varying from 6 to 10 feet, these
being set right and left of the stage in such manner as to give the effect
of depth and distance.
The table, six feet long and two feet wide, has thin legs and is painted
black.
When Pierrot and Columbine enter in the final scene, it is not necessary
that the table which Cothurnus has replaced shall entirely conceal the
bodies of Thyrsis and Corydon. Pierrot and Columbine must ignore
them until the lines indicate their discovery, no matter how they may
have fallen.
Particular attention must be given to the chairs in this set. They are
used to construct the tissue-paper wall, and, although delicate, should
be heavy enough to remain solid and steady, up and down stage,
without the possibility of an upset when Corydon strides through the
wall.
Near the footlights (actors' left) are two sofa pillows, used to represent
the rocks against which the shepherds lean. On the left of the stage
have another pillow, which Thyrsis places under his head when he lies
down to sleep. Use cloth or crepe paper for these pillows, and have
them of spotted black and white material, or of any gay color except
red or blue.
Cothurnus occupies a chair upon a platform, up-stage, centre, with two
or three steps surrounding it on three sides. Drape this with plain heavy
black cloth.
The table covering is important. Its width is equal to that of the added
height and width of the table. As it must be moved to cover the bodies
of Thyrsis and Corydon, it should be of sufficient weight to prevent
slipping. It will be well to experiment with this, to ensure proper
performance.
The cover should have black and white spots and striped ends.
The table is set as follows:--two large wooden bowls (at least seven
inches high and fourteen inches in diameter). One is placed at each end
of the table. That at Columbine's end should contain persimmons,
pomegranates, grapes and other bright exotic fruits. Pierrot's bowl has
confetti and colored paper ribbons, the latter showing plainly over the
edge. (If Columbine uses practical macaroons, put them into this bowl.)
Near Columbine, place a practical uncooked artichoke; have this of

good size, and nail it to a wooden standard, painted black. At both
places there are tall white wooden goblets.
In the centre of the table there should be a curious, grotesque, but very
gay flower, standing upright in a pot of wood or heavy paper, which
will not break when Thyrsis drops it. Concealed at the root of this plant
there should be a small sack of black confetti, to be used in the "poison
scene."
The table should be set with nothing but these articles, and yet give the
appearance of bounty and elegance.
Place the table parallel with the footlights,--the long side toward the
audience.
Columbine's chair is at the actors' right, and Pierrot's
opposite--Columbine's hat hangs from her chair-top. Both chairs are
festooned with tissue-paper ribbons, at least ten feet long, to be used
later by the shepherds to represent their wall. These must be of such a
texture as to break readily when Corydon walks through, and a
prearranged transverse tear or two will assist in the prompt breakage
when he does so.
PROPERTIES:
Two white wooden bowls, one filled with fruits and the other with
confetti and paper ribbons,--one ribbon to be of cotton or silk, in order
to be not too easily