A theatre, examined through the powerful medium employed by a person whose occupation is intimately associated with theatres, is as unlike a theatre, as it appears in the eyes of the outside public, as a drop of magnified Thames' water is unlike the apparently inorganic liquid that enters into the composition of almost everything we drink. Not one person in a thousand who sit in the auditorium of a theatre has any definite idea of the complicated process by which the untidy, badly-scrawled, interleaved, and interlineated manuscript of the author is translated into the close, crisp, bright, interesting entertainment that, in the eyes of the spectator, represents the value of the money he has paid for admittance. Still less does he know of the complicated mental process by which that manuscript (supposing it to have a genuine claim to the title "original") has been put together. Let us trace the progress of a modern three-act comedy from the blank-paper stage to completion, and from completion to production.
We will assume that the author, Mr. Horace Facile, has such a recognised position in his profession as to justify a manager in saying to him, "Facile, I want a three-act comedy-drama from you with parts for Jones and Brown and Robinson. Name your own terms, and get it ready, if you can, by this day two months." Facile's engagements allow of him accepting the commission, and he sets to work on it as soon as may be.
In the first place, a "general idea" must be fixed upon, and in selecting it, Facile is guided, to a considerable extent, by the resources of the company he is to
