H E T EC H N IQ U E OF PA G EA NT RY

h D . I W OOD TA FT P . L N ,

. CHAIRMAN DEPARM NT or PAGEANTS AND FESTIVALS 1011 THE DRAMA LEA GUE or AMERICA Dmcnon AIIERICAN PA GEANT A ssocumon

WITH FRONTISP IECE

NEW YORK

A . S. BA RNES A ND COMPANY

19 2 1 (““ I ( t

men 1 3 1 BY Car , 9 ,

First publi shed in a very mu ch abridged formin t ho ul - Au u st - Se tember 1 20 n umber of The Dram J y g p . 9 . evis d d h th e magazin e . Here r e an expan ded throug co o t ditor of Th e Dr urtesy f he e s ama . THIS BOOK IS DEDICATED

TO THE MEMORY OF

l cm mra 8 . att W ,

INDOMITAB LE SU P P ORTER OF JU STICE

AND EQU A LITY FOR ALI.

PREFA CE

TH ROUGH experience in directing pageants in about twen ty five difl eren t cities an d towns of the U nited States the author has come to the conclusion that pageantry is the most appro priate medium of expression of a particula r phase of com H e ff munity life . o ers this volume as a contribution towards m t building up and extending co muni y interests , with the hope that it may be of value to those communities that are seeking some wo rthy expression of the life of their com mun ities through the celebration of an niversa ries of which they are proud and which they wish to commemorate . The experience upon W hich this book is based has been gained through association with many difi eren t persons all working un selfi shly for the advancement of some particular

r o- community. Thei c operation and assistance have made po ssible whatever of succe ss has crowned the efforts of the

n ot . author . Suitable recognition of all of them is possible Grateful acknowledgment is here made to those most closely associated W ith the author in producing different pageants :

L. F . H M r . W M r 0 . . r Mrs Flower, . en y Gilmer, Miss a y L n C A . F. r . M Can se Klingne , Mrs . c , Dr . ouise Nardi ,

F s a n a h K . atkin s Savan nah estival A soci ti o , M r. R lp W ,

a hea . Miss Gl dys M . W t

CONTENTS

PA RT I

CHA PTER

TH E TR I. IN ODUCTION

Tms GA IZA TI II. OR N ON

m . a . Pagean t Chair an P gean t Committee Pagean t M aster.

. m . B usin ess Man ager Pagean t Artist . Cost u er Mus ical

a . El c ci . A Director. Scen ic Man ger e tri an dvertisin g

E o e r ct o . M an ager . pis d Di e r

TH E B K III. OO

o o k. . Title. Author. Lan guage f theB o Con ten t Style.

o . . N o Sale of the B oks Editin g eed f r the Book.

TH E MU SIC . IV .

t a a d i i l om an r n Or a itio . Fun ction . S d d g n C pos n Arran g

in g the M usic. The Pagean t Orches tra . Placin g the

l . h t a Diffi cultie a . Orchestra . Orc es r s P gean t Son gs En

tran ce an d Exit M usic.

V . Tms CA ST .

le he a . A ro riate as tin h P Se ctin g t C st pp p C g C aracter arts .

ri i l . Pagean t Actin g. P n c pa Parts Cen tral Figat es . Epi i l A o s on a ctors . sode Casts . Pr fe s

Tu e REH EA RSA LS

e Rehearsals . Grou Rehearsals . Full R Orch stra p ehears als .

l . I io . ll Dress Rehears a s n spect n s Fu Dress Rehearsals .

en o i . Group Dress Rehears al. G eral C n s deration s

TH E PER R A CE VII. FO M N

h ter a e . i l . a a Makeup C r c M k up F n a In spection . Begin

a ean t . sh rs . i li . T m o n in g the P g U e D scip n e e p . Pagean t

i . Master an d the Performers . Pagean t F n ales Lo st an d

o an ces . Foun d. Number of Perf rm viii CONTENTS

PA RT II

u s e

AG A NT or THA SGI ING I. A P E NK V

T oo . Programme . he B k

HISTORICA L FESTIVA L A ND PA GEA NT

Descriptive Programmes . S avan n ah a Hun dred Years

N Notice . Ago . A ewspaper

PROGRAMME or A PATRIOTIC PA GEA NT

A a smren Non cn TH E TEC H NIQ U E OF PA GEA NTRY

1“ PA RT I

I TH E R U C . INT OD TION

PA GEA NTRY has become so familiar to the people of the U nited States within the last few years that no detailed ex planation of its scope and aims is necessary. It may be well, however, to review some of its principal aspects for the sake of those who have had no intimate personal con

- tact with the organization and administration of a pageant. The organization and efi ective administration of a pageant that is to be worth while bear the same relation to the man m a“ge en t of a”n ordinary dramatic production that modern big business bears to the limited business organizations to be found in the third quarter of the last century . Such an organization cannot be perfected overnight . It must be the result of careful planning and the wise selection of personnel . The matter of the number of people in the cast points very clearly to the complicated organization necessary to ensure a reasonably correct performance that shall move few forward with or no interruptions . Aside from the matter of the selection of these persons and their assign defin it ment to e parts , and this is a problem of considerable in magnitude a pageant using hundreds of characters , the mere mechanical arrangements necessary in order that the entrances and exits may be carried out as planned call for an elaborate organization of directors and assistants almost appalling in its intricacy . Add to this the successful opera tion of all the other details that go with the pre sentation ” 2 THE TECHNIQUE OF PAGEANTRY of a successful pageant performance and something of the magnitude of the undertaking may be understood . Taking care of hundreds of characters W hen they are not on the stage is enough to tax the ingenuity of even an experienced director . With a community thoughtfully and completely organized these many details are , however , taken care of more or less automatically and the burden W hich falls upon any individual is relatively slight . The chapters which fol low attempt to give the essential points in the organi z ation of a community in such a manner that a smoothly running machine results , a machine that makes practically certain a successful production W hich shows no sign of the machin e ry existing behind the production . A pageant is much wider in its scope than is an ordi nary dramatic performance . It may present in a broad sketchy manner events W idely separated in time so long as they are closely related in character or in the ideals ex ’ fitn ess ff pressed . One s sense of the of things is not o ended although the W hole range of the history of the world is included in the action of a pageant so long as all of the episodes contribute to the idea which the pageant seeks to express . The pageant is not bound by the traditional unities of the drama yet it must have some continuity of action or emotion to hold the various parts together . A mere collection of historical episodes cannot correctly be called a pageant unless they all express the same idea or all con U tribute to the building up of a central idea . nity of idea is the only unity the preservation of which is essential in pageantry . Freedom from the restraints of time and place allows nearly unlimited scope in the selection of material for pageant episodes . In fact the more widely separated in point of time and place the episodes are the more effective they are apt to be from the standpoint of the spectacular.

The acting of a pageant is more formal , impression istic c , and lacking in detailed delineation of haracter than is is c . the a ting of the drama The staging of a pageant , how ever, much less formal than the staging of a play . Much THE INTRODUCTION 3 of the action of a pageant may and probably will take place on the stage but on the other hand a considerable portion of it may take place in the aisles and other open spaces within ff the view of the audience . In the most e ective form of pageantry the entire audience is made to feel itself a part of the pageant and hence the stage in reality includes all of r the space within the building o , if the pageant be given out of doors , all the space near the formal stage . In other words the whole pageant space is considered as possible stage space and utilized as such as occasion warrants . The stage of the drama is con fin ed to the restricted area re moved from the audience by all the conventional appliances of the theater created to foster' illusion and give a sharper perspective to the stage pictures . Instead of being the commercial enterprise of an indi vidual or a small group of people as is the regular theater

b e - drama , the pageant is , or should , the non commercial ,

- non professional , more or less spontaneous expression of some phase of the life of a community . The pageant does not aim at dramatic perfection . Its very life would be sacrifi ff ced in the e ort to gain such dramatic perfection . The spontaneous and the community aspects are the vital ones in ifi . sacr e pageantry Any c of either , W hether it be by the employment of professional actors or by limiting the organ iz atio n to a small group , destroys to that extent the real s nature , and hence the pos ibility for service , of the pageant . To be spontaneous it must be as natural and unstu died as possible . To be a real community enterprise it must involve

all of the institutions and interests of the community . The former may be secured by allowing the members of each episode group to work out in their own way the expression

of the message of their episode as they understand it. The t latter may be assured by selec ing the episode directors , not

only for their executive ability, which is of primary impor w tance , but also because they ill be able to bring into the pageant organiz ation institutions or groups of people not otherwise to be interested . THE TECHNIQUE OF PAGEANTRY

N rofit o individual , or group of individuals , expects to p

n ia n ot fin a c lly from a pageant . In this sense it is a com e m rcial enterprise as is the drama in the regular theater. As a matter of fact very few pageants are a success fin an cially because of the very great expense involved in such productions . One produced several times in and near New York recently is reported as having netted a very large sum for charitable purposes but in this case the expenses were practically all taken care of by persons interested in the charity and hence the gross receipts and the net receipts were t L very nearly the same . One given in S . ouis in the summer of 19 18 for the ben efit of various war activities resulted in

efici S a rather large d t . The avannah Centennial Pageant 1 1 rofit of April , 9 9 , resulted in a net p of a few hundred dollars . Although the patriotic pageant given in the smaller cities and towns of Missouri under the direction of the ’ Woman s Committee of the Missouri Division , Council of

N a ion al 1 1 - 1 18 t Defense , 9 7 9 , was not primarily intended as a source of profit yet it did yield many thousands of dollars to the Red Cross and to the Council of Defense over and above all expenses . This work was done under circum stances favorable for the making of money and the expen di tures were very carefully supervised . As a matter of fact fi n an cial gain should not be a primary motive in the presenta m tion of a pageant . The ain purpose of a pageant, correctly so called, should be the worthy expression of some phase of community life and the fin an cial aspect of such a per o rman ce f should be considered only as a secondary matter . In much the same way the acting of a pageant should be

- non professional rather than professional . Professional actors will guarantee a more fin ished production if it be considered from the standpoint of dramatic excellence alone , but , as before stated, dramatic excellence is not a proper aim of pageantry if it be emphasized at the expense of the com munity aspect . The actors should be members of the com munity and should have the intense personal interest in the events which the pageant commemorates that cannot usually THE INTRODUCTION 5

be expected from professional acto rs . They are interested in acting for its own sake . Pageant actors should be interested in that particular bit of acting because of its si n ifican g ce to the life of the community . For this reason resident amateurs give a much more satisfactory and con vin cin g pageant performance than even the most skilled of

- non resident professi onal actors . Pageantry is not a suitable medium for the expression of the art of the trained actor . H is proper fi eld is the real drama with its possibilities for the portrayal of development of character . Development of character has very little part in the construction of pageants . Each episode of a pageant can , and should , show only one sign ifi can t moment in the life of any one individual the or group of individuals . The acting of pageant is static ff rather than dynamic , hence it can be e ectively done by an untrained person of the type demanded by the character of

the particular episode in question . The modern pageant is the direct outgrowth of the mys

ter a is y play of the later middle ges , in fact , the pageant

still defin e d in the standard dictionaries as a mystery play . With this in mind many of the inconsistencies of pageantry

could more easily be avoided . The masque features so often

found in pageants would be excluded, much if not all of the dialogue that portrays the development of character would

be excluded , and much of the irrelevant dancing , excellent

enough in itself and in its proper place , but having little or

no relation to the pageant , would also have to be omitted . There is no desire here to decry forms of dramatic inter

retation s . p not intrin ically related to pageantry There is ,

defin ite W however , a very ish to distinguish as clearly as possible between the pageant in its pure form and the hodge podge of dramatic forms often dign ifi ed by the term

pageant . The mystery play dealt with events outside of the

experiences of human life in its human relations . It con cerned itself with those rare moments of human experience when existence was transformed an dflglo rifi ed through con

tact with the divine . Its sto ry was the story of some part 6 THE TECHNIQUE OF PAGEANTRY of the life of Christ but that story in its relation to the men

and women who saw the mystery . It was an attempt to interpret for them the mystery of the relation between God L w and man . ater many irrelevant and unworthy elements ere r inserted in o der, one may imagine , to popularize the appeal but this led so directly to the exclusion of the mystery play from the church service and even from the church premises

that a very defin ite warning to moderns is implied . The modern pageant does not deal with religious matters A as often as with historical events . t the same time the sort of event that makes suitable and convincing pageant material s is the unusual event, the kind of thing that happen only in exalted moments when men are inspired by lofty and un el s fi sh motives . Divine relationship is accepted as an essential part of such events without question and without

doubt . Let s u , by all means , have as many and as varied

dramatic forms as is possible . It would , however , seem the part of wisdom as well as of art to attempt to keep these forms fairly distinct and not to bring them all into disrepute r i through an unnatural and unnecessa y m xture , regardless

of the name by which it may be called .

There are two main types of pageants . There is the more or less local and historical pageant such as is given

in connection with centennial celebrations , and there is the pageant dealing with impersonal forces such as the spirit of fi n erson i ed. tha ksgiving which can, nevertheless , be p As

a matter of fact , the latter would have a strongly historical

character, but the history involved would be general rather

t e ific t . han sp c , world history ra her than local history The first type of pageant would be suitable only for the particular t place for which it was written . The second ype would be

appropriate in any place at the Thanksgiving season . The fi rst form of pageant is much surer and more direct in its appeal but is limited by its local nature and its strictly

historical character . Its history must be authentic , its facts r to accurate . The second fo m has no such direct appeal THE INTRODU CTION 7 local pride but because of its general character it allows much wider scope in the selection of material and in the m t artistic handling of the the e . It can emphasize the artis ic where the fi rst form must attend primarily to accuracy to

- - well established and well known facts . The historical pageant has the greater educational value , probably, but the ae sthetic possibilities of the general pageant are limited only by the resources of the group presenting it . The fi rst type of pageant is illustrated by the Savannah Centennial Pageant and the second by the Pageant of k Than sgiving, both included in this volume ( Part II ) The Savannah pageant dealt with the founding of the principal institutions of the city in connection with the sailing of the

Sava n n a h fi rst . , the steamship to cross the ocean The cen n ah ten n ial week dealt largely with the sailing of the Sava n . The pageant grouped about that event other important events of the decade . The Thanksgiving pageant had to do W ith the spirit of thanksgiving as exhibited by different nations at difi eren t times in the history of the world . S Although given in avannah , Georgia , it would appeal to any other group of people in any other place just as strongly . It did not have the same intense appeal to local pride as did the other . The fi rst question to be settled after a community has decided to give a pageant is the place where it will be given , U pon this decision depends the work of the author and to

o fli ers some extent the other pageant c . A pageant to be presented out of doors requires a different method of treat ment and administration from one to be given in a theater ff or auditorium . The di erence is in reality more in the distribution of the work than in the nature of the organiza tion . The scenic manager has a greater task in arranging an A t outdoor stage than a stage in a theater . the same time he ff has much greater opportunity for unusual e ects . The same ffi thing is true in varying degrees with all pageant o cers . A n indoor performance is much simpler in many ways . The seating of the audience is already taken care of as is 8 THE TECHNIQUE OF PAGEANTRY

w the matter of the weather . A theater is not , ho ever, a good place for a pageant . Its construction is wrong . It aims to separate the audience from the players as completely as is possible within a space small enough for the speaking voice to be heard . The feeling of separation is the last thing to be desired in a pageant . A pageant audience should feel itself an integral part of the performance and this is not possible with the restricted construction of a theater . A theater audience feels itself entirely apart from the world of the stage , a world where things are usually the opposite of what they seem and W here all the arts and devices of the theater are employed to make things appear entirely dif fer en t from what they actually are . The stage world is a world of illusion in so far as the audience is concerned . In pageantry the audience is taken entirely into the con fiden ce b of the actors . Instead of uilding up an illusion the aim is to secure a feeling of sympathetic participation on the part

' udi n of the a e ce . For this reason an auditorium with broad aisles and easy access to the stage is the best kind of building dvan for a pageant that must be given indoors . The great a ff tage of a theater building is the facilities for lighting e ects . Since these or similar efi ects may be secured by an ingenious electrician in an auditorium , a theater building would be con er sid ed only as a last resort in producing a pageant . Theater employees are more completely organized than almost any other group of workers . In renting a theater for a pageant it will usually be necessary to employ the full force of employees at the regular rates , whether they are needed or not , in order to get the use of the building and tw the services of the one or o employees that are needed. It is very diffi cult for amateurs to work with professional theater workers , even where the theater force will consent to work with them . The attitude of many theater electricians and stage hands towards amateur performances is often one i i of supreme contempt . This is not at all surpr s ng and is not particularly to their discredit when one stops to consider the difference in the aims of amateur and professional per

TH E R II . O GANIZATION

AGEANT AIRMA N — t P CH . When a communi y, or any group n of people within a commu ity, decides to give a pageant as fittin n a g expressio of some phase , past or present, of the community life the first step in the necessary organization is the appointment, or election, of the pageant chairman . A maj ority vote of the group planning to give the pageant is probably the best way in which to decide upon a pageant chairman . This method of election practically ensures a chai rman with whom a majority of the people of the com munity can work harmoniously . The pageant chairman should be a pe rson of experience in handling people , who con fiden c has the e and respect of the community, and who can give time enough to the pageant to secure unity of organ ization and directnes s of execution . As the president of a bank has general control of the business and policy of the bank but delegates the actu al doing of the business and the carrying out of the policy to sub ordinates , so the pageant chairman has general control and direction of all the various phases of the pageant but leaves fli r H the car rying out of the plans to other pageant o ce s . e e offi cers should, therefor , help select all pageant as a means of obtaining a group of people who will work together har mon iousl y. The business of the pageant chairman is to coordinate ffi r H the cfi orts of all of the other o ce s . e will advise with them concerning the details of organization and methods of carrying out the policy of the group for which he is diffi cult acting . In many cases his great y is maintaining peace in the offi cial family ; the prevention of injured feelings f and the soothing o feelings that have been hurt , quite

IO THE ORGANIZATION 1

s unintentionally usually , by the logical working of o complex an organization . This personal attitude is the great ff stumbling block in the way of all community e ort . It can n ot always be avoided but it can be minimized if from the beginning all pageant o ffi cers show plainly that they are not working as individuals for personal advancement but as members of the community for the sake of the community ffi er as a whole . Such an attitude on the part of pageant o c s is sure to make the work of administering the pageant in fi n it l fi ti e e y easier and more e ec v . Members of the various committees and of the cast quickly recognize this attitude on the part of the offi cers and as quickly emulate them . This is the factor that makes the pageant the most appropriate form of dramatic expression for community purposes and the skill of the chairman can nowhere be better employed than in un selfi s supporting and extending a democratic, h attitude of working W ith the group for the good of the W hole . offi cer fi n al Each pageant must , of course , have practically control of that portion of the page ant work that rightly falls within his province , yet the chairman must have veto power over the decisions of even the chairmen of the different com m ff ittees . Lacking this unit of control the e orts of the different committees may be at variance and the results neutralized . The number of people involved in a pageant and the time and ex pense necessary to a successful production make it imperative that the organization be so complete that all these elements will be conserved . It cannot be entirely complete unless the chairman has fin al authority in all mat W ters relating to the pageant . As a matter of fact the ise chairman will be guided in large measure by the judgment of the majority of the pageant offi cers in any matter that con cerns the production as a whole but there will be times when it is not possible to call a meeting of the o ffi cers even when it is imperative that a question V ital to the success of the pro duction be settled . In such cases the pageant ch airman must decide by himself, keeping always in mind the purpose of the group which he represents . The community aspect of the 12 THE TECHNIQUE OF PAGEANTRY page ant will be enlarged or restricted according to the ability of the pageant chairman in selecting the members of the p ageant committee and in selecting through them the other ffi cers pageant o .

GE T OMMITTEE — PA AN C . The pageant chairman should select the pageant committee consisting of two or four other a members . A larger committee my be desired in order that the maj or interests of the community may be represented, but since the minor as well as the major interests may, through wise selection , be represented through the other pageant offi cers this point is not vital with regard to the pageant committee . There is a distinct advantage in having a small committee since it is a well-known fact that business may be conducted more expeditiously with a small committee

in the than with a large one . The important thing selecting members of the pageant committee is securing persons who will know the different groups and elements that make up the community and who will also know of individuals within each of these groups who will be dependable in carrying out the details of the pageant. These individuals would, of fficers course , be selected as pageant o or as chairmen of sub committees . The fi rst and most important duty of the pageant com mittee as a whole is the appointment or election of the other pageant offi cers : ( a ) pageant master ; ( b) business manager ; ( 0) pageant artist ; ( d) costumer ; ( e ) musical director ; (f) scenic manager ; ( 9 ) electrician ; ( h) advertis 5 ing manager ; ( ) directors of episodes . With the appoint ment or election of the pageant offi cers the main function h fi t ul lled. of e pageant committee , as such , has been f They should, however, attend all general meetings of the pageant o ffi cers and serve individually in an advisory capacity as

. t to occasion demands They , will also have opportuni y interest many people and groups of pe“ople in the pageant and thus contribute to its success rathe r directly . s The pageant committee will , either by them elves or ’ THE ORGANIZATION 13

ofiicers assisted by the other pageant , select the time and fix place for the performance , the price of admission, and I settle such other matters of general policy as may a rise . n addition to their advisory duties as individuals they may be called upon to act as a committee in advisin g as to certain fli e s details referred to them by pageant o c r . They certainly will have a deciding voice in outlining the groups of the pageant and the scale upon which it is to be organized and presented .

A STER — a PAGEANT M . Prob bly the most impo rtan t of

o flicer o . the pageant s is the pageant master. or direct r Both terms are common in describing the person who is in charge of the actu al production of the pageant . U pon him devolves the task of coordinating and unifying the more or less detailed work of the episode directors . Indeed, he very often must work with the pageant chairman in coordin ating the efforts of all of the pageant offi cers whether their work be directly or indirectly related to the actual production of H the pageant . e must , of course , direct the rehearsals and H i r a recia the performances . s esthetic ideals and a tistic pp tion will make or mar the success of the pageant from the ff H e standpoint of dramatic and artistic e ect. must have a high degree of executive ability and must be able to work on harm iously with all sorts and conditions of people . It is usually well to select a person with as much previous experi t ence of the right kind as is possible . The pagean master is the one offi cer who should usually be chosen from outside n t e the group or commu i y giving the pageant . The succ ss of the whole pageant enterprise depends upon him and he S should be a person of experience and training . uch persons are not usually found in any except ve ry large cities or uni

' versit en ers y c t . If a community does have an experienced director as a member of its group his work will undoubtedly be more effective than that of a stranger although the latter er may be more exp ienced or better trained or both . The pageant master will need a secretary to attend to ‘ T 14 THE TECHNIQUE OF PAGEANTRY

telephoning, typing lists of characters , and getting the material for the book in shape for the printer . It is not go od businesss to leave him to do this purely clerical work , as he must often neglect it or else neglect the work that more

e volun properly belongs to his o ffi c . U sually someone will teer their services as secretary . If not, it would be well to employ a part time secretary for the last two or three weeks of the preparatory period . In a small pageant the director may combine the duties of his offi ce with those of some of the other pageant ofli cers such as pageant artist, musical director , and the like , depend ing upon his ability. There are advantages in this arrange ment . The director, or pageant master, can often drill the orchestra to do what the pageant requires in less time than it would take him to hold conferences enough with the musical director to ensure his understanding of the needs of the different episodes . In much the same way the pageant master may be able to work out the color scheme and lighting t plans W ithout help from others . A higher degree of uni y may result from this concentration of responsibility and authority . Ou the other hand if a pageant master is p erform

o ffi cer t ing the duties of some other , such as hose of the t musical direc or , these duties may occupy his time and atten tion so completely during the performa nce of the pageant that the details properly belonging to his offi ce have to be left to chance or neglected . The folly of this course is evi fin d ualifi dent. If it is impossible to properly q ed persons t o act as directors of the music, the lighting, or the staging, it may be necessary for the pageant master to assume the U duties of these directors . nder such circumstances it would be well to train two or three assistants to the pageant master to look after the details that require attention during the n t performa ce . Each assistan could be given few enough responsibilities so that there would be no danger of any of them being forgotten or neglected . In this way the pageant master himself would be free to direct the orchestra or to look after any othe r part of the performance . In a pagea n t THE ORGANIZATION 15 with a cast of two hundred or more it is much better to divide these duties and responsibilities among the difi eren t oflicers listed above . The necessity for the pageant master to take on the duties of musical director will probably occur oftener than any other combination of duties . This is due to many things . It is sometimes diffi cult to fin d a musical director who can give the time necessary to perfect the musical background for the pageant . Often a small city or town may not have a resident director . In some cases there are so few in stru ments available that all who play must be used in the o rchestra ' an d it seems essential that the musical director be m free fro any other tax upon his attention . The reason for this is that in a pageant the music must be fitted to the action instead of the action being fitted to the music as is the case with opera . If the musical director is to accomplish this he must be free from any other duty so that he may watch fi the action as it progresses and t the music to it. Another duty that a pageant master is often called upon to assume is that of electrician . In many cases where an electrician is available it is necessary for the director to stay with him during the performance and supervise directly the shifting of lights . In illustration of this the predicament H of a certain director may be cited . er lighting on es were all carefully arranged and given to the electrician . Imme diately after the beginning of the pageant her duties took her to another part of the auditorium and the electrician was left Sh to his own devices . e was detained throughout the remainder of the pageant and from the time she left him until the end he missed every cue and gave the wrong light every time . I f this can happen where the electrician has been working on the same switchboard for months and has w also worked with the director before , hat may happen under less favorable circumstances can be imagined better than described . Less diffi cult than the combinations of duties spoken of above is that of business manager or advertising agent and 16 THE TECHNIQUE OF PAGEANTRY

those of pageant m aster . These combinations are considered as less diffi cult because the con flict of duties is not apt to come during the actual performance of the pageant . The con flict may be just as serious when it interferes with rehearsals but it seems less so as less depends upon the continuity of a rehearsal than upon the continuity of a per f orman ce . During the recent war pageant masters often found it necessa ry to assume duties properly belonging to other pageant oflicers but under ordinary circumstances this should not be necessary and it will often limit the efi ective ness of the pageant if it is attempted .

U IN A A ER — B S ESS M N G . Next in importance to the H pageant master is the business manager . is duties are to make all fin an cial arrangements such as leasing an audi t riu o mor park, arranging for sale of tickets , keeping a check upon all expenditures , and in general seeing that the pageant is conducted in a fin an cially safe way and that sound business principles are applied as the standard to proposed scales H of expenditure . e should know the minimum probable income from sale of seats and should keep an itemized account of all expenses that have been authorized so that at an y time the pageant master may be informed as to the a dvisability of expansion of plans or of the necessity for

retraction . This statement assumes that while there will be no attempt to make money on a pageant there Will be a

defin ite t - at empt to make it a self supporting enterprise . The expenses of a pageant are always large and it is much easier to let them swamp the proj ect fin an cially than

to keep them within the limits of the probable income . This L St. o 1 1 is so well recognized that the city of uis , 9 7 , asked for a deposit of several thousand dollars as a guarantee

fund from an organization proposing to use the open- air

municipal theate r for a pageant . Even where the persons taking the parts assume the expense of thei r own costumes the other expenses are enough to bring the total up to a high r s m figu e . For this reason a bu iness anager is needed who

18 THE TECHNIQUE OF PAGEANTRY

until they are sure of being able to attend the pageant . If the agents are allowed to keep the tickets until after the performance there is usually still greater diffi culty in getting the accounts completed and che cked . The only satisfactory method of keeping account of all expenditures is to limit purchasing power to one or two o ffi cers or to require itemized statements of expenditures every few days from all who are authorized to purchase . Probably both of these safeguards might well be insisted R upon . equisition blanks issued by the business manager would undoubtedly be the most exact way of all from the standpoint of the business manager but in actual practice this is found to entail so great a loss of time that its useful fi n a i ness is seriously impaired . While n c al restrictions are a valu ble and even very necessary, their usefulness ends when they interfere with the preparations for the pageant . When the scenic manager and the costumer must fi n d the business manager and get a requisition endorsed before they can buy

a necessary article , perhaps of small value , the delay to their work may afi ect the success of the performance to an extent t e altogether disproportionate to the amount involved . F

quent checking of accounts , then , would seem to be the best method of keeping the expenditures within the probable i ncome from the pageant . Experience also shows that it is better to maintain charge accounts at the difi eren t shops and

pay no bills until after the page ant . This saves time for the ffi r shops as well as for the pageant o ce s . The bills should

be checked , item by item , by the business manager and the o ffi cers who incurred the expense before the bills are paid . This should be done in addition to frequent checkin gs before

the pageant . Estimating the probable minimum income from a pageant is a very essential part of the work of the business

manager . In fact, the character of the production must

depend directly upon this estimate . If it is approximately correct the expenses of the pageant can be met without undue r n f r wor y a d e fo t. The estimate should be made at the THE ORGANIZATION 19 earliest possible time so that the pageant master may know how much money will be available and how it may be appor tion ed in order that each department may be conducted to i efin t . the best purpose . A d e budget should be adopted The advertising manager should be allowed a certain amount , a defin ite amount set aside for the p rinting of tickets and programmes or pageant books , an allowance made for buying music, and so on through all of the departments . That the estimate may be reasonably accurate it is necessary to know exactly the seating capacity of the building where the pageant is to be given or to decide upon the number of seats — that are to be put in if an out- o f door pageant is being K planned . nowing the number of seats , the scale of prices may be arranged to furnish the amount of money desired , but there must always be admissions that are within the reach of practically every person in the community . Perhaps a better way is to determine the price of admission that should be charged, than the number of seats available , and then with this as a basis apportion the money thus provided among the difleren t depa rtments . Al lowance must always be made for a proportion of empty seats and unsold tickets , difi cren t ifi ren t but as this is a matter that will be in d e places ,

‘ local experien ce must be depended upon to give the in foma tion . It is much better to make a conservative estimate and have the proceeds of the pageant exceed it than to be too optimistic in estimating and have the proceeds fall below

the expenditures . Very often when the pageant celebrates some event of local history and is a real community enter

prise the local authorities will vote money for the purpose . Such an appropriation is a legitimate source of income for the pageant and should be added to the estimated income from the sale of tickets before the apportionment of funds

is made . The reason for adding this money to the estimated income instead of subtracting it is that it was appropriated in recognition of the fact that the pageant is a community

enterprise that will increase the prestige of the locality, 1t advertise , or worthily express and memorialize some phase 20 THE TECHNIQUE OF PAGEANTRY

of its history . It is eminently appropriate , then , that the money should be used in presenting a more elaborate and creditable performance than would otherwise be possible . When money has been appropriated for a pageant a certain an d number of free seats should be scheduled . Knowledge ability on the part of the pageant officers will often make up for lack of money in arranging a worthy production but in general the effectiveness of the pageant is in direct ratio to the amount of money that may be spent on it.

RTIST — PAGEANT A . The pageant a rtist has the responsi bility of deciding upon the color scheme for the pageant as a whole and for the color an d lighting effects within the episodes , including the colors for individual costumes , the

grouping of these colors on the stage , and the use of colored lights if the pageant is to be presented at night . A high

co- degree of operation between the pageant artist , the cos r t tume , the electrician , and the pageant master is essen ial if the plans of the pageant artist are to be carried out effectively . Audiences may be entirely unconscious of the method by which their emotional response is secured but they are not at all unresponsive to beauty and harmony whether they be

r . of tone , fo m , or color Each episode of a pageant may be beautiful from the standpoint of form and color but if no regard is paid to the progression of colors as the episodes a r A follow each other ve y strong source of appeal is lost. n audience very likely would not realize what was lacking under these circumstances but it would none the less be

conscious of the lack . A pageant presented in Kansas City some years ago illustrates the need for a carefully worked

out color scheme for a pageant as a whole . People who

attended this pageant , in commenting upon it afterward , complained of a feeling of monotony as they watched the u progression of episodes . They co ld give no reason for the impression nor could they explain how it was received or

when they began to feel it. When questioned closely they main tained that the difi eren t episodes were beautifully THE ORGANIZATION 2 1

e staged and elaborately costumed , yet a vague fe ling of lack of satisfaction persisted . The only explanation of their impression is that the pageant was planned by episodes in so far as the color scheme was concerned and the pageant as a s whole was neglected . The re ult was a series of episodes , each excellent in itself but not properly related to the pre L ceding or following episodes in the matter of color . ack of variety or contrast and lack of harmony was inevitable , or almost inevitable , under the circumstances . The Thanks ff giving pageant included in this book was planned di erently . The pageant artist decided upon the color of the stage

t fi rst set ings , then upon the colors for the costumes of the fi ure central g s and of the attendants , who were on the stage

fi rs S when the curtain was t raised . ince each pair of attendants was assigned to a particular episode group the colors allowed within each episode were determined by the colors of the costumes of the attendants . The samples of the colors for all the episodes were then arranged in the sequence they would follow in the pageant and the necessary i i corrections and mod ficat on s were made . Finally colors were assigned to individual characters within the episodes . A varied yet ordered progression of color eflects was secured that gave a most satisfactory impression . The attention of the audience was held throughout with no feeling of weari S w ness or monotony . ince the impression that ill be retained by the audience depends upon the pageant as a whole rather than upon special episodes this is the better way to plan for the colors to be used . Within some episodes a great variety of colors may be used eflectively if proper regard be observed in the grouping n d of the characters . The pageant master a the pageant artist will be able to work out together the details of such a i matter when it is necessary . Where the episode s restricted to a single color and only tones of that color may be used such detailed care is not so essential but even there it is well worth while . Episode II of the Thanksgiving pageant referred to was restricted to the use of tones of yellow by 2 2 THE TECHNIQUE OF PAGEANTRY

roces the pageant artist . The episode group passed in p u sio al form down the center aisle of the building, mounted the broad steps to the stage , wound its way across the stage and disappeared into the wings as though making its way on a ceremonial pilgrimage to the shrine of Athene . The tones of color in costumes and properties were so arranged that there was a regular progression from the delicate cream color of the leaders to the deep yellow and tan of the war a w as riors at the end of the line . The arr ngement very ff e ective . It would undoubtedly have become monotonous if all of the episodes had been handled in the same way but this episode followed one with a barbaric display of heavy colors and was followed by one costumed in white , purple , and tones of purple . The arrangement of tones in the last mentioned episode was not progressive but in masses , the tones of purple being surrounded by white , with the real purple used in the ornamentation of the white garments worn S by a group at one side of the stage . In the avannah Cen ten n ial in Pageant , also included this volume , the costumes were largely heirlooms that originally belonged to the ancestors of those wearing them in the pageant . From the viewpoint of history and of sentiment it was much better that these be worn although the artistic effect w as not as good as though the colors could have been selected with the efi ect of the groups as units in mind . The effect of a rtificial light on color is a matter of great importance to the pageant artist if the pageant is to be given i i in the evening . A rt fic al lighting must be depended upon if the performance is given indoors regardless of the time of day . Very few buildings are so constructed that an adequate H amount of properly distributed daylight is available . ere A ifi i l another problem for the pageant artist enters . rt c a light used to supplement a limited amount of daylight gives quite difi eren t efi ects from either artifi cial light or daylight

fi e when used alone . The pageant artist must know the e ct of the light that will be available on the colors selected if the result is to be what was desired . Certain lights intensify THE ORGANIZATION 2 3

blues , yellows , and greens but neutralize reds . Other lights intensify reds but neutralize greens and blues . The safest plan is to select the colors under the same kind of light that will be used . S 1 1 ince 9 4 , because of many contributing causes , it has been very diffi cult to obtain fabrics for costumes in s atisfac tory colors except in very expensive materials . The only solution of this diffi culty is the dyeing of inexpensive materials . The supervision of this work belongs to the pageant artist . The Putnam dyes give very beautiful results L r when skillfully mixed . The De uxe dyes are also ve y L satisfactory . The great advantage of the De uxe dyes for inexperienced workers is that a carefully worked out chart has been prepared giving exact directions for obtaining any tone of any color that may be desired . N 0 other part of the work of preparing a pageant is more exacting than the dye ing of fabrics for costumes and for backgrounds but no other expenditure of time and energy brings such rich returns in ff increased beauty and e ectiveness . — COSTUM ER. The costumer will have authority to pre scribe the general scheme of costuming for the different episodes and the detailed construction of individual costumes according to the color plan worked out by the artist . Due regard to historical accuracy must be observed in those w u pageants dealing ith local or world histo ry. Acc racy of detail may be slighted in mass groupings but the figures that stand out from the groups must be accurately enough cos tumed to be convincing . Eternal Vigilance in details of this

sort is the price of success .

Professional costumers , even the most expensive ones ,

are careless about historical accuracy . They either do not know the difi e ren ce or else they believe that a Variation of ff a century or two makes no di erence . It is exceedingly

disconcerting to have , at the last minute when it is too late

to make corrections , a group of French courtiers in a Joan

ro fes of Arc episode appear in Elizabethan costumes , yet p 24 THE TECHNIQUE OF PAGEANTRY

e s was sion al costumers, after rep ated warnings that exactnes diffi cult x eri h s . e desired , have done t i and worse Another y p en ced in renting costumes is that of getting the costumes long enough before the time set for a pageant so that dress rehearsals may be held and the necessa ry adjustments made . Many of the best costume houses will not send costumes a day ahead of the date of the performance unless an ex tra s fee is paid . The best costumer are scrupulous about the sanita ry condition of their costumes but they often send them t out stained with use , although safe so far as the possibili y of infection is concerned . If costumes must be rented from a professional costumer the only safe way is for the pageant costumer and the pageant artist to select, personally, all of the costumes that will be used . Seamstresses may be employed to make the more impo r u the tant cost mes . The expense of this may be borne by pageant committee or by the persons for whom the costumes

are made . Whoever pays the bills , the seamstresses should be under the direction and supervision of the costumer . The necessary accuracy and harmony of color and style can be

secured in no other way . When the pageant is being given by a school or when a school forms one of the units of the

community giving the pageant, the clothing classes of the domestic arts department may be willing to take care of the

s . making of the costume Where this has been done, and suffi cien t time has been allowed to do the work satisfactorily, the teachers of such classes have said that no other problem has interested the classes so completely nor have the students increased their knowledge and ability to such an extent in

dealing with the rather abstract , unrelated , minor problems

previously used . The color and style of individual costumes are both important but not more so than the way the cos t m fit i u es . The costumer must g ve personal attention to these details if they are to be properly taken care of and completed and since no one person can do all of the cutting e and the sewing, seamstresses , eith r professional or volun

teer, must be secured .

26 THE TECHNIQUE OF PAGEANTRY

f very sho rtly after the action ends . The necessity or main taining the tempo of the whole performance makes this

co- imperative . To secure this ordination the orchestra must be ready to end a piece of music quickly and harmoniously us ifi at the command of the director . This can be j t ed on the ground that the music is not employed to make a separate appeal of its own but merely to strengthen the emotional appeal made by the action of the pageant . The volume of sound must also be regulated by what is happening on the stage rather than according to the marks put in by the com poser or sanctioned by custom . This is an added reason for care in selecting appropriate music as a background for pageant episodes . The absolute control of the orchestra that enables the conductor to respond to every variation of the a ction is diffi l cu t to obtain when dealing with amateurs . It is equally or more diffi cult to obtain with professional musicians since they have the habit of expecting to complete any musical

composition that they once begin . Their attention is habit ually upon the music as custom has determined its interpreta

tion . Absolute control is necessary, however , as the orchestra

must cover up and correct all errors made in the action . With the few rehearsals possible when dealing with such

large numbers of people errors are bound to occur . Then be the acting being, as it must , spontaneous in character, n o two performances will ever be exactly the same and no performance will ever take exactly the same amount of time

as the rehearsals . Watchful waiting describes the attitude necessary on the part of a successful musical director when u cond cting for a pageant . Very often a director feels that he must use a piece of r i music for which o chestra parts cannot be bought . There s no other way but to orchestrate it himself or persuade some i H e t. friend to do will usually do it better, as he will know the strength and the weakness of the orchestra and to so will be able lean on the one and favor the other. Ve ry much of thi s orchestration would be too great a burden THE ORGANIZATION 2 7 on the director and since practically all standard music has been arranged for orchestra it is much better to buy music already arranged unless there is some special reason for doing otherwise . A word here about the selection of the members of the r L ex e ri o chestra may not be out of place . ong and varied p ence indicates the superiority of fairly capable amateurs over regular theater orchestra players . Clever amateurs respond more readily to the variations in tempo of the pageant n d e action , a these variations cannot be avoided without mor rehearsals than can wisely be called . Amateurs are also more inclined to enter into the spirit of the pageant and to look upon it as an expression of community life of which they R are a part . egular theat“er mu”sicians are more inclined to see in the pageant only a show and their playing is , con c sequently, more mechanical . It is doubtless more a curate but it certainly is more mechanical .

CENIC A NAGER — S M . The business of arranging the H e stage rests , of course , with the scenic manager . will , after the stage has been located for an out-o f- door per forman ce r , see that the space is properly olled , the grass cut , shrubs planted to screen entrances , and will put in place upon the stage such articles of stage furniture as form a part of the stage setting . The nature of the pageant episodes e must determine the exact location of the stag . For the Thanksgiving pageant the stage would better be located in front of a building of classical architecture or one having di n ifi ed very simple , g lines , because a majority of the epi sod fi ures es either deal with classical g , as Episodes II and

III , or else they represent action that took place within e i doors . A formal background , therefor , s better than a natural one of shrubs and trees . The crowning of the Dauphin in the Cathedral of Rheims depicted in Episode V of the sam e pageant would be exceedingly efi ective when given before a background such as is indicated above . It would lose much of its dignity if it were given with natural 2 8 THE TECHNIQUE OF PAGEANTRY

e greenery as a background . Episod I of this pageant would be much more convincing if the background showed only shrubs and trees or vistas of open country . The nature of a majority of the episodes must determine the nature of the background . Voices carry much better when a building is used as the background of the stage and this is a matter that cannot be ignored as one of the great problems in out- o f door pageants is having the lines spoken by the characters heard by the audience . A building acts to some extent as a sounding board .

Whatever stage settings are used should be permanent, that is , should form an intrinsic part of the stage as required by the production . Any changing of scenery between epi s h diffi ul odes detracts materially from the c eet . It is c t to recapture the attention of an audience when i t has been lost through the incongruity of re- arranging the scenery in an

‘ - — r out of door perfo mance . There can be no curtain to hide the activities of the stage hands . Even at night, with the stage dark, the stage hands will be seen more or less clearly and the noise of moving scenery interrupts the continuity of th impression that the audience is receiving . There is less di culty in changing scenes for an indoor performance on a regular stage with a drop curtain but even here the efi ect is much better with a neutral setting against which any sort of action is convincing . A warm gray fabric that will hang in folds is probably the best material with which to cover the wings and back drop of a theater stage for a pageant . If the pageant deals with out- o f- door episodes to a large extent a difi e ren t ba ckground would need to be used . But even in that case arather formal arrangement of trees and shrubs such as are seen in formal gardens gives a better efi ect than S a freer arrangement of greenery. tage settings can very largely be eliminated if the scenic manager has ingenuity and a n im ginatio . In the Thanksgiving pageant the stage ( a regular auditorium stage ) was hung with a warm gray fabric and the only accessories were the throne for the Spirit of Thanksgiving, a composite altar at the opposite side of THE ORGANIZATION 9

e an d . the stag , a low , small platform at the rear Being of

no particular style or period, the altar could be used without

V . S o fi en se in Episodes I, III , IV, and tanding at the side

of the stage as it did , it did not obtrude in any of the other l episodes . The smal platform at the rear was used for the royal personages in Episode VI and in the other episodes only when it was desired to elevate characters at the back of a group so that they would not be entirely obscured by

those in front of them . In Episode VIII it was occupied by

Serbia and Belgium . There is something Very impressive

about the steady, uninterrupted movement of pageant groups as episode follows episode that is lost when the curtain falls

at the end of each episode for the shifting of scenery . In the drama it is often advisable to lower the curtain to

indicate the passage of time . This is not n ecessary in a pageant as it is taken for granted that long periods of time elapse between episodes and since the lapse of time between pageant episodes does not have to do with the development of an individual character but with an impersonal force or a locality person ifi ed by the central figu res present on the stage throughout the performance there is no confusion in

the minds of the spectators . The announcements of the spokesman for the central figures indicate the nature of the

interval clearly enough for all pageant purposes . A little ingenuity on the part of the scenic manager will make it

possible to avoid the use of a curtain except, perhaps , at the beginning and end of the pageant and even in these places it can readily be dispensed with if an impressive entrance and

exit in processional form be arranged . The scenic manager may also serve as property man if k desired, but this wor properly belongs to the directors of

the episodes , each director being responsible for the proper

ties of his episode . In case the properties are made up by the pageant committee and belong to the pageant organiza tion it is well to have a property man who will check the properties out to the episode directors just before the per fo rman ce and then check them in again at the end of each 30 THE TECHNIQUE OF PAGEANTRY

o performance . These episode pr pertie s should include such articles of stage furniture as are absolutely essential to the action of the episode but which cannot be made a part of the permanent stage setting . They must be taken onto the stage ,

oh placed in position , and at the end of the episode taken the stage again by persons who are in the cast of characters for

th . the episode ; slaves , pages , and e like In Episode VI of the Savannah Centennial Pageant the older pupils of the

dancing class carried benches in for the pupils to sit on . This was done as soon as the H e rald had fin ished the lines b introducing the episode . After the enches were in place the pupils a ssembled and then the dancing master entered . A t the close of the episode after dancing master and pupils had passed from the stage the same older pupils carried the

ff . benches o again This did not seem at all incongruous , as the arranging of a room is to be expected when it is to be i s used for a spec fic purpose . In Epi ode III of the Thanks giving pageant Augustus carries in his hands the brazier in H e which is burning the incense for the altar of Jove .

-o i A t places it upon the altar as a praise fi e r n g. the end of he the episode , with due ceremonial , again lifts the brazier

from the altar and carefully bears it away, taking his place

in the group as it leaves the stage .

LECTRICIA N —If E . the pageant is to be given at night or indoors at any time of day a person interested in the artistic efi ect of the pageant and who kn ows something of electrical

lighting of stages should be selected as electrician . This

person must give time enough to the pageant , attending

w . rehearsals , having conferences ith the pageant master, etc , to thoroughly familiarize himself with the lighting eflects

Pr fe desired and when and how they are to be secured . o s sion al electricians may have to be employed to work the switchboard but they will need the supervision of such an electrician as is indicated above if any other than the con ven tion al fi e t theater e c s are desired . The electrician will constantly consult and be constantly consulted by the pageant THE ORGANIZATION 31

master , the pageant artist, the costumer , and the scenic fi e manager . In this way color e cts beautiful beyond expecta tion will be secured .

- o f- n ff In a large out door pagea t given in Je erson City ,

in 1 un 1 18 Missouri , J e of 9 , with the approach to the capitol building for a stage , the lighting apparatus had to be “’ ” installed in crows nests built twenty feet from the ground on electric light poles . The professional electricians who must manage the lights could not spare time to learn just

r where and how the lights were to be used . A supe visor “’ ra for e”ach operator was t med. They stayed in the crows n ests with the operators all through the performance . Many of the entrances were along balustraded terraces lead ing to the main entrance to the building , in other words , to the stage . These entrances were started thirty or forty rods n d from the stage a had to be lighted with spots . Because of the presence of the supervisors with the operators not a u e single entrance was missed . The lights picked up the fig r s at exactly the right moment and followed them steadily. Theater electricians have a strong predilection for the

l defin e spot light with its sharp y d margin . A tactful super visor can often persuade him that it is good technique to use the spot to accentuate a special figure on a brightly lighted h stage without turning o all of the other lights . In this way the spot loses its hard brilliance and prismatic margin and simply emphasizes the desired figure by intensifying the it light upon . Tact, next to some knowledge of lighting of t stages , is the quali y most to be des“ired in the ”electrician , of whom we have been speaking as supervisor of the elec ic tr al operator . Tact will often secure results not to be achieved by mere knowledge . One may know that a bunch or flood light placed in a certain way in the wings will give a certain eflect but it often requires tact on the part of an

so amateur to persuade the operator that it is better to use it ,

on . with the stage lights , than in the conventional way No particular color effects were attempted in either of the pageants included in this volume when these efi ects would 32 THE TECHNIQUE OF PAGEANTRY

in a h depend upon electrical lighting . The building used e c case was not well equipped for special effects and the pageant a rtist was not familiar with lighting devices . It seemed better to use a steady, soft light throughout the pageant, depending on careful selection of colors for costumes for ff c ff e e ts , rather than to attempt unusual electrical e ects when there w as a possibility of failure . In the Thanksgiving pageant a flood light was so placed in the wings behind the group of central figures that it gave a halo effect to the group , while a similar flood on the opposite side illuminated fi u e the g r s that stood near the altar . There are many simple devices that can be arranged when the electrical supervisor is interested and is familiar with the details of the per

forman ce .

T SI A A ER —H ADVER I NG M N G . owever carefully a pageant may have been planned and however complete the organiza tion may be it will not be a really successful pageant unless

a large number of people see the performance . To ensure this the services of an advertising manager or publicity agent H must be secured . e will see that notices are given to the newspapers concerning any items that will have news value

such as names of persons taking important parts , lists of

historical articles that will be used as properties , costumes

handed down for generations that will be worn , or anything H e that will attract attention and stimulate interest . will also see that neighboring towns are supplied with suitable

posters and that arrangements , such as parking space for

automobiles , are made and advertised for caring for the out

of town attendance . Advertising in the town where a pageant is to be given

will take care of itself, largely, unless it is a very large city . The organization described in this chapter will ensure the

interest of practically every group of people in the city . The large number of people in the cast also ensures an unusual

amount of very practical advertising . It is well , however, for the advertising manager to supplement all this with

34 THE TECHNIQUE OF PAGEANTRY

Vari ous household utensils were also shown . These things might have been exhibited in the historical museum of the city for years without being seen by a small part of the number who looked at them carefully in these shop windows . A t the same time the pageant was very effectively adver i d t se . Advertising a pageant in the neighboring territory is an essential part of the duty of an advertising manager . The best medium for this is probably the poster that has been made by persons with some artistic ability or by pupils in the public schools under the direction of the drawing H teachers . ere again there is some educational value in the ff work as well as an e ective means of advertising . The making of posters involving as it does lettering and design as well as work in colors is a part of the regular course in the public school art departments . The students have an immediate interest in the posters that are to be actually used for advertising purposes while their interest is only mediate if they are asked to design posters that are not to be used for a defin ite purpose . Posters made in this way are much more distinctive than printed ones and attract much more attention . We are so accustomed to all kinds of printed posters used in advertising that we give real attention only to those that are especially attractive or very unusual . Where large numbers of posters are needed it is probably well to have outline sheets printed and have this outlined design filled in with colors . The printed matter may also be done on a press instead of by hand if time is lacking or if large numbers are desired . A very attractive advertising plan is implied in the sug gestion that the advertising manager arrange for out of town attendance . So many people motor rather long dis tances that a well advertised arrangement for the parking of cars , free , will attract a large number of persons from extensive areas . A rather delicat e compliment is involved that will do much to further and extend a community spirit . The fact that the pageant o ffi cers desire the attendance of THE ORGANIZATION 35 persons who must motor in and that they take the trouble to arrange for their convenience while in the city is a great incentive for them to attend not only the pa rticular pageant in question but to form associations that will bring them back frequently. Certain restaurants may be persuaded to make special terms to holders of pageant tickets or some

Y C A . Y A h . W . . M . C t e local organization like the . . . or may establish cafeteria service for the convenience of those r attending . If such service is planned and adve tised, and those arranging for it are satisfied with a small margin of profit it will do much to advertise the pageant . It will do r more , probably, to advertise the friendly spi it of the city and thus contribute to a mutual understanding and establish a good basis for future intercourse .

S — ffi EP I ODE IRECTOR . o cer S D The last of the pageant s , but by no means the least when considered from the stand point of the success of the pageant , are the episode directors . Each episode should have some one person named as director and if the cast for the episode is unusually large or if the action is subdivided in a very marked way two or even e three directors should be appointed . Each should be r spon sible for a certain very defin ite part of the episode and should fin al be the authority , under the pageant master, for the group assigned to him . The reason for this clearly marked division of authority is the impossibility of any one person taking care of the details connected with more than one group of characters .

Each episode director , together with the pageant master, selects the cast for that episode and under the direction of

H e the pageant master plans the action of the episode . must see that the members of his group attend the rehearsals that are called, that they are prompt at these rehearsals , that they remain together and quiet in the place appointed for them at the general rehearsals , and that at the actual per forman ce each individual in the group is ready for his entrance at the proper time and that each individual is prop 36 THE TECHNIQUE OF PAGEANTRY

erly costumed and is supplied with the necessary properties . In fact each episode director is a stage manager for his episode . All the responsibility for the success of his episode rests upon him and this is no slight matter . The manner in which episode directors live up to the responsibilities of their ofiice fin a determines , in a l analysis , the success of the pro duction . Another duty which must be performed by the episode director is the writing of the description of his episode as a basis for the work of the author of the pageant book or of its editor . This implies the writing of the book according to the plan described in the chapter fol lowing . The various and exacting duties cited as devolving upon the episode director indicate the reason for limiting the

number of people for whom he is responsible . The one burden of telephoning instructions as to rehearsals would become monumental if a large number of persons were on ’ Of each episode director s list. course the number of char er act s in an episode will vary with the pageant . A variation

of from twenty to two hundred is not at all uncommon . Should the cast for any one episode be very large the director will need assistants for telephoning and similar duties . The wise director will have announcements concerning the whole cast made when all are together in order to save so much

telephoning , but it will not be possible to avoid a large

amount of it . Then at rehearsals it will require a very determined director to keep his group together and quiet enough so that there will be no loss of time when the

pageant master is ready for them . A n episode director will usually select the cast for his f episode rom his own circle of acquaintances . It may be that he must look for a peculiar type of person and hence must H i search through the whole city. s troubles are apt to be fewer if he is working with people whom he knows rather w well , as he then kno s who can be depended upon to do as R they should without too constant supervision . ather clos e supervision must be maintained under the most favo rable THE ORGANIZATION 37

of circumstances , hence it is to the advantage of the director to reduce it to a minimum through selecting responsible persons for the cast . The pageant master will probably have the details of the pageant as a whole much more clearly in mind than will any one director and so can select more wisely for the principal characters of the episodes but he should be limited to those persons selected by the episode

director except under unusual circumstances . The most satisfactory way is for the episode director to invite the persons whom he wishes for his episode to meet the pageant master and then through a simple process of try- outs the particular persons best suited to particular parts can be

selected . The episode director has the primary responsibility in H in stru the costuming of his characters . e will receive his c tions from the costumer and the pageant artist and then must see that the individual characters carry out these

instructions . This is no small task as there are always well intentioned people who think they have costumes that will do very well and in the kindness of their hearts insist upon

wearing them or loaning them to some person in the cast . Nine times out of ten such costumes are not at all suited to diffi cult the particular need of that episode . Another y over costumes is that some people invariably wait until the last minute to get theirs ready and then there is no time left for

the almost inevitable corrections . The properties occasion much perplexity to the episode

director. Each character should be expected to provide the

necessary properties but here , as in costuming, diversity of opinion as to what is suited to the episode often brings about

embarrassing situations . When a person has gone to some expense and considerable trouble to get a needed piece of property he is naturally displeased if it is not considered

suitable . When there is time , and money, available it is much better for the pageant master to have all the properties made up and issued to the episode directors or directly to the cast just before they are to be used and checked in again at the 38 THE TECHNIQUE OF PAGEANTRY

s end of each performance . The matter of sword , when they

. rn are needed, will illustrate this point A mode military sword or knights- templar sword would not do at all for a warrior in a primitive episode nor in an episode with Greeks

' Yet if of the age of Pericles forming the cast . , left to them s selves , the maj ority of persons would get such a word for these parts . When a sword is to be the symbol of all swords rather than a particular sword the integrity of the character ization is marred if the sword carried is obviously of the

186 1 1812 1 6. style of , , or 7 7 A painted wooden sword with a straight cross hilt is much more convincing than a modern cavalry sword in the hands of a feudal knight . What is tru e of swords is true also to a large extent of all pageant properties . They must be in keeping with the age represented by the episode or else they make a false note i l that is d ffi cu t to overcome by excellence of acting . When ever a piece of property used on the stageattracts attention that should be centered on the acting it is inappropriate and should be replaced by something that will contribute to the general efi ect and not destroy the whole scheme of relative v alue s. The episode director should bear the same relation to the cast of characters for his episode that a stage manager h bears to t e actors in a regular play . H e is responsible for them and for every detail of the episode to the pageant o master. If things g wrong with his episode he is the one that is blamed . A n episode directo r who is careless or ff in ffi indi erent will fin d his own e cien cy reflected in his episode . Experienced pageant masters claim to be able to classify episode directors as effi cien t or otherwise by watching the way the de tails of management are taken care of in the ff i di erent ep sodes of a pageant . If r s r ss he , in eading thi chapter, one is imp e ed with t assertion with regard to the pageant offi cers that the success of the pageant rests ultimately upon each of these several oflicers , this rather contradictory position can be definitely maintained . A pageant is so essentially a community afi air THE ORGANIZATION 39 that the sort of organ ization best suited to brin g it to a suc cessful issue is the one that makes each individual cfiicer responsible for a defin ite indispensable part of the whole f to pageant . I an indispensable part of a pageant fails , h exactly that extent has t e pageant failed . TH E B K III . OO

r f k There a e two ways o preparing the boo of a pageant .

It may be written by a professional author, a ready made product, as it were , or it may be worked out as a community proj ect by the episode directors and the author or editor . Since this book is written from thestandpoint of community proj ects the latter is the method preferred .

The pageant committee , having been selected to organize t the community for the produc ion of a pageant , is by reason of this fact usually in structed~ with regard to the nature or theme of the p ageant to be presented . For example , the committee appointed to have charge of the Savannah Cen ten n ial Pageant presented by the Savannah Festival S 2 1 1 Association of avannah , Georgia , April 4 , 9 9 , knew from the time of its appointment that the pageant it arranged must show noteworthy events of Savannah one hundred years ago . The general theme was at hand, ready made . The task of the committee was to decide exactly which of these notable events would best lend themselves to pageant presentation and would at the same time show the important happenings of the early years of th erS ective e colony in historical p p .

TLE —S al I . o h T , with l pageant committees, t e general theme , the title of the book, one might say, is selected by t the communi y or by the group which is giving the pageant . T he title of the book is selected for the committee . The e th committee must, how ver , decide upon e particular epi s e e e f od s or ev nts to be presented . The nam s o these events f or episodes become the chapter headings o the pageant book .

R — AUTHO . As soon as the episodes have been decided

40

42 THE TECHNIQUE OF PAGEANTRY

events with which the episode deals is to be presented . In actual practice this works very well when there is time

enough to experiment . A more intelligent interest is sure to be developed on the part of the cast and the actual per fo n t rma ce will be that much better . The communi y spirit will also be developed and will last beyond the pageant and

will function to an appreciable extent in other civic activities . Then the episode director has an outline for his description

of the episode that is to be turned in to the author . The pageant master is usually the one who acts as author

or editor in civic pageants . There is a distinct advantage in

i n ifi ed this when he has the ability to use sincere d g English . H e would probably spend as much time in acquiring a working knowledge of the details of the book if it were written by some other person as it would take to write it

himself . The one essential point is that the person who writes the book must have a very complete command of the English language and must have a high conception of the

nature and function of pageantry . It is to be readily admitted that a quite different method

of writing the book may be followed . The person who writes the book may do all of the work himself from cen ceivin g the pageant as a whole to designating all of the

details of how the episodes are to be acted . H e may not be H a member of the community giving the pageant . e may not even visit the community while he is working on the

book . In this case the author would write the book without consulting anybody else and when it is fin ished the pageant master would simply assign to each episode director the description of his episode and the director and the cast would

have no opportunity for initiative in the matter at all . They

would only follow instructions . A n example of a very efi ective dramatic work that has been given pageant treatment is The Pilgrima n d the B ook written for the Pilgrim tercentenary celebration by Percy

Mackaye in the manner described above . It is very proper that a pageant designed for use in any church in any art of the country desiring to observe this centennial shoul be THE BOOK 43

written in this way . Ordinary rules do not hold under such unusual circumstances . A ready made pageant of this gen eral character is undoubtedly better than one on the same L subj ect that could be worked up locally . ocal writers of ’ M r M acka e . y s ability are very uncommon and since the theme is general it is better that it be handl ed by an exp ert . It is only the local historical pageant that is so intrinsically

a community proj ect and therefore to be developed as such . The dramatist and the litera ry critic will very likely consider the writing by an experienced author the best way i it n which a pageant book may be prepared , and will result

t . in closer dramatic uni y It has , however , made the pageant that much less of a community project and has robbed the

members of the community of that avenue of self expression . Since spontaneous self expression of individuals working in

groups is the real essence of and excuse for pageants , we c are onstrained to. follow the more democratic method of

assembling the book and then having it edited . Even the general pageant that does not deal with local history may

be used to advantage as a medium for community work . When this democratic method is followed there is a rather intangible something infused into the acting and into the book that inspires a wonderful feeling of solidarity among the pageant workers which carries across and affects an

audience . The author or editor of the pageant book has more to

do than merely to collate the work of the episode directors . H e or must furnish the main plot , more correctly speaking , t b the main thread of continui y, however slender it may e , ru upon which the episodes are st ng . Without this prin cipal theme or thread of continuity running through all of the episodes and binding them together there would be con

fusion and loss of interest . It seems hardly fair to this dramatic form to select a number of totally unrelated scenes

and call the aggregation a pageant . There should always be some unifying idea that relates and binds together what might otherwise become almost entirely dissociated bits of action through a hapha zard method of working out each 44 THE TECHNIQUE OF PAGEANTRY

e s c pi ode . A convenient devi e for thus binding together the

fi ures episodes is a small group of g , symbolic in character , personifying the community or impersonal forces such as H ope , Despair , or Truth , which remain on the stage

throughout the pageant and review the episodes , relating

each to the main theme as it passes . The author must , of fi ures . course , write the lines for these central g They may well be given the ex position or argument of the pageant as a sort of prologue with other lines introducing and explaining very briefly and not too obviously the action of each episode a s it is to be presented . In the Savannah Centennial Pageant this group of central figures included the Spirit of Savannah with six

fi ures attendant female g , two heralds , and eight buglers ; the Spirit of the River with attendant waves ; nymphs ;

- 181 182 . dryads ; and the ten years , 9 9 This is a much larger

group than is ordinarily used . A very few lines were given S S to the pirit of avannah , but throughout the greater part tw H of the pageant o eralds , standing at the front against

the arch , acted as spokesmen for the group . In the Thanks H giving pageant the Spirit of Thanksgiving, ope , and

Despair , spoke all of the lines of the central group . They had attendants and buglers but no lines were given to any

of them . The buglers acted in both of these pageants as the offi cial announcers of the approach of episode groups or as attendants of the principal figures calling upon the difi eren t episode groups to appear . Regular bugle calls were used but they were given a tempo less rapid than is A common when they are used for military purposes . t the command of the central figures the buglers on the stage would sound an appropriate call which would be repeated by the buglers stationed at the entrance where the group was S to appear . uch a formal announcement of the approach of an episode group seems to hold and concentrate the atten

tion of the audience , and when it is well done it is ve ry i A mpressive . n added device for unifying the action of the different groups in the Thanksgiving pageant was the use of THE BOOK 45

the attendants , two for each episode , who were stationed at different entrances and who conducted the groups to the stage and then oh again at the end of the episodes . — LANGU AGE or TH E Boom A n indication of the sort of language considered suitable for a pageant book was given in the paragraph dealing with the qualification s necessary for the author of a pageant book . The events which make suitable material for pageant treatment are of more than

i n ifican e e the ordinary s g c . They are the great mom nts in history of a people or of a community . The treatment of them must be in keeping with the character of the events . This will exclude from the pageant book all merely sm art or the colloquial language . What is ordinarily considered as comic element W ill be excluded for the same reason . Comedy and the language of comedy have little or no place in the exalted experiences of the life of a community or a nation . Sincerity and dignity should be the dominant notes in the language of a pageant book . Not only the lines of the characters but the descriptions of the episodes should be fi i n i ed . in this same d g , almost austere , style Any other style seems trivial by contrast with the events depicted . Variety may be obtained by using songs in chorus or solo n arrangement, dances that are appropriate a d that belong intrinsically to the action , and some few lines by the principal characters . These devices are to be used sparingly, how fl e ect u . ever, if an of continuity is to be sec red A very common error of authors of pageant books is that

of making use of too much dialogue . Anything that par takes of the nature of conversation becomes trivial by com di n ifi ed parison with the breadth and scope of a g , worthy

expression of the life of a community . Anything conceived

on so large a scale , anything making use of such masses of

characters , must not be belittled by ordinary conversation

between actors . It must be sustained and dign ifi ed by the H oratorical and the declamatory . ence the author will do well to make the lines of his central figures not mere dialogue 46 THE TECHNIQUE OF PAGEANTRY but the expressions of lofty emotions that may be fittin gly expressed in tones loud enough to be heard to the limits of

- - e fi ures the out o f door auditorium . The lines of thes g should not be allowed to become incongruous because of the lack of proportion between the volume of voice used and the

- n ature of the words so expressed . A few short , well written speeches of the kind indicated are suffi cien t to carry along the story of practically any pageant . Dialogue of any length , even were it desirable , could not be sustained in a voice loud enough to carry beyond the front rows of s eats . As a result the audience would become restless and its attention would ffi di cult . waver . Attention thus lost is to regain

A single example may be cited . The prologue of a very beautiful pageant presented in the open- air municipal theater of a large city and enacted by an actor and actress of n ational renown lost much of its effect because the cheet depended too much upon the lines which could not be heard fir t beyond the s quarter of the seats . The audience became

- restless ; read newspapers , and entered into half audible conversation with neighbors . The attention thus allowed to wander was never completely regained and the inspiring message of a beautiful pageant was lost to three-quarters of the immense audience . What is true of the central figures is also true to a greater extent of the characters in the episodes . They L should seldom be given any lines . ike the small boy of o ff pr verbial fame , they are more e ective when seen and not heard . There is something unexpectedly impressive about

the silent , steady progress of episode after episode played c against a ba kground of appropriate music, each introduced by only essential explanation or left to explain itself through

the action . Even the printed description of the episodes in the pageant book should be as brief and concise as possible without neglecting the essential features . The audience should be able to read all that pertains to an episode in so short a time that they will not miss anything of importance t o in the ac i n . THE BOOK 47

Those lines in the pageant book that are to be spoken by the different characters might well be printed in a different kind of type from that used for descriptive matter . In the Savannah Centennial Pageant the lines of the principal char

acte rs were printed in italics . The only departure from this is that the lines of Savannah at the opening of the pageant are r in ordina y type but widely spaced . The reader soon becomes accustomed to this arrangement and can follow the lines or can distinguish the parts of the book that deal with the

episode action without loss of time . In the same way the type used for the descriptive material is different from that T used for the casts of characters . he cast of the central figures is put in different type from that of the episode casts but there is no reason for confusion in that as there is no other kind of material on the page with the cast of the

principal characters in this particular book . Ordinarily it would be better to use the same type for all casts of char a r cte s . These or similar devices should be used in all pageant books to distinguish clearly between the different kinds of material included so that confusion and vain search ing for specific info rmation on the pa rt of the spectators may

be avoided .

ON TEN T F TH BO0K - C O E . The pageant book will con

fi ures r tain , then , the lines of the central g , the desc iptions difleren of the t episodes , the words of whatever songs are

used , the cast of characters for each episode , the cast of the

fi ures o flicers central g , the list of pageant , the pageant com mittee , the programme of music , the names of the members of

the orchestra , a list of the episodes , and a foreword indi cating the purpose and aims of the community in presenting w the pageant . The person who writes the fore ord and the lines of the central figures and who edits the descriptions of

the episodes is conventionally termed the author . Q uota tions and original lines by episode directors or others are

- usually acknowledged in foot notes . The order in which these items should be arranged is a 48 THE TECHNIQUE OF PAGEANTRY

matter for debate . A very good arrangement places the

o flicers pageant committee , the author , and the pageant on

fi r the st page , the names of the members of the orchestra on the second, a list of the episodes with the directors assigned

fi ures e to each on the next , the cast of the central g next , th n

the episodes with the cast for each following in order, and last the musical programme by episodes . The foreword would probably better be placed fi rst of all instead of between the lists of o flicers and the episode descriptions . It is well to have the reader informed concerning the aims of the com munity in giving the pageant before he is info rmed as to the persons who are carrying out the ideas of the community

and the manner in which they propose to carry them out .

TYL F TH E OOK — S E O B . There has been great diversity in the style of pageaht books gotten out for different S pageants . The book of the avannah Centennial Pageant

is included in this volume in its original form . This pamphlet of twenty- four pages contains all of the material used in the I pageant except the words of the song in Episode , a few

lines of dialogue in Episode II , the words of the song in s V Episode III , the addres in Episode , and the words of the

song in Episode VII . These items should have been

included but the material was not ready in time . The book does not follow exactly the order suggested in the preceding

paragraph . It would doubtless have gained in clearness had e it been so arranged . Page on would not be readily under

stood except by one who had helped with the pageant . This arrangement was due to the fact that the formal pageant in the city auditorium was preceded by a street pageant in

which the order of grouping was that given on page one ,

with the exception of the last two groups . Ordinarily a book of this size is entirely adequate for the material that

really needs to be included in a pageant book . N 0 book was printed for the Thanksgiving pageant because of lack of

- funds . A four page programme with a brief synopsis of the episodes and the cast of characters was printed and dis so THE TECHNIQUE OF PAGEANTRY

s b in dicated in books . Separating the episode de criptions y proper paging is an aid to the audience in following the story L i of the pageant as the action progresses . ess attention s taken from the action itself when episode divisions are thus clearly indicated . Many pageant books have been made exceedingly

- elaborate with half tone or colored illustrations . They often

- run into a large number of pages , ninety six to one hundred

- forty eight . Books of this kind are very expensive to

issue and must be sold for comparatively large prices . It is ,

- however, a very decided advantage to have half tones of the difi eren t pageant groups and of the important characters

used to illustrate the text of the pageant . Even in a book of twen ty- four pages a few of these half- tones may be included

if costumes can be made ready in time . It takes from four to seven days to get the plates made after the pictures are

taken . Allowing only a week for the printer to get out the books this means that any group whose picture is to appear in the book must be completely cast and costumed at least

two weeks before the date for the pageant . This seems very simple at fi rst sight but experience shows it to be an L almost impossible task . ine drawings are much easier to prepare as the pageant artist can make the drawings while the costumes are being made and it takes a much shorter time to get the zinc plates made than the copper ones used

- for the half tones . Books illustrated with the line drawings

are very interesting and much less ex pensive to publish . They lack the personal appeal of the pictures of the people who take the parts in the pageant and it is this personal

in fluen ce appeal that s the sale of the books . A book of twenty- four or even forty- eight pages could be gotten out in 19 16 for from seventy- five to ninety dollars a thousand with a reduction for the second and subsequent

thousands . These books would be printed on a fair quality of paper and would have heavy paper covers printed with

an appropriate cover design . A t this price it was possible to sell the books for ten cents a copy and make a little money THE BOOK 5 1

on them . The book of the Savannah Centennial Pageant was sold for ten cents a copy but that was not enough to cover the cost of the printing which had advanced greatly 1 1 since 9 6 . The pageant committee considered that it was better to sell the books at a small loss than to charge more d for them an so reduce the sales . They wanted everybody who attended the pageant to have a book for reference dur r ing the perfo mance . It is usually found necessary to sell the pageant books

as copies of the libretto of an opera are sold . A much better plan would be to distribute them freely as theater programmes are distributed in this country but the cost of printing usually prohibits this and they must be sold for enough to pay for

the printing . Since they contain the cast of characters and may contain half- tones of groups or of individual characters or line drawings illustrating the episodes they become valu S able souvenirs of the pageant . uch books , containing con

sider ble a historical material , often become really valuable

documents after only a few years . No adve rtisements of any kind should be used in the

pageant book . It is essentially inappropriate to use them , as they would spoil the artistic quality of the book and to

some extent impair its historical value , as well . Even pageant programmes are better with no advertisements in

them to distract the attention of the audience . The only excuse for using advertisements on such programmes is that the money for them will reimburse the pageant committee

for the cost of the programmes . Economy in some other place would better be exercised and the programmes as well as the pageant books left free from advertising matter of

any kind .

E F TH E OOK S —If s SAL O B . the pageant book can be gotten out several days before the date set for the pageant

they serve as valuable advertising material . They should be

an d put on sale in the book stores music stores , at the places

where the tickets are for sale , and at special booths arranged 5 2 THE TECHNIQUE OF PAGEANTRY in the post oflice and other public buildings or wherever On many people pass in the course of the day . the day of the pageant persons from the cast , in costume , should be assigned to the approaches to the pageant grounds , and to U the inside of the grounds as well , to sell the books . shers ,

- fi re boy scouts , girl scouts , and camp girls may sell the books if preferred but the person in costume appeals to the imagination of the people in the audience and stimulates

interest in the pageant . The salesmen in costume help create f . O an atmosphere , if we may use that much worked word

course , when the pageant begins , the sale of books must stop except as it can be done quietly and unobtrusively by the

ushers . Nothing has been said about who should be responsible

for the handling of the pageant books . In some cases the advertising manager is able and willing to do that in addition

to his other duties . The business manager is also willing to

undertake the sale in some cases . Considerable experience seems to prove that it is much better to have some person with no other duties of any nature appointed to have entire

control of the sale of books . A person with no other duties is able to give his entire attention to this rather diflicult task

and so carry it through to a successful completion . The successful conclusion is not so much the making of money from the sale of the books as it is to so manage the sale that practically everyone who attends the pageant will have a

book for reference during the performance . — EDITIN G TH E OOK . B The editing , as such , consists in unifying the style of the episode descriptions and making

uniform the lists of names and casts of characters . It is a diflicult matter to secure uniformity in these details and hence the task should be given into the hands of a person

who at least knows the language of printers . If a very care fully typ ed copy be given to the printer his labors are greatly

minimized . Very good printers who take a pride in their work will attend to the details mentioned better than a per THE BOOK 3

son not familiar with the trade can do . The author should consult the printer constantly or arrange to have the printer consult himwhen in doubt as to the way any detail of the book such as paging and spacing of names is to be arranged . With the hundreds of names listed in a pageant book errors

are very diffi cult to detect . The proof should be read care fully by at least two persons and each episode director should

read the proof for his episode . Even with this precaution one need not be surprised to discover errors and omissions

in the book when issued . The errors and omissions are always those that are the hardest to explain and when names are omitted it usually happens that they are the names of all names that should have been included if misunderstandings

were to be avoided . For the Thanksgiving pageant several marines were coming at their own ex pense from a post some X distance away to take part in Episodes VIII and I . Their names were omitted from the preliminary programme printed the day before the pageant was to be given and it took thr ee hours of long distance telephoning to straighten out the dith U a culty . nder such circumst nces the persons who read the

x proof would better not try to e plain . It is much simpler

in the end to admit the fault and express regret, even if there

is a real excuse for the error .

EED FOR H E OOK — N T B . Why has it been taken for granted that a pageant book is essential ? Because a

pageant, contrary to general opinion with regard to the ff drama , gains in e ect if the audience is taken into the con fiden ce of the pageant group and is informed as to what i n ifi a s c n ce it. is to be seen and the g of A pageant is , by the

nature of pageantry , a very broad sketchy treatment of

events or forces , any detail of which might well form the

- plot of a full length drama . It is , therefore , in the n ature of an in ten sification of the impression made if the actio n on

the stage is supplemented , or even anticipated , by the

pageant book . The tradition that the audience would better be ignorant of what was to be seen and heard in the theater 54 THE TECHNIQUE OF PAGEANTRY

grew up before the day of published plays . Now that many plays are ofi ered for sale in printed form before they are ever produced on the stage this tradition is going the way of many traditions that grew up under former conditions . Many actors now maintain that the ideal audience is the one

that is familiar with the play that is being given . They claim that such an audience listens more intelligently and responds more promptly than an audience that is in suspense as to the

trend of the action . This change of attitude cannot be placed

entirely to the account of the printed play by any means . There has been a corresponding change in the character of

to the plays produced . Whatever may be true with regard the drama there is but one conclusion with regard to the n i pageant . There is everything to gain a d noth ng to lose by having the audience familiar with the words of the pageant and the best way to accomplish this is through the

pageant book . TH E U S IV . M IC

Pageant music is in a class by itself . The nearest it approach to , probably, is the music used in the picture difi eren t houses . Even this is so in character and treatment that it can hardly be said to resemble pageant music except that both aim to deepen the impression made upon the

e audience by what is seen on the stag and the screen . The great difference between the two is in the type of music used hlms and in the way it is used . The appeal of the is frankly made to the popular taste , hence the ordinary popular music fin ds a very prominent place in the programmes of mu sic for ! e picture theaters . This is entirely right and pr per and the music used varies with the type of picture shown and with the character of the a udience . Many of the better picture theaters use classical music to a large extent because their audiences are made up of people who understand and appre ciate the best in music . In general , however, the music that is suited for a pageant is of a better type than that used for the pictures . The treatment is als o different in that the pageant music is subordinated more completely to the action of the pageant than is the case with the music in the picture houses . The very rapid development of the story on the screen makes it diflicult to follow every change of mood with an appropriate change of music . In a pageant the episodes are usually so arranged that there is no necessity for a change of theme in the music throughout the episode . Whenever many changes in the music are required in the course of an episode one is fairly safe in assuming that the author has not fol lowed the pageant form very closely but has used a mixture of dramatic forms and has called the result a pageant . The music for a dramatic entertainment of this sort is very difli 56 THE TECHNIQUE OF PAGEANTRY

so- cult to handle . As a matter of fact such a called pageant would better be discarded entirely or else largely rewritten . The alternative to this is to make the music the important i feature and subordinate the action to t. The result may be pleasing but it is not pageantry in the proper sense of the term . — FUNCTION OF PAGEANT MUSIC . The music for a pageant should simply form a background for the action of a the pageant . It should never become the prominent fe ture of the pageant but should be subordinated to the action and should be used only in such ways as will support and intensify the emo tional appeal made by the action of the pageant and by the stage pictures . It should bear the same relation to the action of the pageant that an accompaniment bears to the c solo . In many pageants the or hestra plays almost con tin uousl x y, especially during the entrances and e its of episode

s e d groups . While the characters are p aking the music shoul sink nearly to silence and then should swell out again as the the action without speech is resumed . The music helps set tempo for the whole performance , yet it is always secondary

n o to the action of the pageant . The audience should t be e ified acutely conscious of the music except at sp c places . The emotional appeal of the music should, however, be depended upon to intensify the efi ect of the lines and of the action of the pageant throughout the performance .

D D N RI I A OM POSITI S — STAN AR A D O G N L C ON . It is only occasionally, and for certain parts , that it is an advantage to u use original music . U sually s itable music can be found in the works of standard composers and in collections of folk and national songs . The selection of the music to be used should be made carefully with the character and intended ff tempo of the di erent episodes kept clearly in mind . It would be as inappropriate to use a minuet for a Roman processional as it would be to use a dign ifi ed but rather noisy march for all the phases of a Joan of Arc episode . The music selected for the Roman episode in the Thanks

58 THE TECHNIQUE OF PAGEANTRY arrange them for the particular instruments that are avail able . The air needs to be well marked while the harmony is of only seconda ry importance in music of this character . A strongly marked melody with enough harmony to avoid monotony is all that is required . What is desired is a suit able accompaniment for certain pageant action . It is often well when arran ging folk songs for pageant use to arrange

r . them for only a few inst uments , preferably the strings National songs usually need greater volume and h ence all U sections of the orchestra need to be included . nder these circumstan ces it is well to give the melody to the V l olin s and wood winds and perhaps part of the trumpets , while the other fi l string and brass instruments l in the harmony . No set

plan can be followed , since the instruments available and the skill of the players must determine this detail of the work of

the musical director .

T RC ESTRA — T H E PAGEAN O H . A n important duty of the musical director is the selectin g of the members of the

' S n of orchestra . ince the musical director is ofte a member the community a knowledge of the talent available is taken

for granted . Were the pageant master to direct the orchestra he would be obliged to depend upon the knowledge of the m O pageant committee in selecting the orchestra me bers . nly

general principles can be given for the selection . If the pageant is to be given indoors a small orchestra with the strings and wood winds predominating will be found the

- f— best . For an out o door pageant a large orchestra with a

strong brass section is better . There are often local com plications that practically force the musical director to use combinations of instruments that are not desirable from a

musical standpoint , but since our premise is that a pageant is , be or should , a strictly community proj ect the good of the community must be taken as the standard of judgment in settling this as well as all other questions“of pageant man

a emen t. g A pageant is not , primarily, a show or a con

cert . It is a community project expressing an ideal of the THE MUSIC 9

afi ectin community as a whole , and all questions g the pageant

should be settled with this in mind . roficien t As has been stated before , fairly p amateurs make much better material for the pageant orchestra than do regular theater players . There are two principal reasons

for this . First , the theater musicians are all members of the union and so have a rather high fix ed price per hour . There

is nothing to be said against this ordinarily, but for a pageant

it is a different matter and is diflicult to handle . Pageant funds are seldom extensive enough to allow so great an m expense for a single ite , no matter how important an item it

be . may Then , as soon as the paid professional element enters into the pageant the spontaneous community aspect of it is lost and it takes on the character of the professional

theater performance . Another union restriction that is entirely proper under ordinary circumstances but which is very troublesome in arranging for the pageant music is that union musicians cannot play under the direction of any but a union director and the musical director of a pageant is very e seldom a professional musician . N ither may they play with

- non union musicians . This professional , commercial , tend ency in a pageant is to be avoided whenever possible for

reasons that are developed from the nature of pageantry . The second important reason for preferring amateur musicians is that they have fewer conventional theater habits of playing to overcome and hence are more readily respon

sive to the directions of the leader . This would not be true ,

of course , of the large symphony orchestras nor of the orchestras of the large metropolitan theaters but these are so seldom available for pageant purposes that they need not be

considered here . The orchestra leader often needs to take ve ry great liberties with the score by varying the tempo and the volume in very difi eren t manner from that intended by us i the composer . This is j t fi ed because of the subordinate

value of the music in the pageant performance . Its position is secondary to that of the action and hence it must be modi hed ‘ to meet the requirements of the action . Professional 60 THE TECHNIQUE OF PAGEANTRY musicians often hn d it diflicult to adjust themselves to these unusual variations . Another advantage that the amateur has over the pro fession al musician is that he can usually aflord to spend a much greater amount of time at rehearsals . Joint rehearsals of episode groups with the orchestra must be held if the performance is to go smoothly . The orchestra must have enough rehearsals , by itself, to ensure familiarity with the music before it is called to rehearse with episode groups . These rehearsals of the orchestra with the difi eren t episode groups must be held whenever the music forms an integral e part of the pisode as . is the case when there is dancing, fin o singing , or where e c ordination is desired between the

climax of the action and the musical climax . These group rehearsals are almost indispensable if long delays at

full rehearsals are to be avoided . There is no time at full rehearsals for the orchestra to stop and study out any detail

of the music . Neither is there any good excuse for the rehearsal to be interrupted by the necessity for the orchestra and any small group of actors to co- ordinate their work . All this should have been done at preliminary The t rehearsals of the groups and the orchestra . full e hearsals are for the purpose of putting together the pageant and making such hual changes as are demanded by the unity of the pageant as a whole . The orchestra should be ready to go through these full rehearsals with no hesitation . If the whole orchestra cannot attend all of the group rehearsals the pianist and such other members as can attend are very often able to carry the whole orchestra along at the full

rehearsals . — PLACING OF ORC H ESTRA . The placing of the orchestra

is an important matter . It should be so placed that it is

not interposed between the audience and the stage . This is n early impossible in an indoor perfo rmance because of the efi ective construction of the buildings . One of the most p ageants the author has ever seen was given in a small THE MUSIC 6 1

auditorium with a balcony . The orchestra was placed at the rear of the center of this balcony and was thus entirely out ff of the range of Vision of the audience . The emotional e ect was very marked . Other elements entered largely into this especially successful performance but the placing of the orchestra was an important factor . The pageant of Thet m ford, entioned before , had the orchestra placed in a special booth at one side of the stage so that it was at the right of the audience instead of being between the audience and the

- o f- stage . In an out door pageant the orchestra could be hidden from the audience by a screen of greens that might

form a part of the stage setting .

R T IF F C I O C H ES RA L D I U LT ES. Orchestra s sometimes have considerable difliculty in changing from one piece of music to the next because of the putting away of the fi rst

fin din piece and g the second . Any delay here is fatal to the impression that is being made by the pageant because this

change of music often comes at a crucial point in the action . About the only time that can safely be allowed for this change of music is when the spokesman for the central fig

ures is introducing a new episode . This is not usually a long time and yet the orchestra must be ready to resume playing

as soon as these lines are spoken . The audience has been told what it is going to see and if it is kept waiting while the orchestra arranges music its attention wanders and the spell

of the pageant is broken . Many devices have been resorted to in order that these

delays might be reduced to a minimum . The members of the orchestra seldom have time to follow the action with the

pageant book. The best substitute is a typed programme of

the music, by episodes , which can be pinned to the music rack

where it is always Visible . With this in View and with the music arranged in the order in which it is to be played there

should be very little trouble through delays . The pianist will need an assistant who will sit beside him and fin d the

s music as it is needed and put away that which has been u ed . THE TECHNIQUE OF PAGEANTRY

It is often well to train boy or girl scouts to do this and assign one to each member of the orchestra . So many boys

- and girls of to day , through their public school training, have at least a supe rfi cial knowledge of music that it is easy to hn d enough in any troop to serve in this capacity . A pageant given out of doors has special problems for S the musicians . ome have been spoken of in connection with the work of the musical director . One that is of par ticular importance so far as the individual orchestra mem bers are concerned is the keeping of the music in place on ll the racks . The slightest pu of wind , no matter how gentle , t will scatter the music . Clothespins of the spring varie y are often used to hold the music in place . If the wind is at all strong and the music is clamped to the ordinary metal music racks there is danger of ra cks and music being upset togethe r. In extremities of this sort boy scouts may again be called into service , one for each stan d , to hold the music in place and the rack upright . Absurd as this may appear at fi rst thought it has been resorted to in more than one case and has always been found a satisfactory method of over i coming the d ffi culty. It is a very serious matter for even half of the orchestra to be deprived of music in the midst of

an episode . It is much better to arrange for service from the scouts than to have the music stopped by a sudden wind when no precautions have been taken .

oN s — PAGEANT S G . The introduction of songs not in trin sicall y related to the pageant is of doubtful dramatic value . They do lend variety but if at the same time they lessen rather than increase the unity of the theme of the pageant

they are a liability instead of an asset . The one excuse of v suffi cien t ariety is not ground for their being included . In

1n many cases songs do belong naturally certain episodes . This was true of the song used in Episode VII of the S avannah Centennial Pageant . The song was originally ’ composed in honor of Lafayette s visit to Savannah and was

. i sung at a dinner given in his honor The song, therefore , s THE MUSIC 63

L ’ an essential part of an episode dealing with afayette s Visit . The same thing is true of the hymn sung by the Bethesda boys in Episode I of the same pageant . This episode is not based upon fact but is none the less convincing, dramatically, and the hymn is felt to be an appropriate part of such an

event . Another use of songs in a pageant is shown in the open

ing and closing choruses of the Thanksgiving pageant . The audience j oined in the singing of these two songs and by that participation became to that extent iden tifi ed with the

'

pageant . The intention was to make every person in the audience feel a part of the pageant and become personally fi S iden ti ed with the action . uch an opening chorus helps materially in establishing a sympathetic attitude on the part m of the audience towards the pageant . The hy n of praise

used as the opening chorus did more than this . It established the type of emotional response that was to be the key-note of

the whole pageant, and thus not only helped to unify the audience but prepared directly for the proper response to

the appeal of the pageant . ' A pageant dealing with the history of education intro duced a Violin solo into the episode showing the modern

extension of higher education to include painting, philosophy,

literature , and music . Philosophy argued the case for equal L rights and responsibilities for men and women . iterature

and painting expressed their spheres in pantomime . Music difi eren played a violin solo . As many as four t ideas will not often be compressed into the space of one episode but here the ideas were so closely related that no sense of inconsistency

was felt . This same pageant contained the episode mentioned

roe el . as making use of the F b motion song The mother,

in educating her very young children , made use of games and fi ti songs . It was t n g in an episode showing this type of education that the mother should sing the song and act it

with the child . The fact that the song was very beautifully sung did not affect the integrity of the episode but it did as th a W in crease the ple ure of e udience . hen special music 64 THE TECHNIQUE OF PAGEANTRY is an essential part of the episode action it may be used to advantage . Otherwise it would better be omitted .

T E A N D x rr SIC — EN RANC E MU . One very interestin g part of pageants would be very flat and comparatively uninteresting were it not for the musical accompaniment .

This part is the long entrances and exits of pageant groups . There seems neither rhyme nor reason to the entrance of a group of pageant figures down a long aisle of an auditorium on their way to the stage unless there is a background of fi music to give it e ect. The persons in the groups feel exceedingly awkward when called upon to make such entrances at rehearsals without the orchestral accompan i ment but they feel entirely at their case when the orchestra n is playi g . There seems to be somethin g rather funda mental about this feeling and it is shared to a great extent

s by those who witness the entrances . The same thing hold d good with regard to pantomimic acting . Silent acting woul be uninteresting by itself but it acquires new values through the music that accompanies it and thus becomes very much worth while . The music may not be noticed particularly for

. ff itself It only contributes to the e ect of the acting .

66 THE TECHNIQUE OF PAGEANTRY

n l L k ew, apparent y, that afayette was a slender youth only nineteen years old when he made his fi rst Visit to this country

and was given an honora ry command . Sometimes the pageant master was able to persuade the episode director ’ that a young man should be substituted but usually they were sincere in thinking that the person of their choice was a good l ikeness of the French nobleman . The desire to give impor t ant persons a prominent place in the pageant and thus secure their interest and support may have in fluen ced the episode directors in some cases , and there are circumstances ’ when it would be well to sacrifice historical accuracy to community interests .

It may well be argued that in such cases , where there seems to be no defin ite popular conception of the personal difi er appearance of an historical character, it makes little ence what sort of a person is given the part . This is doubt l On ess true to a great extent . the other hand, a pageant master who realizes the educational opportunities ohered by a pageant is not quite content to be anything but as accurate , historically , as is possible with the resources at his command . In a community proj ect such as a pageant it is often better to sacrifice dramatic and even historical verity than to insist on o t their preservati n at the expense of communi y solidarity. This discussion brings out very clearly what has been spoken of in chapters dealing with other phases of the pageant ; the difi eren ce between the commercial drama and the community pageant . The commercial drama exists for its own sake and in it dramatic unity and verity should be preserved at all costs . N0 other in fluen ce should interfere in any way . But the community pageant, and all real t pageants should be communi y pageants , is a medium through which the community life may be expressed , built

- u co . p , and ordinated It exists for the sake of the com munity fi rst and is a dramatic expression as a secondary

. a ifi ce matter The dramatic verity of a pageant can be s cr d, it then, when the interests of the community demand .

P P ROP RIATE A STI — i u A C NG . The d ffi c lty in fin din g suit THE CAST 67

L able persons to take the part of afayette , cited in a

previous paragraph , indicates an important factor in the

success of the pageant from an artistic point of view , namely, the age of the character represented and the age of the per

son taking the part . This is implied in the fact that a very young person would not ordinarily be selected as a suitable

type to take the part of an old person . Yet theater traditions are so strong with us that many directors are inclined to select for dramatic ability alone and trust to makeup to

supply the necessary physical characteristics . It may be

necessary and desirable to do this in the theater, although it

is to be seriously questioned even there , but in a pageant it is almost fatal to the impression of sincerity that should be

- the key note of a pageant . It is just as absurd to have a very young person impersonating extreme age as it is for a person well along in years to take the part of a very young

man or woman . Young persons can assume the physical in fi rmitie s of age with some degree of success , although they

usually exaggerate them . It is almost impossible for any but the most highly trained and experienced actors to assume the mental aspects of age and this training and experience can only be acquired through years of effort which make the

impersonation not so much of a character part , after all , for it the one acting . A n important feature of selecting the cast for a pageant,

s hn d t then , i to persons who are of the right ype and also of approi imately the same age as the characters they are to iffi cul represent . There is never any serious d ty in persuad ing people past their fi rst youth to take part in a pageant

because of the nature and purpose of the pageant . People who never would consent to be in a play will very readily agree to take a pa rt in a pageant because of the nature of

the acting in a pageant . The fact that it is a community di n ifi ed proj ect appeals to them , the g treatment also appeals fin all to them , the lack of dialogue is an incentive , and y, the dramatic instinct never atrophies but functions through life whenever conventional inhibitions are removed through

public sentiment . 68 THE TECHNIQUE OF PAGEANTRY

C H TE A RTs — ARAC R P . Moving picture directors are com ing to realize the limitations of makeup as a substitute for the right kind of actor more and more as their art develops . This does not necessarily mean that they are discarding the

makeup box . It does mean that they are discarding the

excessive use of makeup and are using it more intelligently . They are also selecting their actors with better discrimina film tion . It is within a comparatively short time that actors

have been chosen because of their age . That is to some e hlms c extent an exaggeration , y t in recent the chara ters that are old in the story are represented by persons of approx imatel hlm y the same age in the picture . Formerly the mother was so unmistakably made up to look the correct

age that the action was often made ludicrous . Advancing years bring such unvarying characteristics , physical and as mental , to the majority of that youth cannot hope to

simulate them convincingly . Pageant treatment brings the characters under almost as close a scrutiny as the camera and character makeup and subterfuges of all sorts are fully as evident as in motion

pictures . The use of the aisles for entrances and exits brings the actors into immediate proximity to the audience and any but appropriate casting of parts is evident and the desired

illusion is destroyed . Where any really serious acting is required physical characteristics that are obviously assumed detract from the sincerity of the action to exactly the ex tent to which they distract the attention of the audience from the actl n g.

GE T CTING — PA AN A . Dramatic ability was the second i qualificat on mentioned as desirable in pageant actors . A pageant master soon learns to look for this ability in very c unexpected quarters . The dramatic instin t may remain dormant for years and then suddenly stir to life when a suit

able medium is found . The one who has dramatic ability of the kind needed in pageantry may be entirely unconscious of it until an opportunity to demonstrate it arrives and then

latent ability of a high order will show itself. THE CAST 69

Pageant acting is more nearly allied to the pantomimic art than to any other branch of the drama . The technic of

difleren t it seems to be quite from that of the motion picture , although at first thought it might seem to be the same . It is more nearly like the acting in the modern drama of idea s than it is like the acting required by the earlier drama . Per haps if Greek drama could be revived in its original form we would recognize many points of resemblance to pageant t acting . There is little or no opportuni y to portray the development of character, as the pageant seldom deals with that phase of life . The thing that pageant actors must t possess is the abili y to express , usually without the help of

e . lin s , character that is already developed In the Thanksgiving pageant the only opportunity for tu acting, as such , is in the part of Augus s in Episode III and in Episode VI where the things Columbus has brought back from the New World are shown to the court of Ferdinand an d Isabella . There is opportunity for considerable panto mime in the latter episode . In the other episodes the duty of those taking the parts is to look like the persons they represent and see that the grouping on the stage is balanced and appropriate as seen from the audience . Some people have a natural feeling for stage grouping and they are the ones who should be selected to have prominent places in those episodes depending upon such groupings for their

efi . ects . They instinctively take the right places A n experienced director learns to pick out from a group of people those who will have ability of the sort necessary in H e a pageant . acquires an almost intuitive knowledge of what can be expected from different people and is able to or pick out , on the street at social gatherings , those who will fi e n be valuable in di re t parts . Their physical characteristics have an important part in this but their mental processes as evidenced by their actions is the thing that appeals quite as strongly to the pageant master .

I IP A RTS — PR NC AL P . Those parts with lines must be taken by persons with the necessary physical appearance an d 0 THE TECHNIQUE OF PAGEANTRY

speaking voices that have carrying power . A loud voice often does not carry as well as one of different timbre but of less volume . Enunciation and articulation have very r much to do with the car ying power of voices . The person with a good singing voice very often has a poor speaking voice . The only way to make sure of the speaking parts is to try all who are in any way eligible in the place where the n pageant will be given . It is especially diflicult to fi d people whose voices will carry out of doors . Conditions are so difi eren t from even the large auditoriums that only those who are especially gifted are able to make the lines heard A n any distance from the stage . example of this diffi culty even with trained actors was cited in Chapter III page 4 6) Ou the other hand persons with no training and very little experience often show great facility in so placing their voices

r that they carry great distances . In the Jefi e son City pageant the group of central figures was stationed at least half way up the very long flight of steps leading to the main entrance to the capitol building while the audience stretched

for many rods out in front towards the street . No exact figures are available but the street was probably thirty rods She from the woman who had the principal part . had had no special training and no great amount of experience , yet every word of her lines could be heard and understood , which is difi en er t . an entirely matter, nearly to the street This is an unusual case but it is cited to show that it is well for a pageant master to give every person interested an oppor tun ity to try for the speaking parts regardless of previous r i experience or the enti e lack of t.

E TRA L FIGU RES — C N . The cast of the central figures u should, nat rally , be selected by the pageant committee and the pageant master . The most satisfacto ry way is for the pageant committee to propose candidates for these parts and then for the pageant master to try the candidates on the

fitted stage and select the ones he deems best for the pa rts . W hen there is time for open tri als interest in the pagean t THE CAST 7 1 will be stimulated if the trials are opened to all who desi re r e l to try for the parts of the central figu es . Very oft n unusua talent for pageant acting will be discovered in these open U to trials . sually the pageant master will be able to place advantage in the different episodes some of those who have tried for the pa rts in the central group and who have shown characteristics essential to the success of some particular episode .

EPISODE CA STs - . The casts of characters for the episodes will be selected by the episode directors in consultation with H the pageant master . ere , again , interest is often stimulated U n re if trials for important parts can be opened to all . stricted trials often result in a very great loss of time and t energy . It is better for the episode direc or to ask a group of people to meet the pageant master and then when all are together the persons who are to take the particular parts can be selected . This is a very satisfactory way, as the group as a whole and the relation of individual figures to the remainder of the group may be fix ed with much greater certainty than where the members of the group appear one by one . N 0 person can carry in mind the relative heights fl r and postures of many di e en t people . A good plan in casting the episode groups is for the pageant master to meet the group and explain the episode to to the group as a whole . Then a discussion will follow as how the subj ect is to be presented in order that the audience may understand the idea embodied in the episode . During this discussion certain persons will appear to have a better conception of how to express the idea than others will have . These persons might be asked in turn to take certain leading parts as the group goes through the action . This will pro vide a comparative basis for judgment and the cast can ' be made up very easily . Opinion is divided as to whether or not the episode

director should take one of the parts in his episode . It is ,

of course , out of the question for him to take a part in an 7 2 THE TECHNIQUE OF PAGEANTRY

episode other than his own , as he must always be with his group . Many episode directors have thought that they had better control of their groups while on the stage if they were on the stage with them . The only way to arrange this is for the episode director to be costumed and become an integral r pa t of the group . If the director takes an important part it should occupy his attention to the exclusion of everything s else while the episode is being presented . N 0 one can do thi

and at the same time take care of the group . If many rehearsals have been held it would be possible for the group

to be left to manage itself, largely, but this is seldom the

case . It is possible , though , for an episode director to take a minor part and so actually be on the stage with his group

and direct the action . This is an advantage where the rehearsals have been slighted but it is an advantage that is secured at the price of lessened effi cien cy while the group is oh the stage . Experience has shown that a director in cos tume is not so well able to control a group of people W hile oh the stage as one who is not distracted by the necessity of

keeping his own costume in condition for a stage appearance . In an emergency the episode director must be ready to take a pa rt and direct his episode from the stage as a director stationed in the wings is rather helpless in trying to have the group do the right thin g when they have no idea of what n they are to do . A extreme example of this is provided by the masque given as a laboratory ex erc1se by the pageantry L 1 2 0 class in the Drama eague Institute of 9 . The masque

was given in the municipal pier auditorium of Chicago . The

members of the class , who were acting as episode directors ,

‘ o had no acquaintance in Chicago , s had no way of getting

people to take the parts in their episodes . They went out to the pier early on the afternoon of the day the masque was to be given and collected from among the children and young people who were visiting the pier for purposes of recreation fill enough to up the ranks of their episode groups . These young people had no idea of what the masque was about nor

of what was expected of them . They were put into the

74 THE TECHNIQUE OF PAGEANTRY

Profes tiful that has ever been presented in this country . sion al actors and actresses took all of the prominent parts and possibly all of the minor parts as well . This fact does t n ot, however , con radict the previous statements for this very beautiful pageant was given in a theater equipped with everything art can devise in the way of scenery and lighting and so the illusion of the theater w as maintained and was not brought into contrast with a simpler less sophisticated type of acting and setting such as is expe cted in a community pageant . In reality it was epic drama rather than real pageantry . Several of the large pageants of the count ry have availed othin themselves of the services of actors an d actresses . N g could be said of the way they carried their parts except that it is very diffi cult to carry over to and make efi ective in the fi eld of pageantry the more detailed art of the theater where the action is reinforced by the lines . If the pageant could be given in the theater building, as was the one cited above , and professional actors and actresses engaged for all of the r fin i h pa ts , there is no doubt that a more s ed artistic produc tion would result than is possible with amateurs ; and the pageant would have been transformed into a drama . The dramatic perfection of the pageant is not its main purpose

or even one of its principal aims . It is a desirable detail if it can be secured without sacrificing the main purpose of the pageant .

The business manager, who must make both pageant

ends meet, would never recommend the engagement of

actors whose services are secured at a price . Some extra admissions would be sold because of the fame of the actors but generally these would not be proportionate to the added expense of salaries and incidentals such as special dressing

rooms and attendants . Anything that adds in a marked degree to the expense of production is scrutinized closely by H e a good business manager . is in a position to know just how near the amount of the income is to the amount of the

expenditures . Even if the business managerdid think the THE CAST 7 5

salaries of the actors were warranted because of increased income from admissions the pageant committee would still of have to decide whether, from a community point view , it

would be wise to engage them . A n honest and clear thinking committee would be obliged to decide in the negative however great an advantage it would be for the people of the community to see these

famous actors . The consistent thing for the committee to do would be to use local talent in the pageant and then at some other time arrange for the appearance of the actors under conditions favorable to their form of dramatic expres

1 s on . T EH R VI . H E R EA SALS

H S REH EA RSA Ls —T ORC E TRA . he orchestra rehearsals have already been discussed . Briefly the plan is this . The orchestra will have enough rehearsals to familiarize them selves with the pageant music which , by the way, is not i ul Th diffi cu d fiic t music as a rule . e great lty of the orchestra will come in getting used to being stopped at any place in the music that is required by the action of the episodes and in fin din g the music for the next episode in the short time fi r i lt allowed . The st d ffi cu y cannot be overcome by separate orchestra rehearsals . Only an approximate understanding between the orchestra leader and the episode directors can i i . ac l t be reached at the group rehearsals , either F y in this will be gained by actually having to hn d the music under pageant con ditions and this is possible only at full rehearsals . As there are seldom more than two full t difiicult rehearsals and often only one, the la ter y would better be taken care of as was suggested in Chapter IV , page

The orchestra , after becoming familiar with the music , must meet with the difleren t episodes for group rehearsals at which the action of the episodes will be plann ed and the s fi mu ic tted to the action as well as possible . If the full orchestra cannot attend these group rehearsals , and it very seldom can , at least the pianist and as many of the others as possible should be present . Misfortune always descends U n for upon the orchestra that neglects these precautions . tun ately the misfortune swamps not only the orchestra but the episode as well . A t the full rehearsals the orchestra that has followed these suggesti on s will n ot cause an y delay to the progress of THE REHEARSALS 77

the rehearsal . The members will be ready with the music n th when it is required , will k ow how e episode action modifi ed requires that it be and modulated , and will help materially in getting the different parts put together by causing no vexatious delays while the pageant master strives to explain to them something they should have learned at is group rehearsals . Every interruption of a full rehearsal a serious matter because of the large number of people who are left standing about waiting for the rehearsal to be fli u resumed . It is a di c lt matter to regain their attention and s tart the rehearsal again .

FORM S F REH EA RSA Ls — O . Two forms of rehearsals for the pageant have already been mentioned , the group

rehearsals and the full rehearsals . Each episode group will work out and perfect the action of its epi sode and then at the full rehearsals the episodes will be put together and ifi d un e .

GROU P REH EA RSA Ls —A . t the group rehearsals the pageant master should designate the position of each group fix defin it l when not on the stage , e y the entrances and exits ,

and drill the group in its action . If the action is not more complicated than usual and if there is no dance that is a part

of the episode , one group rehearsal lasting an hour is all that

will be needed . When there is a dance in an episode some f part of the orchestra must attend the rehearsals or it. These rehearsals should be held before the group rehearsal

is called . The musical director will hn d his task much simpler when it comes to directing the actual performance of

the pageant if he and the pianist , at least , attend all such

rehearsals . This is not so formidable a matter as one might

think , as there are seldom more than two or three such

episodes in any one pageant . The position of the pageant groups when not on the l stage is diffi cu t to arrange . Out of doors there is very little difliculty but inside all sorts of elements enter in and com plicate the work of the pageant master and the episode 78 THE TECHNIQUE OF PAGEANTRY

s directors . There is no good reason why pageant group should be kept out of sight of the audience either before or

after the episodes in which they appear . There is a dramatic tradition that actors must never be seen by the audience

x e cept when they are on the stage . This may be supported by good reasons in the theater but in pageantry the presence of costumed figures among the audience helps to break down purely artificial lines of demarcation and encourages a feel

ing of being a part of the pageant in the audience . In an out- o f- door pageant the simplest way is to have the episode groups seated by episodes in such a manner that it will make a minimum of disturbance when they leave to prepare for

their entrances . They may be seated at the rear of the

audience , on the side , or sit on the ground as they please ,

so long as each group stays together . It is not well to have them stay apart from the audience unless they can be kept at a distance suffi cien t to prevent the noise of talking from H being heard . owever they are seated the sections reserved for the different episode groups must be plainly marked so

that there will be no misunderstanding, and all of the mem bers of each group should be required to remain in the sec tion reserved for the group except when they are on the stage

or are making entrances or exits . N 0 one should leave a group except with the kn owledge and permission of the

director of that episode . The same precautions hold in an indoor performance except that still greater precautions are necessary in order that the talking of the actors may not disturb the audience and that the noise of moving out of the seats to prepare for entrances and upon returning after the episodes be reduced

to a minimum . Those taking part in a pageant often wish to buy seats so that they may see as much of the pageant as possible to good advantage but this should be discouraged

unless the whole group will buy them in a block . Even then they should get seats at the rear or in a balcony because of

the disturbance made in leaving for their episodes . If the actors can be kept in a different building altogether and only brought in for their particular pa rts the comfort of the THE REHEARSALS 79 audience would be greater but this is almost never possible both because of lack of facilities and because the actors wish to see the pageant . The practical solution is to reserve seats at the rear and in the balconies and assign episode groups to seats nearest the place where they will make their

entrances . This reduces the number of seats that can be sold but the business manager must make allowance for it in his

original estimates . The next matter that will claim the attention of the pageant master at the group rehearsals is instructing the groups as to the way in which they will make their entrances en and exits , and their position while waiting for their

trances . If seats have been reserved for the pageant actors they should leave these seats at the beginning of the episode

preceding theirs , and go at once to the place from which

their entrance is to be made . Allowance must be made here for narrow corridors and for the group already on the stage whose exit will occur before the entrance of the waiting

group . Where groups are large and many of them must be

waiting for entrances at the same time , as in Episode VIII of x the Thanksgiving pageant , extreme care must be e ercised to have them arranged in the order of their entrances or con

fusion will reign . This last is a matter that must be arranged

at the full rehearsal . The approximate place for each group

can , however, be pointed out at the group rehearsals . After the group has been instructed as to the seats to be occupied and the way in which the entrances and ex its are to

be made , the group should be called to the stage , the sig

n ifican x ce of the episode e plained, and then a discussion held as to the best way in which to portray the thing which the

episode is to present . During this rather free discussion of the action of the episode some of the individual members of the group will show more than average intelligence in under standing the meaning of the episode or catch the spirit in

which it may be worked out more clearly than others . These should be selected for the important parts in the episode and the n tried in turn in these parts as the group as a whole

goes through the action . With this comparison as a basis 0 THE TECHNIQUE OF PAGEANTRY

t the parts should be assigned permanen ly, the episode rehearsed again , and then the whole group sent to the seats they will occupy during the pageant to rehearse the episode again from the time they will leave their seats until they are back in them again at the end of the episode . It may be necessary to do this several times but it should b e rehearsed until the group can leave the seats without undue noise , make the entrance as instructed , carry the action of the episode through convincingly, make their exit, and return to their seats again in an orderly and quiet manner . The third matter spoken of as important at the group rehearsals , the drilling in the action by the pageant master and episode director, has been discussed in the preceding paragraph . The thing that has not been considered is the pa rt the episode director will take in the group rehearsals . H e is the one to set the time for the rehearsal so that it will H meet the convenience of the pageant master . e must then notify the members of the group . The pageant master will hold the episode director responsible for the attendance of S the group members . ince the pageant master will not know the individuals in the group by name the episode director will act as agent for him in arranging the details of th e episode and will be able to give valuable advice as to the abilities of ff di erent persons .

As has been stated earlier in the chapter, the episode directors would better not attempt to take a part in the ep1 sodes because of their other duties . Their relation to their groups is much like that of an oflicer to his regiment . Even at rehearsals this attitude must be maintained to a certain H extent . e must see that they are ready and in their places . H e is responsible for each member of the group having the properties that are demanded by the episode , and it is not safe to omit the use of the properties from any of the H e rehearsals . must see to it that everything about the action of the episode is understood and can be carried out without serious deviation from the plan as worked out in consultation with the pageant master .

' 82 THE TECHNIQUE OF PAGEANTRY

ready to carry through their part of the pageant with no fi rst interruptions . It is well for the two episode groups to be stat1on ed ready for their entrances instead of in the seats

assigned to them, as this is the way they must be arranged

for the actual performance . With the preliminary work carefully done and in struc tions for the conduct of the full rehearsal defin itely under stood by the episode directors there should be little diffi culty in getting through the full rehearsal without any marked

interruptions . Episode groups may have to be sent back to

make entrances over because of some error on their part , because the orchestra needs to know more defin itely how s ecific much time is going to be needed for p entrances , or because some change is demanded that the unity of the

pageant as a whole may be promoted . The action of certain episodes may need to be repeated that groupings may be

corrected , that the orchestra may learn the exact moment w hen a dance is to begin , or that especially dramatic action 1n e ifi may be t n s ed. If the episode groups are attentive they soon learn how their parts are to be related to the whole and how their episode is to be managed so as to avoid con flict

with the exit and entrance of other episode groups , and the w rehearsal ill move smoothly after it gets well started . A very great help to the pageant master and to the epi sode directors may be secured through the services of boy

or girl scouts , in uniform , who are detailed to act as personal

attendants . These boys or girls should know all of the pageant o flicers by name and should be able to deliver a

message as it was given . These personal attendants should stay with the person to whom they are assigned ready to

x carry messages or e ecute orders of any sort . When the person moves the attendants should follow so that no time

will be lost in hunting for them when they are needed . Four attendants for the pageant master and two for each of the uffi cie episode directors will usually be s n t. The success of more than one pageant has been secured through the quick

ness and reliability of just such attendants . THE REHEARSALS 83

An other device that will save much time at the rehearsals and will give considerable assurance of a successful per forman ce is a telephone system installed to connect the pageant master with the orchestra and with the episode directors . Boy scout messengers , as suggested , serve as a substitute but the telephone is so much quicker and surer

that it is a very great aid . It is almost a necessity for a large

-o - out f door pageant . The director should be out in front where he can see exactly how the pageant is going while the episode directors are with their respective groups takin g care

of the details of the action . Instantaneous communication with them and with the orchestra will often prevent an awk ward wait and will provide a method of taking care of the unexpected accidents that will occur when so many people are

involved . In one pageant two members of an episode group were to enter from the wings while the remainder of the group were to enter from the rear of the auditorium up the

main aisle . The pageant master was with the orchestra , the

episode director was with the main group , and these two characters were left to look out for themselves as they had S done at rehearsals . omething delayed them , and as the pageant master had no means of communication with the dressing rooms he was helpless and they never did appear in

the episode . A telephone would have enabled the pageant

master to get them in time . Messengers would have been

too slow . It is possible to save time for many people and at the same time lessen the possibility for confusion at the full rehearsals by having the episode groups report at the time their episodes may be ex pected to be called instead of having

them all report at the time the rehearsal begins . If there is no fin ale that requires the presence of all the groups on the stage each episode group may be excused as soon as that

fin h episode is is ed. But since there will be only one or two full rehearsals it seems better as a general rule for all to report for the beginning of the rehearsal and stay through

to the end . If the group rehearsals have been conducted 84 THE TECHNIQUE OF PAGEANTRY properly the se full rehearsals should not l ast more than a

third longer than the actual performance .

RES REH A RSA Ls — D S E . Opinion is divided as to whether

or not the last full rehearsal should be a dress rehearsal . It takes a long time for several hundred people to get dressed for such a rehearsal and the time is always badly n eeded for actual rehearsing . Pageant costumes are often rather hastily constructed and the wear and tear of a full dress rehearsal either necessitates the remaking of the On costumes or at least robs them of their freshness . the other hand it is an advantage to have the costumes reviewed an d by the pageant master, the pageant artist, the costumer, ll the episode directors . There are rea y only two good reasons for having a dress rehearsal for a pageant ; the reviewing of the costumes and the need for individual actors to get accustomed to wearing a difi eren t type of garb from

the one they usually wear . The solution of thi s problem of the dres s rehea rsal s n h e eems to be to have it in sectio s , t at is , for each episod

group to have a dress rehearsal by itself . The last group rehearsal for each episode might well be a dress rehearsal

where all matters relating to costumes , properties , an d

makeup can be decided . When the whole pageant cast has a dress rehearsal there will not be time for so large a number of persons to get u dressed , made p, and then do any rehearsing . No pageant master would hesitate in selecting which of these three things

should be done at the full rehearsal . The costuming could w just as ell be done by episode groups . The makeup can be

taken care of to better advantage in small groups . The rehearsing is the one thing that is e ssential when all of the

pageant cast is together . Two hours can easily pass while the members of a whole pageant cast are putting on costumes n and are bei g made up. This leaves ve ry little time for rehearsing or for the n ecessary reviewing of costumes an d

makeup . If all the time available for a full rehe arsal is THE REHEARSALS 85

c devoted stri tly to rehearsing there are two things , only, that fi t one can hope to secure ; rst, the familiari y of the groups with their positions when 03 the stage and thei r entran ces and exits in relation to the position s and movements of oth er r fix in g oups ; and second, the g, with the orchestra , of the tempo of each episode and of the pageant as a whole . Very little time can be devoted even to the action of the different fi ur s episodes , or to the movements of the central g e except H o as they are involved in the action of the episodes . w can much less , then , time be spared at such a rehearsal for costuming and makeup ! Whether the rehearsal be held in an auditoriumor out of doors there is always considerable wear and tear on the s costumes . Many pageant costume are made of light material , delicately colored , which soils easily . If the rehearsal is held as near the time of the perfo rmance as is possible , which is frequently the case , there will be no time in which to launder the soiled costumes and freshen up those that are wrinkled . This is a very serious drawback to the full dress rehearsal held near the time for the fi rst per f man e or c . If several performances are given preceded by the dress rehearsal the costumes will be in a sad state before n a the fi l performance .

P TIO —I INS EC NS . t is very necessary that all costumes be ? reviewed by the pageant master, the pageant artist, the cos u t mer, and the episode directors . Inspecting from two to four hundred costumes in the time left after that number of people have put on their costumes is an almost impossible f c n ot ta sk for one evening . O ourse all of the costumes do have to be absolutely accurate but all of the costumes of the principal characters do have to be accurate and the others should be approximately so . Artistically conscientious oflicials will not be satisfi ed with costumes very far from correct , historically . Even if there were time to inspect all costumes carefully at a full dress rehearsal there would hardly be time for the required chan ges to be made before 86 THE TECHNIQUE OF PAGEANTRY the first performance because the full rehearsal is usually s called as near the performance as possible . The direction given at the dress rehearsal as to corrections to be made in costumes should be explicit and should be carried out exactly. If this work has been done carefully a very brief inspection of the groups before each perfo rmance will be all that is needed .

Correctness in costume accessories like shoes , hats , and wigs or beards is diflicult to secure . The correct form of

footgear is the most diffi cult of all to secure . The principal ofi en ders in this detail are the women who insist on wearing

high heels with Greek robes . N 0 amount of persuasion will convince some of them that they look exceedingly awkward

and ungainly dressed in this way. They are used to the high

heels and insist that they cannot walk without them . These women are not in the majority but they will be found in every pageant group and will not get sandals unless considerable

pressure is brought to bear . It is much better to transfer such persons to an episode where their high heels will n ot offi er be grotesque . Otherwise the inspecting c may be obliged to force them to leave their heels and go in stockings

without shoes of any kind . Among the men the most glaring inconsistency in footwear is the wearing of ordina ry high

black walking shoes with the court costumes of feudal times . This happened in one of the largest pageants ever given in

the U nited States . Even in the professional field such things A n do occur . instance was quoted in connection with an R opera company recently touring the states . eport has it that a member of the chorus of this company appeared in Aida in the regulation Egyptian costume but wearing with it o rdinary walking shoes and gray spats l Whether or not the report be true it serves to illustrate the problem of cor rectn ess c tu t in os me accessories . Constan vigilance alone T can keep these accessories even approximately correct . he only way to avoid glaring inconsistencies is for the costumer to have the footwear made where it varies fromthe modern

style to any extent . THE REHEARSALS 87

With the question of suitable hats comes also the style H of hairdressing . ats may be omitted to a great extent and

n x no o e will notice the omission e cept in rare cases . When t hat s are not worn the s yle of hairdressing , especially for is the women , is important . In this respect , however, there c diffi cul usually very little trouble . Mu h more t than the question of hats is the one of crowns for pageant royalty and fo L m r iberty or A erica , or whatever name is given to the fi person i cation of the country . The tendency here is to appear with so extensive an expanse of gold covered card board that it is very unbecoming and attracts attention to itself to the exclusion of the remainder of the costume and

of the action and lines Of the character . It is a false note ‘

that cannot be overcome in any way . The alternative would seem to be the renting of crowns from costumers but this is

almost as unsatisfactory . Stage j ewelry that can be rented is of the type that was used in the last century with elaborate court costumes and is not appropriate for use with modern

simple pageant costumes . Crowns of this sort seem out of character except in an Elizabethan or feudal episode and even here they are a little incongruous unless the costumes c have been rented to match them . The gold overed card board crown is to be preferred for figures like America or Liberty but it must be kept to modest enough proportions so that it is becoming and inconspicuous . Gold lace and colored beads may be combined into very convincing crowns for kings and queens of the middle ages . A foundation of hat wire is all that is needed and they can be kept to suitable

proportions and harmonious colors . The thing to be kept in c mind is that shoes , hats , and rowns are costume accessories and should never be the dominating feature of the costume

unless the action of the episode demands . They should con tribute to the effect of the costume as any detail contributes ff to the whole e ect . Wigs and beards are a source of great vexation to oflic r pageant e s . Those that can be rented from costumers are seldom satisfactory as they almost never fit well and 88 THE TECHNIQUE OF PAGEANTRY often are enough oh color so that they are obviously wigs and as such distr act the attention of the audience when it should be concentrated upon what is happening on the stage . The expense of having special wigs made for a pageant is practically prohibitive except for the Very few characters h s Where wigs are essential . The wigs for colonial c aracter

are easily procured . It is not essential that they resemble

the natural hair so closely . Powdered hair appears to the present generation as artificial anyway an d so we accept the white wig as an essential part of the colonial costume with

out feeling that it is a false note . A character part like a

seer or a prophet must usually have both wig and beard . It would be worth while in this case to allow enough money so that suitable ones could be made or else very good ones

S - bought ready made . mall , close cropped beards and mus taches can be made from crepe hair if care and skill are

exercised . The hair should be combed out from the braid,

u um . st ck on with spirit g , and then trimmed carefully Other than for the sort of character indicated wigs and beards

would better be omitted . Their omission attracts less atten tion than the use of poorly fittin g ones does and the comfort r of the acto s is greatly increased by the omission .

FU LL DRE RE EA RSA LS — SS H . When a full dress t e hearsal cannot be avoided it is an advantage to have it held at such a time that school children can attend and to charge

ma m a small admission fee . It y appear that an audience Co posed almost entirely of school children would be very dis orderly and would interfere with the progress of the f rehearsal . O course such a rehearsal would not be allowed unless the preliminary group rehearsals had been very satis A n factory. audience , even of children , does serve as a check on the tendency of the cast to talk and to wander away from their groups and fully as much time and annoyance are s aved in these respects as is lost through having an audience . The amount taken in at such a rehearsal is a welcome addi

tion to the pageant fund . The rehearsal also makes it

90 THE TECHNIQUE OF PAGEANTRY approved than if the dress rehearsal is a full rehearsal very n ear to the time of the performance . It is important that the cast be used enough to the pageant costumes to wear them with an air of custom . Put a business man in tights and a plumed hat and it takes him some time to become reconciled to himself . Put the same business man in a Roman toga and it will take him much

l . onger to feel , and hence look , at ease Young athletes feel e ntirely at home in Greek chitons which leave arms and legs b are but they hn d some diffi culty in adjusting themselves to the vestments of the church . A group dress rehearsal , because the number of people involved is comparatively s c o mall , allows much greater freedom of a ti n than is pos sible at a full dress rehearsal and hence the process of a djustment to a new style of clothing is hastened . When one can walk about and look at himself and exchange person alities with others garbed in an equally strange way the new n off kl ess wears much more quic y than when all are obliged , f or rema the sake of the rehearsing, to in seated in one place except when on the stage .

E E ONSIDERA TIONS — ll G N RAL C . When a of the pageant cast are together at the fin al full rehearsal the pageant master should give such instructions as are necessary with r egard to the performances . The exact time of beginning s s hould be tated, the time when the cast is expected to report t t o dress an d be made up announced , direc ions given for the b en efit of those who will make up at home , the caution with rega rd to talking and moving about after the pageant begins r s ecifi epeated , and p c instructions given as to where each episode group is to report for the fin al inspection before going to the places assigned to them for the performance . The greater part of these instructions will be a repetition of what has been said before but the repetiti on is a necessary

s . precaution , nevertheles It is well to leave one whole day free from rehearsals e the t is b fore pagean to be given . There will always be THE REHEARSALS 9 1

groups a skin g for extra rehearsals on this l a st day but they should be refused unless there is a very great need for the T extra rehearsal . he actual performance will go much better if this interval has been left between it and the re

hearsals. There are many details that will occupy the pageant oflicers during this day of rest for the cast . Prop ertie r fin a s should be checked ove , l touches given to the stage

settings , conferences held with episode directors , and such other things attended to as always come up at the last minute

and which must be neglect ed if rehearsals are being held . Too many rehearsals will destroy the very spontaneity that is the essence of pageantry . There must be enough rehearsals held so that each group as a whole will kn ow what to do and when to do it but the details of the acting should not be so defin itely arranged that no one of the cast will efi ectiv move ex cept in the o rdered way . Many of the most e bits of pageant acting are those that come at the time of the performance without having been previously learned . The important thing is to have the episode groups so filled with the spirit of the pageant that the details will almost m automatically adjust the selves, an d the acting follow as a m s atter of cour e . TH E ER M E VII . P FOR ANC

A E P - r M K U . As a preliminary to the pageant perfo m ance the matter of makeup should be given careful attention . A t the last rehearsal members of the cast were instructed as to the time they should report for dressing and makeup . It saves confusion to have them come by episode groups . The fi rst group should appear at least an hour and a half before the time set for the perfo rmance to begin . Those groups that will have to be helped with their costumes should be

first. called The men , particularly those taking the parts of

R c . Greeks and omans , will need onsiderable help Primitive peoples will need more time than others because of the

extensive makeup required for them . Aside from this the h u groups might well draw for t e time to report . Time sho ld be allowed between the time appointed for the arrival of the difi eren t groups so that the fi rst group may be nearly ready for fi n al inspection before the members of the next group e b gin to report . This saves congestion in the dressing rooms and allows the hual inspection to be made more leisurely

than if all reported at once . Practically all of the men in the cast will have to be made

up in the dressing rooms . Many of the women will be made h up when they report . It is well to have some woman in t e women ’s dressing room who will make up those who need it and who will see that those who made up at home have

done it in the approved way . Several young men should be given instructions as to how the men should be made up and they should be in the dressing rooms to take care of that

matter . It saves time if one of them is trained to use the e rouge , another the p ncil , another the powder, and so on . The pageant master or his representative should be present

92

94 THE TECHNIQUE OF PAGEANTRY

it obj ectionable , since , rather than the acting of the cha r

h d c . acter, holds t e attention of the au ien e

H A — C ARACTER M K EUP . Character parts must be made up when it isn ’t possible to get a person with approximately the right physical appearance to take the part . It is much r h n better, though , to search until the ight person is found t a to make up a difi eren t sort of person and have the audience think of the makeup all the time he is on the stage . The tendency is to use too much makeup rather than too little . A person trained to make up for the stage invariably makes the eyes up to look too theatrical . The one thing to avoid on the pageant “stage is the”appearance that we have in mind when we say theatrical . The characters should look natural and normal and give the audience the feeling that they are seeing real people carrying on the real life of the world . If the actors look as though they were made up for the stage an element of make-believe and insincerity creeps i in and spoils the atmosphere of the pageant . This is n no way intended as a reproach to the stage and its practices .

Its very life depends upon creating and maintaining illusions . The point here is that pageantry has no part in such illusions an d should avoid anything that looks like an attempt to create a theatrical atmosphere . Wigs , except for character c parts such as colonial haracters , and excessive makeup are to be avoided , even for the technically called character parts . A type of person should be selected for the part that will

‘ suggest the character an d then the imagination of the audi

ence can be trusted to supply any lack .

I SP ECTIO — F NAL IN N . Episode directors should call the c roll of their respe tive groups , inspect the members indi r t vidually, and then repo t hem ready for the hual inspection of the pageant artist , the costumer, and the pageant master . The fin al inspection by these three offi cers should begin at fifteen o a least minutes bef re the p geant is to begin . If a dress rehearsal has been held for each group the labor of THE PERFORMANCE 95

o inspecting before the perf rmance will be greatly minimized . b m e r are It can not wisely e o itt d, howeve , as there always a few people who have n eglected to make the corrections as i nstructed . Those persons who appear in the later episodes will often demur at being asked to report for fin al inspection at the beginning of the pageant , especially if there are several

performances , but it is the only safe plan . In no other way can the episode directors know whether or not all of the

u . members of their casts are present , costumed, and made p The preliminary roll call and inspection makes it possible for the episode director to hurry out and fin d a substitute in case

any important . character is missing and get the substitute costumed and instructed in his part before it is time for the

group to appear . N 0 less than three such substitutions had

to be made in one pageant . The groups in which they were made spent the time when they were waiting for their turn to appear in difi eren t dressing rooms and corridors rehears

ing the substitutes in their newly assumed parts . In ifi er n t selecting the cast for the d e episodes it is well , as a precautionary measure , to make the cast considerably

larger than is actually desired for the performance . A few afi ect minor characters , more or less , do not the integrity of the group unless it is a few less than the irreducible minimum

for the episode . Then it is very noticeable . It is much better to have a few more in the group than is absolutely B necessary than to have too few in it . y selecting a larger cast than is really needed one takes care of the liability of

members of the cast to drop out, often for good reasons , at

the last minute . Then if episode principals drop out it is easier to shift a minor character to the part than to train

someone who has no knowledge of the episode action . There are always a few characters missing from every

pageant performance . The number varies with local con i n s dit o . In one pageant given in a university town the fin al inspection showed at least fifty members of a cast of about fift r m two hundred and y persons absent from the pe for ance . 96 THE TECHNIQUE OF PAGEANTRY

Except in emergen cy ca ses all dressing rooms should be cleared at the beginning of the pageant an d the groups u should be in their appointed places as instr cted . It is true that this makes it diflicult for persons to take more than one part but an attempt to take part in two or more episodes nearly always ends in disaster for one or the other of the episodes . In the Tha n ksgiving pageant several young men were allowed to take part in Episode I and in Epi sode IV . Epi sode IV appeared on the stage at the performance with

t . r very grea ly depleted ranks The explanation , given afte wa rds to the pageant master, was that these young men were still in the dressing rooms washing oil the primitive makeup when they should have been on the stage in Episode IV i witnessing the con fi rmat on of the King of Kent.

A T — n B EGINNING TH E P GEA N . With the costuming a d fin al n makeup attended to on schedule time , the inspectio r o made , the dressing rooms cleared, and eve y gr up in its

. r t place , the pageant is ready to begin on time Eve y pagean u master can probably remember a performance , sually his

fi rst . u n , that was late in beginning A successf l director soo learns to announce at the fi n al rehearsal that the pageant will begin promptly at the time advertised Whether or not all

o . f the cast have reported, ready to appear When the habit o f promptness has been built up during the rehearsals there will be but little difficulty about beginning the performance c on time . If the audien e must wait twenty or thirty minutes after the specifi ed time for the pageant to begin its attitude towards the pageant will be quite difi eren t from that of an k audience not ept waiting after it is well seated . Orchestral preludes , not intimately associated with the main theme of the pageant , are a po or makeshift for promptness . They serve to distract the atten tion of the audience . Perhaps it would be more accurate to say that such preludes direct the attention of the audience along their own particula r channels ke 1r n m by awa ning the ow peculiar e otional responses . Then a o s r l n e r difi eren t when the p geant pen , p obab y on a nti ely

98 THE TECHNIQUE OF PAGEANTRY huding seats until they kn ow the location of every number in eve ry row in their sections .

ISCIP LI — D NE . Discipline is usually thought of in con n e ion v ct with schools , the army, and the na y, but if there is any place where strict discipline should be maintained it is in the episode groups of a pageant during the full rehearsals an d more especially during the performance . A t the begin n ing of the pageant the first two episode groups will need to be waiting in the corridors or in the wings for their entrances since it would make unnecessary noise and confusion for them to go to their seats and then leave almost immediately

to make their entrances . The other groups , too , must be kept near enough to the stage so that they may be ready for en trances as needed . In an indoor production they must be kept within the building . This means that practically all talking must be prohibited and that no member of the cast of an y episode may leave except with the knowledge and consent of episode director . It may seem that this is e xtreme but long experience has shown that it is necessary . 0 fin d St. It is m st disconcerting to , when it is time for Catherine to bestow her sword and her blessing upon the Maid of France that the good saint has slipped away and gone j oy riding with the king of the West Saxons while a w iting for the time when she is to appear . Even should they stay within the building the noise of the moving about

of the performers is most objectionable . So much move ment is necessary in making entrances an d exits that all other mv t o ing about has to be prohibi ed . — EMPO. The o a a n T emoti n l re ctio of the audience , s o r e p ken of in a p ec ding paragraph , brings us to a considera i f t on o the tempo of the performance . If the action of the of pageant is allowed to drag, the attention the audience Ou w . anders the other hand , if the tempo is too fast the pageant becomes a mad scramble for place which must be

relinquished before it is well attained . The tempo will be THE PERFORMANCE 9 9 different in difleren t episodes an d will vary within certain episodes as the action demands .

The pageant master must set the . tempo and must give directions for varying it either by telephone or messenger as a is necessary from time to time . When working towards climax either of action or of massed characters the tempo n ot be will naturally be quickened . It should , however, quickened in so marked a manner that the audience will be s l con cious of it . The audience should feel on y an added emotional exaltation without being conscious of its origin .

A T A N D TH E FO M TH E PAGEANT M S ER PER R ANCE . The position of the pageant master during the performance should be such that he can command a view of the audience H as well as of the stage . e will then be able to estimate very readily the attitude of the audience and act accordingly. If the audience is getting restless he can increase the tempo by

- of— having the o rchestra play a little faster . In one out door pageant with a storm approaching, the performance was shortened nearly fifteen minutes simply by having the music played more quickly than usual . The chances are that the audience was not aware of the increased tempo . Probably even the members of the cast were unconscious of it. The tempo of the music unconsciously in fluen ced them and the whole performan ce went that much faster . Except for special reasons the pageant master should not stay behind T the scenes nor in the wings during a performance . he details of management there should be left to the episode f directo rs . If they are at all efiicien t there will be no need or him there and things will go fully as well if he stays out in front . All sorts of things may happen during a pageant but the pageant master can do very little to prevent them at the time H i , o of the performance s work should have been c mpleted , fin a largely, with the l rehearsal except for setting the tempo and warning the episode groups of the time for their entrances when they are so placed that they cannot see for 100 THE TECHNIQUE OF PAGEANTRY

i to o o themselves . H sbest plan when things begin g wr ng is to remain quiet and let those involved extricate themselves . Intelligent people can ordinarily make the best of an awk ward situation if they are not worried by commands from other people . The interruption to the orderly progress of events is less than when the pageant master tries to correct tu the error . The mere fact that he is taking the si ation in ff it hand exaggerates the e ect of . A group of colonial people

in a certain pageant illustrate this point . There had not been suffi cien t rehearsals and then the last full rehearsal had to be dismissed because of a sudden change in the weather . The same cold wave made it necessary for the pageant to be given indoors , although the plan had been to have it u outside . This meant no rehearsal in the b ilding where the pageant was given . The colonial group failed to apply the instructions they had received as to the manner of their exit from the out-o f- door sta e to the limited conditions of the g o who auditorium . They became excited, the pageant master , was with the orchestra just in front of the stage , began to give them directions , the episode director, who was in the

W ings , gave them contrary directions , and they literally ’ fin all didn t kn ow what to do . They y did something and made an exit of sorts . The lesson of this is that if the pageant master had kept quiet they might have followed the directions of the episode director and saved themselves and the audience an embarrassing minute or two . A n instance where the pageant master was wiser forms

a contrast . In this case Joan of Arc was to enter mounted on

her war horse . The young woman had never practiced the

entrance with the horse , although the pageant master had t repeatedly urged the necessity of i . The pageant was given in the evening and when the light was turned upon

Joan the horse refused to approach . The pageant master simply kept the orchestra playing as though nothing unusual

had happened . The young woman did her best to control fi the horse but nally dismounted , fastened the animal to a i fence , and ente red on foot . It was in fin tely better for her

THE TECHNIQUE OF PAGEANTRY

- f- out o . b reak ranks too soon . Both were door performances In one case the hundreds of characters massed upon the stage left in order, wound their way across a bridge , and then were lost to view around a curve in the drive . Not a person left the line so long as they were in sight of the audience . It was a very beautiful and impressive sight . In the other cas e the persons massed on the stage left the stage in order but as soon as they had passed beyond the stage limits they broke ranks and , picking up their garments , s classical an d otherwi e , climbed a fence and made , helter skelter, for the dressing rooms . All this was in plain view as k of the audience . No record w ept of what the pageant m hi aster said on this occasion , but there is no doubt about s i having said t. It is almost as diffi cult to hold the audience in the seats until the recessional has passed out of sight as it is to keep the members of the cast from breaking from the ranks as soon as they have left the stage . The Thanksgiving pageant was comparatively successful in holding the audience until the line had passed out . Two devices were employed to e bring this about, either of which alone should have b en enough to prevent th em from leaving their seats and i the mingling with the ca st n recessional . Boy and girl scouts were lined up at the sides of the aisles as close together as their numbers would permit and they stood there a until ll the cast had left the stage , falling in behind by twos as the last of the line passed them . The other device was m to have the audience sing A erica as the line passed out. Just en ough verses were used to get all of the cast oil the s e tag and out of the main entrance . Both of these devices together se rved to hold the audience until the recessional was

. u . e over Each , sed alone at other times , has failed Ther w o ere , of c urse , other reasons for using these devices than th e desire to hold the au dience until after the recessional . o ffe B th were e ctive , dramatically, the singing of the song was an a r ac n d pp opriate t of patriotism , and the boy a girl scou s t were an essen tial pa rt of the last episode . THE PERFORMANCE 103

A N D O ND — o LOST F U . Although the dressing r oms are cleared of the members of the cast during the performance it is much better to have a responsible person in charge of each as a protection for the clothing and other property left in them by the cast . With so many people using so small a space as is usually available for dressing rooms small articles

re on sibl are sure to be lost , but if a p e person is in charge of each room during the pageant there will be little complaint on account of things being taken . Another way of caring for this matter is to establish a check roomand advise all members of the cast to bring suitcases or traveling bags in which to put their things as soon as they get their costumes on , checking the bags immediately and then reclaiming them when the pageant is over . One great obj ection to this plan is that many pageant costumes have no pockets in which the check stubs can be kept during the performance . Many things are lost through the carelessness of the owners but many others are taken from the dressing rooms when no h provision is made for caring for t em . It cannot be pre vented with the number of persons who have some part in the pageant . It is unavoidable that some should have little respect for property rights . The fact must be a cknowledged and steps taken to guard against such losses . Many of the things reported lost at the end of the pageant are found in clearing out the dressing rooms . The dressing rooms , after a pageant , are a sight to discourage even the least orderly of mortals . Costumes and clothing of all descriptions are stacked in the middle of the floot s or s h trewn about wit no regard to their value or ownership . When the debris is cleared away most of the lost articles l will have been found . Many of the artic es found are never o claimed . It is almost beyond belief that people will g home i r w thout shoes , hats , and all othe articles of wearing apparel that usually go in between these two . As a matter of fact everything from shoes up to hats may often be found in the

dressing rooms after a large pageant . Many of these things are doubtless parts of costumes worn in the pageant and dis 104 THE TECHNIQUE or PAGEANTRY

carded afterward as useless , but this will not account for all

o f the things that are never claimed .

M ERF RMA NCES — NU BER or P O . Considering the time and expense involved in bringing a pageant to a successful per

forman ce . , regret is often expressed that it is so soon over

That brings up the question of one or s everal performances . If more than one perfo rmance is given they must be given e within a relatively short time , say a we k, or the groups U i e a s begin to disintegrate . sually the bus n ss m nager ask if the ticket offi ce receipts will be augmented in pre portion to

the added expense of the extra performances . From an educational standpoint it is desirable that as many children

as possible should see such a production . These considera tions are suflicien t to make advisable more than on e per

forman ce of a pageant if it is possible to arrange for them . Th e necessity for all of the performances of a pageant being given within a comparatively short space of time is apparent when the number of persons involved is remem

. S bered ome will become ill , others will be called out of

town on business , and various other very good reasons will

prevent some from taking part . The total number dropping out may not be very great but if among that number are many having important parts the substitution of new persons iffi may be d cult . Because of the business men who are tak ing part it is often impossible to arrange for afternoon per forman ces of a pageant. Very often, however, all of the business men in a small city will agree to close their shops for

the duration of the pageant on a certain day . Where this is pos sible two evening performances and an afternoon matinee will be suffi cien t except in a very large city where the per r fo mant e may well be repeated every day for a full week . Saturday and Sunday afternoon performances are especially to be commended since adults as well as children are free at

. a those times Friday evening, Saturday evening, and Sund y afternoon would be a good schedule of performances for a

small city. Thursday evening , Friday evening, and Sunday a fternoon would be equally sati sfactory.

106 THE TECHNIQUE OF PAGEANTRY

audience of children is most stimulating to the actors . The constantly changing groups and steady action of a pageant ’ k hold the children s attention completely. The lac of words a n advan that they might not understand , nyway, is a added c hll tage . The a tive imaginations of childhood up all gaps and invest the characters with ch arm and grace and sincerity .

Each performance , within limits , is better than the one preceding it in spite of changes in the cast that are necessary m when dealing with large nu bers of people . Three or four performances of the same pageant within a few days have n ot been uncommon in the experience of the author . In no case was there regret for having arranged for more than one performance . If the pageant is a worthy expression of ’ o some n ted or impressive phase of the community s life , past or present, there must be a feeling of enlarged living in se or either eing enacting these noble events , and the feeling is augmented rather than dimin ished by the reason able f he ex e en ce repetition o t p ri .

110 THE TECHNIQUE OF PAGEANTRY

A P agean t of Than ksgivin g

111 ( Lines 9 1 Cen tral Flgures by Dr.

m b M in ce standin ( To be a g y , g) Praise God fromwhomall blessings flow; Praise Himall creatures here below; Himabove e heavenl hosts , y y ath r Son and Hol Ghost . F e , , y

PROLOGUE

que right of the Spirit of Thanksgiving to her outlook towards }he future . Hope n he nations of the orld to te uc their t momen ts of Than ks mn showm n ot calls upo t w e g g, g how the S irit of Than s ivin has velo ed an dfi on e urif ed but how 11 the a on of he on ly k g g p p i , 1 g y t world-war a te owship in service was built up that blossomed out mto a world-wxde Thanksgwmg n when the armistice was sig ed . — Dw n Mildred Thomas . — n on Horn Evel Thomps . —y ’ mu ms Paris At ins Robert Bissett W . V . Davis L Rodd Pritchard Beverl Roc ell k , , , I , y , y kw , Rhanston Stillwell . — le de Warren lo d Edenfield Sarah Shu trine Fran Tee le Am m W. C. Carlis au , M , L y , , k p orton Warin Max Pruitt Helen a Cunnin ham Ro bert Sn d umhre Me M g, , g , ea , p y Hattie Peed uc Pen ton Inez Helfrich Wesle McCarroll esse ackson Kathr n L y , y , J J , y

mStu bs Ruth 11211119 11. Willia h ,

EPISODE I

A mitive P astoral Thanks ivin P ri — g g D or H G S arm: irect . w .

T Gods homthe fear as ell as worshi “an w y w p act of

Dun ood ab l rt r e Ca e . w y , M Newton ohn Snead AbramL E er , J , e

EPISODE II — Director s s Ou tsmn h year t e Greeks wen t in a procession al up to the shrin e of Athen e with the n ew robe i ll oven for their tron dd speca y w— go ess . a xs Ro ert Mc herson illiam ade m Sn d Ot on h b W W a es er is es . T. C a man e e r. , , J k J I p , I , Ro an a Gallowa Elizabeth In lesb ar Warin Doro Sellers Glad s Coo atherine m g , M g , y , y y y , k K S ith Sara Clar katherin e McGraw Corn elia Cumun hamhdmaret Cla ar aret Debele m, . g , g y, M g . Ehzabe th Wells Ann e Hancoc ar Wamsle arian n e S den Pamela Ba er Mar aret , k, M y y M , k , g Wells ahla en t Elean or Re1d Elizabeth Galllard Herman arish Geor e Cer ]! Charl , M K , , , g a ebe Henry 119 11111111 Otto sc ub 212 1 Dotson Ma Veruki 11111112 11Grifble An n ie L y, 3 , , 2 , y , , aun e n n or Kline Allen ames B (10 Albert Waite Geor e Hahn Geor e Todd L , , J 8 . , g , g , C men ? ch n le ? h ao . A PAGEANT OF THANKSGIVING

' The Romans celebrate eace in the Roman domin ions aftcr conflict ma chan cten stac rom p , p an d ofi rin h G e gs to t e ods .

F . C. Wiehrs Ir. — , BALL Pmm s ames Do n e Robert t —J w Locke t. LUTE Pu mns emard F Ben amin S mn F — B j y o s . Dmm s K atherme Con s h Ruth Fa st Doroth Gordon Sarah ev Willa Webb Eliz b , , y , L y , , a eth Ka lan ar ian Broo e. p —, V k Smu ons Lehmon Bo en Eman uel ewis Alfon O i M so rsin e er orris . w —, L , M Man ous AND m e artha You lood Alice W amar ucas M , L L , Collin s orrai n e Hen dr utie Webbfi zabeth S B B , , tone etitia McKa ertha radle a L y L , , L y , y , M ry

EPISODE IV

Con rmation o b t fi f Ethd er , K ing of K en t

EPISODE V Crowning of Dauphin of Fresno;

I ' ' ‘ As i symbol of tne victories d the French un der Ioan ot Arc over the Enghsh the Dauphin ls cro n d in the Cathedral of Rheim w e — s . Ax Miss or c Vamedoe .

— Dam Fran k Exley. — n mli CONSTAB—LE or c Co e us Ford. a cns Hugh Sa Fran ces Galloway Arthur LADIES mWarrmo oan Hartfelder il f ol er arie ichel eda Elizabeth Goodrich L y g , M M V . 1111111211 Ge iger 111211112 Malford 131122 112111 Norton r l Hann ah oss Marie K riege humey Isabel Beas e . —F , , M y Com s amar Cunnin ham ward Iames Greene . L g , = ude Y mans d Cla ou , geley

EPISODE VI

‘ ’ ' lumbus is reoeivecl at the Court of Ferdman d an d lsabella in honor of his dlscovery d a new worlfio A— a k Imm M—rtha Per ins . FM AND h ngford An derson . mms AND Gmmm or m Court ustine Savatese Helen Whalen R1ta E13e be Marlon , , 9 , Stubbs An n e Christie E eline Fome An n ie Frierso eda 3ubbed e , y , L g , m am m pfi tcmc1121 12l 11 es Ben amIdelsohn 2 11121 121w 1 1 m , 3 d m , ,

Phihp Schirm a rence Bissett. — , L w Cou n m d e —vs Q uinc Ho g s . In m s Clifi ord i oberts Carl Rustin William oble Fran ces Stubbs ar aret LaFar. , , M y, , M g 112 THE TECHNIQUE OF PAGEANTRY

EPISODE VII

The First A merican Thanksgiving

Pil rims af er their ht a earin the n ew world met to return than s to God for their reserva g , t ty , k p tion an d f With thei r In dia n n i hbors. to east —m e g Gom on e onD A brose Solomon . ildred arie Gr n M M ee ,

d Cubbe ge , ar aret Coullin ean ett M g g, J e

EPISODE VIII

The Federation of the World

The nations of the w d oin n hank iv n at the si n n of the Armis — orl j i t sg i g g i g tice. Sz Walt S n m — e r tro . RUSStA Mts . lo d fl i Ba r Mr D r Mr. Clo e . , ss s . y e — F y gg . w , u o Mr S n n n n Ho i s E i h to M N . G M B m . . Po rs s . a o s rs . ill fie . u e rs . e J wk , M g J ] , . J J w , r M h a M Th ma Pu se rs . il n F L . H . H rs o W bur Mrs . tt M it L r M . . s Co e . C. a e rs . . eHard s , y, y , y , — c z —Margaret Lan e . mAI Et Ma Rime s . B —N ta y P mer. ArAN—An na al q n ri man —Min ie F ed . Gw a —May Veruki. Am ma Fran ces Wall. — in D Frank S n M ms Ser t . art er t. . A. Bo e . n n — g M e g J w S n m t . W . To e Mr. L. tal eck r S as Ser . e . g I w , - S rhe r Y . i n M n n m Willard . . M . C . A Karl ste , a — h n Mr I la G. n t A m Com m S vx s . o is o iss arti Sas n et W R C p , M M . vxcn— i i t Ovmm Sn M ss Sarah Ell o t . — i i SURGICAL Dmssmos ss Ruth Stan to ss Gertrude aree . — M n, M M r S mn M 1 Eliza S hl Emma a th Mrs . a i r ss ur oron Coars l ste he c e iss W l o . M K , y, M — Rosalie Dana m Mrs . Edwin Cubbed e iss . C — g M n Marie ove iss l M Nee . Hosmu . Socuu. S wcx iss Haze c s M L , M Hon Su y ran— iss ar Paul Wallace iss artha Y M M y , M M ' — K urt mw Helen Wil n s ouise arrott ar Wal er. — ki , L , M y k Nun smo Com Cass e So ell Pettus . w ,

IX—RECESSIONAL

As the United States flag leaves the stage in the Recessions ! the audience is requested to stand an d

” America coun 1 Dis of the native coun tr th My . My y er Sweet 11131 an d 9 11112 n oble free L , Oi thee I n ame I love; I love y rocks an d rills Thy woods an d te mpled hills heart ith ra ture thrills My w p . i e that abov L k e. ’ 0111 fathers God! to Thee Author of ibert L y, To Thee we sing! L may our land be b ht o ’ W1 freedoms holy li ht Protect us b Th gt y y , Great God, our 1

A PAGEANT OF TH ANKSGIVING

INTRODU CTION

A T the beginning of the“pageant and b”efore the curtain H rises the orchestra plays Old undred through on ce .

This serves as a prelude . Immediately the audience rises and sings to that tune the followmg H ymn of Thanksgiving .

Praise God fromwhomall blessin gs flow ; Praise Himall creat ures here below;

P H m o h aven l hosts raise i ab ve, y e e y ;

Praise ather Son an d ol Ghost . F , , H y

fin ish As the hymn of praise is“ed the cu”rtain rises . The orchestra continues to play Old H undred while the audi A ence is being seated and until quiet is restored . t the right of the stage and near the front is a dais about two feet high and large enough for the throne- like seat of the Spirit of Ou Thanksgiving and for H ope who stands at her right . a low stool at the left and near the feet of Thanksgiving is seated Despair, crouched over , with hair falling over her face . Two Attendants , a young man and a young woman , stand at each side of this group and form a part of it . Opposite this group at the left of the stage is a platform six U inches high and about four feet square . pon this platform is an altar . In front of the altar and facing the group about a Thanksgiving st nds , as the curtain rises , a group of eight

H eralds with bugles . About the stage in attractive group A ings are fourteen other Attendants . t the center of the stage near the back is another platform six inches high and five t feet square . A broad flight of steps lead from the s age u u to the floor of the a ditori m . 116 THE TECHNIQUE OF PAGEANTRY

PROLOGUE

Spirit of Than ksgivin g Ho pe Des pair Atten d an ts (eighteen )

e al s ei ht with u les H r d ( g , b g )

After the singing of the opening hymn the orches”tra , as H before stated , continues the music of Old undred until H quiet is restored . As the last chord dies away ope speaks .

- n i on of raise an d t han ks ivin u risin to h t hron e HOPE . S uch u s p g g p g t e i o can s rin on l froma eo l wit h a sin l aim a o f t he most h gh G d p g y p p e g e ,

i n d sin le vision . s n gle purpose, a a g —L0n have I ho e for a worl -wi e un ison of THA NKSGIVING . g p d d d ce raisin God romwhomall lessin s than ksgivin g: a world at pea , p g f b g o efor istor was rimitive eo les athere in from flow . A e a e g s g , b H y , p p p g d the chase an d fromtheir rude harvests an d gave than ks to the gods they

i l - i - wi i or e . u a e hal r o h n feared an d w sh p d S ch ha f pr s , f p opitiati n , t ten t

ivi l o fi fi i i for person al, in d d ua pr t , was on ly the rst fain t beg n n n g of re al

l o than kfuln ess an d praise . Other peoples in ater ages gathered t gether in gorgeous ceremon ials to fittin gly ex press their j oy over n ation al con

v i but im erfect artial r i e —a x l uest . Yet e en t h s was a s e a io q s p , p p n u t t n o over t he down fall o f an other sister n ati n .

all ere v ull stricte un selfis h i Sh th e er be a f , un re d , t han ks giv n g wellin g up fromthe he art o f the world ? — it thi o o rai i l in o u HOP E . W h s s n g f p se st l r ears how can we do ubt the un ivers al brotherhood of man ex pressed in hymn s of praise ? — - ESPA IR . TO da e oin in raise es . Bu how o t a ? D y y j p , y t f yes erd y An d will n ot to-morrow an d all the morrows y et to come be filled wit h

ett aims self~ see in strife for lace an d ower un wort h p y , k g, p p , y deeds an d in divid ual rather t han un iversal ain ? — g P E . all forth th so ul es air that it ma loo u on h l HO C y , D p , y k p t e sou s of n ation s dee ply moved to than kfuln ess . Let it n o lon ger remain crouched ’ in loom erceivin on l t he worl s mer m i g p g y d e ater al see min g. It is on ly in great momen ts that t he so uls of n ation s as o f men st an d fo rth in t he ir true

o l o call ict re aspects . C u d y u re p u s o f the past yo u wo uld see how the spirit of Than ksgivin g has ever reached higher an d more ex alted plan es as the cen t uries have passed an d the peo ples o f t he world have struggled on ward an d upward . — - THA SGI I G . O clear e e o e favore au hter of the st ar NK V N y d H p , d d g s, ll I ra thee t hese ex alte momen o reca ts f t he n a ion . , p y , d t s It is on ly i v r at e m see thro ugh thee, f e e , th w ay an d kn ow t heir aspiration s an d their

promise .

EPISODE I

A PRIMITIVE PASTORAL THANKSGIVING

— w mu see how rimitive man sou ht the rotection HOPE. First e st p g p an d favor of his Gods . The H erald at the right of the stage blows a bugle call and the pair of Atten dants assigned to this group lead on the people of Episode I. The Attendants take their places at the extreme front of the stage , one at the left and the other a A . t t the right , against the arch and facing each other the e end of the episode th y follow the group from the stage .

Kin g Favorite Son Prin cess

Sorcerer

High Priest Priests or Priestesses

Slaves o f the Kin g Shepherd of the Flocks Shepherds an d Shepherdesse s Warriors Members of the T ribe

An oriental pastoral people make ofi erin gs to the Gods whom they fear as well as worship as an act of propitiation rather than of thanksgiving . They enter in processional form singing a rude ha rvest song .

Hail! O thou Mighty On es ! Gods of t he harvest ! Take of our in crease

- i First born an d fa rest.

Gran t us protection , d a m Keep us fromcold an h r ,

Bless with abun dan ce,

M ake us thy chosen on es .

118 A PAGEANT OF THANKSGIVING 119

So may thy alt ar fires ’ Ne er be ex tin guished , Never be lackin g gifts ;

Grain , fruits , or flesh! The Slaves of the King carry a rude canopy over him H e as he walks . takes his place near the center of the stage , the others grouping around him according to their rank . One by one the people come forward and show the offerings they have brought . The Priests confer as to the value of each gift and signify their approval or displeasure to the

King, who praises or rebukes accordingly . Among others the Sorcerer comes forward with his wand and basket and shows how he will honor the gods by his greatest magic the charming of the snake in his basket . ( This can be man aged by strings tied to the snake ’s head and manipulated fi erin from the wings . ) After the o gs have been shown the rude chant is again begun and the group leaves the stage by n the left exit, followed by thei r Attenda ts. THE PANATHENZE — o rm A a an eo le re oicin alwa s in t he fulln ess of life still H p g p p , j g y , remember t hat it is meet for themto set aside s pecial d ays for vot ive offerin gs to the gods who have blessed themwith happin ess an d plen ty . The H eralds at the east entrance to the auditorium sound a bugle call and the Attendants assigned to Episode II lead on the Greeks . Once each year the Greeks went in a processional up to the shrine of Athene with the new safi ron robe specially S woven for their patron goddess . o now come two Flute Boys leading about ten feet behind the Attendants ) the ff procession . Then come the Priests bearing the sa ron colored robe . They are followed by men and women ,

fi erin . youths and maidens , all bearing some o g to Athene S ome carry j ars of oil , others baskets of fruit or garlands of

fl r n owe s . Among other things carried as ofi eri gs are baskets of W heaten cakes . A maiden carries a small harp across the

r w hu . st ings of which she , from time to time , dra s her gers

The young men carry their swords and spears which , with their shields , they will dedicate anew to their patron goddess . This is a joyous ceremonial and as the procession winds its way up the steps and across the stage to the left ex it the people are happy and carefree , and talk and laugh with some abandon , although they retain their places in the pro cession .

12 2 THE TECHNIQUE OF PAGEANTRY

A s the Attendants reach the stage they separate and take their stations at the extreme front of the stage at the left S and right against the arch . The enators group themselves near the altar . The Matrons stand near the center of the stage . The others group themselves at the back. Augustus approaches the altar, steps up on the platform , lifts high the bowl of incense , and then places it on the altar . While Augustus is doing this the others stand with uplifted faces and arms extended in supplication . Augustus makes a rev eren t obeisance before the altar and then takes his place near S the enators . The Egyptian Dancers now come before the altar and do a characteristic dance that would leave an fi n ished impression of reverence and praise . As this dance is the Attendants come together in the center of the stage and lead the group o ff at the right stage exit . Augustus ap roaches l p the altar, steps up on the p atform , lifts high the bowl of incense , steps down , and then , turning, takes his place in the procession . The music accompanying the action ceases as the group has left the stage and Despair speaks .

- ha cau e or ho e is here ? Did the n ot use their da DEsrA l n . W t s f p y y of than ksgivin g as o pportun ity for fresh con spiracies an d frat racidal strife ? —T l he Roman s did esmear t he escutcheon o t heir hon or HOPE. ru y t b f

lo ies trife for lace an d ower an d with erson al am i with petty j ea us , s p p , p b or an ize the i eas an d i eals of men t hat other n ation s tion , but t hey so g d d d might go forward fromthe height they t hemselves were barely able to n he fulln ess of their t rium hs the still remem ere the reach. I t p y b d r r o their omin ion s an d throu h their isho heathen on the bo de s f d g B p, S in t A u stin e t he ritish in of en t is rou ht to a o ful n ow a , gu B K g K b g j y submission to the Christian faith. S E EPI OD IV.

CONFIRMATION OF THE KING OF KENT

fi rst The H eralds on the stage , the one on the right and then the one on the left, sound a bugle call and the Attend ants assigned to Episode IV lea d on from the right stage entrance the following characters .

l e i o en Ethe b rt, K n g f K t His Queen Ladies o f t he Court Courtiers Warriors

’ The crown ing achievement of St. Augustine s missionary efforts in Britain was the conversion and subsequent con S fi rma io . t n of Ethelbert , King of Kent o these characters come in and form a group at the right center of the stage as the Attendants take their places at the front by the arch . Then from the left of the stage come a Crucifer carrying a

s St . ilver cross , two priests , and Augustine with a double silver crozier, as in a processional before service . They take S it t. their places near the altar , Augustine in front of , a

Priest at each side of him , and the Crucifer at the left of the

l . St. u a tar Aug stine gives his crozier to a Priest , who n fi rmation 3 returns it after the co . Ethelbert takes 0 his S crown and hands it to a Courtier and then kneels before t. Al . l e . St. Augustine of the court also kne l, on both knees ’ Augustine lays his hands upon the King s head, holding them there as long as it would take to speak the con fi rmatory

sentence . Then , while all are kneeling, he gives the Epis

copal benediction . As they stand, Ethelbert returns to his

place and resumes his crown . The Crucifer leads the pro H cession from the stage at the left . e is followed by the

St. Priests , Augustine , the Court , and the Attendants . EPISODE V

THE CROWNING OF THE DAUPHIN OF FRANCE

A s a symbol of the victories of the French under Joan a of Arc over the English , the D uphin is crowned in the a R C thedral of heims .

Dauphin Dauphin e Pages Con st able of Fran ce Prin ces Ladies in Waitin g Courtiers

Men - at- Arms

Crucifer Acolytes As sistin g Bis hops Archbishop of Rheims Joan of Arc ’ Joan s Sq uire — A l an i hi ain ts rin s hel HOPB . gain un fa terin g faith in God d n s S b g p

l i an e visio - led rown s the e airin eo e . Th a o c n c to a d sp g p p e M d f Fr , ,

Dauphin at Rheims in symbol of the s avin g o f the Kin gdomo f Fran ce . The H eralds at the south entrance to the auditorium blow a bugle call and the Attendants assigned to Episode V lead on the French Court group , in the order listed , up the a isle to the stage , taking their places by the arch at the front as the court groups about the Dauphin and Dauphine o t wards the right of the stage . The Page who has been u r s ppo ting the train of the Dauphine spreads it out . The other rests the standard ( white with gold fleur-de -lis ) he ca rries on the floor , holding it erect with his right band .

124

126 THE TECHNIQUE OF PAGEANTRY

’ — ‘ HOP3 1 ile err o i i u . T e the r T y ed, t s tr e he f w, seein g accordin g t faith an d actin for the man did eliver e ai ov o eath an d t o g y, d th M d er t d calumn worse i l o her y than death, but her dea of service to her kin g an d t coun try triumphed over the bon ds of death an d hate an d her s pirit became the in s piration of million s of Fren chmen who revered her n ame an d presen tly elevated her to t heir most exalted galaxy of sain ts whe re h i o l ll hei l i he me in ce t hen s e s hon red an d g orified. In a t r batt es n t ti s s l i i i e t hem they have fe t t hat she has fought for them. Her sp r t has g v n

m lmo i re i ti l foe courage even to t he sa“yin g of an i placabl”e an d a st r s s b e

t ld o r l . on he fie f Ve dun , They sha l n ot pass But there had n ot yet been time for men to rise above the fears i i Y n o sam cen tur an d supers tit on s of an earl er age . et the e d f t he e y l i a ron tion of whose early years s aw t he ce ebrat on , with m ss an d co a ,

io ifi tacle ro the overthrow of a sister n at n , s aw a more magn cen t s pec p l ain claimed in hon or of the peaceful con q uest of a n ew wor d . Sp m o l hon ors Colu bus f r the discovery of a New Wor d . EPISODE VI

COLUMBUS RECEIVED AT THE COURT OF SPAIN

Columbus is received at the Court of Isabella in honor of his discovery of' a new

Ferdin an d Isabella Ladies of t he Court Gen tlemen o f t he Co urt

Columbus In dian s The H eralds stationed at the east entrance to the audi toriumblow a call and the Attendants for Episode VI lead S the panish Court group up the center aisle to the stage , taking their places at the front by the arch as the King an d Q ueen mount the small platform at the rear of the stage and l the members of the court group themse ves around, leaving the center of the stage free . l Columbus , fo lowed by the Indians , comes on from the right of the stage . They take their places near the center of the stage . Columbus kneels before the King, who H invites him to stand . e rises and faces the King in such a manner that he presents nearly a side view to the audience . H e calls the Indians forward one by one and exhibits the things they carry as trophies of the new world in the west . c One Indian may carry some ars of corn , another a live parrot, another some rude gold ornaments . The Chief ct removes his headdress for the inspe ion of the King, who

L She n passes it to a ady . tries it o , to the alarm of the C hief and to the joy of the court . Indian women have bowls n d and j ars of clay, baskets , a bead ornaments .

12 7 12 8 THE TECHNIQUE OF PAGEANTRY

When everythin g has been admired the en tire group s n leaves the tage by the right stage e trance , followed by the

Atten dants. As the Kin g and Q ueen move towards the exit l u they pause and motion for Co umb s to follow them , pre e r c file c din g the cou t . The Indians ome at the end , single , j ust ahead of the Attendants . De spai r has watched throughout the scene with her eyes h H o A c s . n Columbus . s the music eases e turns to ope

- DBSPA m. An other evote lea er ri n in to his soverei n lor d d —d , b g g g g y an d hon or an d riches an d power y et he dies in poverty an d ex treme

n e lect owe own the i n omin of chain s an d im rison men t . g , b— d d by g y p orm Be atien t et a little lon er Sister of m eart . In the en d H p y g , y H you yet shall see a world at last con s cious of its res pon sibilities to those in divid uals who have made their all- b ut- supreme sacrifice for a un ivers al

ac n d r th i l o cr c Ye t on e other ict ure pe e a fo eir dea f demo a y . t firs p

woul I s ow. The Pil rim athe e t a lishe or reli ious freedomon d h g F rs, s b d f g

e - o l m ivin an d a bl ak an d rock boun d shore, hold a day of s e n t han ksg g feastin g with their n ative n eighbors in memory of t he watchful care an d l protection of the Father of us a l.

139 THE TECHNIQUE OF PAGEANTRY

Let Israel rejoice in himthat made him; let the children of Zion be joyful in their Kin g. Let thempraise his n ame in t he d an ce ; let t hemsin g praises un to him

with the timbre! an d harp . For the Lo rd t aketh pleasure in his people ; he will beautify the mee k alv —P m1 1 with s ation . ( sal 49,

rai e God in his an ct u : i im Praise ye the Lord . P s s ary Pra se h in t he

fi rmamen t of his power. Praise himfor his mighty acts : praise himaccordin g t o his ex cellen t

greatn ess . Praise himwith t he soun d of the trumpet : praise himwit h the psaltery

an d harp . Praise himwith t he timbre] an d dan ce : praise him with strin ged

in strumen ts an d organ s . Praise himupon the lo ud cymbals : praise himupon t he high so un din g

cymbals .

ve i t hat hat h reath raise the Lor . Praise e t he Lor —Let e ryth n g b p d y d . ( Psalm

The group of Indian maidens dance the corn dance which s m s l r y bolize the digging of the hil s for the co n , planting, c r n n it fin all overing , eapi g, husking, and gri ding , and y the ff o ering of the meal to the Great Spirit . As the dance ends the Attendants come together at the center of the stage and lead the Pilgrims and Indians out the center aisle through to the east entrance the auditorium . EPISODE VIII

THE FEDERATION OF THE WORLD

The nations of the world join in thanksgiving at the

signing of the armistice .

— ' - HOP E . SO fromits far ofi rude begin n in gs have we seen t he s pirit o f rai e an d han ln ss ro p s t kfu e g w an d purify itself. We n ow shall se e ful filled the vision of t he oet of an earlier w o l p age h ooked .

in to t he fut ure far as human ey e could see ;

Saw the vision of t he worl an d all t he won e d, d r that wo uld be,

’ Till t he war- rumt hrobb d n o lon er an d t he attle fla s were furle d g , b ”g d t e Parlimen o man era io o o In h t f , t he Fed t n f t he w rld .

We shall see with What un iversal acclaimt he n ation s of the world on ly o hort ear a o a an on in he ail o c io tw s y s g , b d g t d y c upat n s of life an d gat h erin in the u lic laces an d houses of worshi ave voice to ei g p b p p, g th r over

owerin than fuln ess . Their o was n ot mar ou es air tha p g k j y , k y , D p , t a n o own in efe at orce o a ms b a i ati n had gon e d d by f f r , ut t h t a h gher con ce ption of democracy became poten tially realized with the overthrow of a li men o he lia o autocracy an d t he est b sh t f t Par men t f man , t he Feder ation of t he world vision ed by the poet . I will n ow un roll before yo u the procession of the n ation s j oin in g toget her in heart felt praise over the sign in g of the documen t that put i ter o t h an en d to the horrors of that great d s as f e cen t uries . As t hey come mark how t he great an d good of the past return to rein force t he

re n n o e ro o i o or p se t a d h w t he pres n t , t h ugh its rgan zed y uth, looks f war it h e n romi e to still mor ex l ur d w y t ew p s a e a ted fut e .

The H eralds at the south entrance sound their trumpets S and a man in erbian costume , carrying the Serbian flag H comes to the stage to the music of the national anthem . e stands on the platformat the rea r of the stage facin g the 132 THE TECHNIQUE OF PAGEANTRY

H n south an d e ast . The eralds at the orth entrance sound a in call and a woman long lilac and purple robes , carrying the She i Belgian flag, comes to the stage . s followed by eight other women in lilac and gray . Belgium stands on the small H e platformnear Serbia . r followers line up behind her facing her flag instead of the audience . The entrance of H Belgium is accompanied by the national air . The eralds at the east entrance now sound a call and two men , one car r in y g the flag of the Russian provisional government, and R two women in ussian peasant costumes , singing the old R H ussian ymn , without accompaniment , come up the center aisle and take their places behind and facing Serbia . In this way they face the center of the stage near the back . They s balance the followers of Belgium , who are on the oppo ite H s side of the stage . The erald at the south entrance blow a call and a young woman in pink carrying the French flag comes to the stage and stands beside the Russian who carries She the flag . is followed at a distance of twenty feet by the

’ V o u people of Episode led by their Attendants . They g p R stage , pass between France and the ussians , and stand behind and facing the French flag rather than the audience . The line may extend into the win gs if there is not room on the stage . It is essential that the line he kept unbroken . The H eralds at the north entrance now sound a call and a young woman in dull pale green carrying the British flag comes to the stage and stands opposite France and facing

her at a distance of . four feet . Britain is followed at a distance of twenty feet by the people of Episode IV lead by

their Attendants . They pass up the center of the stage n between Britain and France , then turn to the left betwee Britain and the Belgians and stand back of and facing the

British flag . This and all other groups may extend out into the wings if necessary in order to keep the line intact for the

R fi ure ecessional . Japan , represented by a single g carrying the Japanese flag or by a group following the leader with d H the flag, is now announce by the eralds at the south n t s e rance and come to join her ally, Britain . They stand at

THE TECHNIQUE OF PAGEANTRY

The stage is n ow filled with people all facing the center of the stage which is left as an aisle four feet wide from the A t k r front to the back of the stage . the bac a e seen Serbia and Belgium standing on the platform . Ou each side of the aisle are the flags of the nations . While the war workers have been coming to the stage the Attendants of Episode I c have ome onto the stage at the right back, unnoticed , and taken their stand in readiness to fall in line behind Serbia in the Recessional . The Attendants of Episode VI have at the same time come on at the left back ready to fall in line R behind the Belgians and ahead of the ussians . It will be noted that the people of Episodes I and VI have been given no pl ace in the Recessional . EPISODE IX

THE RECESSIONAL

As the last war worker reaches the stage the music ’ B changes to the Gloria from H aydn s First Mass in b. The H eralds march to the stage and turn ready to lead the R H ecessional . They are j oined by the eralds whose stations have been on the stage . The Scouts are still lining the main aisle to the east entrance . H fi rst n The eralds leave the stage , going dow the main

. S aisle and out the east entrance They are followed by erbia , I Attendants to Episode , Belgians , Attendants to Episode R VI , the ussians , France and the French , Britain and the R British with Japan, Italy and the omans , Greece and the

Greeks , America and the Pilgrims , the War Workers . l These shou d leave the stage as groups , each group being compact together but separated from the other groups by U about ten feet . As the nited States flag leaves the stage

e the audience stands , there is a pause for a moment , th n without prelude save a single chord, all j oin in singing

America .

‘ co un tr ! Tis of thee My y , w e lan o li ert S e t d f b y, Of t hee I sin g; Lan d Where my fathers died ! ’ Lan d of the Pilgrims pride ! ’ Fromev ry moun tain side

Let freedomrin g.

n ativ coun tr thee My e y,

Lan d of t he n oble free, Thy n ame I love; 135 139 THE TECHNIQUE OF PAGEANTRY

ov oc an rills I l e thy r ks d , Thy woods an d templed hills wi h ra ture thrills My heart t p ,

Like that above .

’ Our father s God! to Thee ,

tho o i A u r f L berty, To Thee we sin g! Lon g may our Lan d be bright ’ With freedoms holy light l T mi h Protect us by hy g t, o in ! Gre at God, ur K g

As the War Workers leave the stage Despair is seen to have arisen , thrown back her veil of hair , dropped her outer garment of dull gray , and now stands radiant in bril liant purple . The curtain falls on the group of central fi ures H e g , Thanksgiving , ope , Despair , and the four Att nd ants who have stood beside Thanksgiving during the pageant , as the last of the War Workers leave the stage , or the curt ain may remain up until the three stanzas of America fi n i h S s ed. are The couts fall in behind the War Workers , those nearest the stage going fi rst and then the others in order . The pageant ends with the last words of America .

MUSIC A PPROPRIATE FOR THE PAGEANT

Old Hun dred No orchestra

Aid a March . ’ An ton y s Victory . i Gloria fromF rst M ass in Eh. In the Arbor A ria in D .

Ein Feste B urg Chan t du Nord (for Corn Dan ce)

m e N i Natio al An the s o f th at on s . EPISODE VIII. n

ian mn . 1. Serb Hy

L aban con n l n . 2 . a Br e (Be gia )

d ave o ur n o le zar R ussian . 3. Go s b C ( )

La arseillaise ren ch . 4. M (F ) i R ule Brit an n ia Br tis h . 5 . , ( )

138 THE TECHNIQUE OF PAGEANTRY

Rose in red ur le lue laven er red oran e ol . p k, p p , b d , g , g d

o o . Black, various ton es f ran ge

G own lac . ray, br , b k

i ri colors . Serb a, b ght

Bel ium ur le an d lilac. g , p p

i r wn s s urn t oran e . R uss an s, b o , gray , b g

ran ce so ft in . F , p k

i i ull ale reen . Br t a n , d p g

a an an colors . J p , y

i ve er. Italy, soft fa n t la n d

G e c ale ellow . r e e, p y

mric w ite or cream. A e a, h Descriptive P rogramme isto rie estiva an

a ean t

S A VA N N A H

A Hun dred Years Ago

Author and P agean t Master, DR. LINWOOD TAFT

Musica Director MISS ESTELL CUSHMAN l , E

Presen ted by The SAVANN AH F E ST I VAL A SSO C I AT I ON

M x . E S . B E R T . RO S , Presiden t

M U N IC IPA L A U D IT ORIU M

A ril 2 1 1 Savan n ah Ga p 4, 9 9 , . SAVANNAH FESTIVAL ASSOC IATION

Omen s R BERTS E. s. O

NINA A .

11 1 1 e hair n ENS M . ma HORT E 0 011 . . s Vic C 115 15 110 EDITH D . 10 11

VAU GHAN

142 THE TECHNIQUE or PAGEANTRY

MEMBERS OF ORCH ESTRA

ISS STELLE S MA N Director M E CU H ,

: o R ll s ace Violins C ncert Master, alston Wy y ; Mi s Gr R L L u M r. n C shman , oscoe ovell, awrence Alnutt , Edwi

S R H r ll . ickles , David ogers, en y Whiteman , Albert Wy y ’ L : M . . Celli r Samuel awrence , Kenneth Palmer

: Flute Garry Boyle ,

H H H . orns : Sylvan irsch , Mortimer azlehurst i Drum : W lliam Dooner .

Tympani : Neal Banks .

: Pianist George Ball .

S R OF V H S R OF TH E R R PI IT SA ANNA , PI IT IVE , A ND ATTENDANTS

SP IRIT F SA VA NNA — H O . H Miss Frances oward. — A TTEN DA NTs . Misses Ellen Johnson , Eleanor Puder , re e M a S Mild d Fre man , Mary New , y Inglesby , ena

Jones . — H ERA LDs . W S A . . Cosby Carlisle , tephen . Wilson

BU GLERs — S R . Paris . Atkins , obert Bissett, Edwin H R R S r. odgkins , . . Pritchard , J , Beverly ockwell , Rha st S . n on B. tillwell

SP IRIT r V RIV R — o H E . M rS G. SA ANNA . Arthur Gordon .

Y P S A N DRYA D — M D s . N H Frances Brown , Eleanor Cor H S S ish , arriet tewart , Jeannette trong, Dorsey Bruen ,

S Tr dal Mary tuart Gordon , Beverly os , Caroline L S ovell , Mary Cope , Mary Bond , Margaret tod L dard , Virginia Bourne , Eleanor May , Mary ane , ’ S rie Gertrude Corish , Anne tapleton , Margaret O B n , R a H Alicia Baran and os lie ull . HI STORICAL FESTIVAL AND PAGEANT 143

V H t SA ANNA . Nearly wo centuries have passed since fi rst Savannah sprang to vivid life l Savannah ! City by the sea l Gift of the river whose name we bear ! Years upon years of brilliant glowing life have been our portion . From many lands and from far distant climes have come great men and women to rest within our heart and to do great deeds and shape the noble events that have diademmed our w crown with stars of splendor . No year has passed ithout some wonder left behind as a remembrance . Yet through all rou of the sparkling years and honorable renown , one g p , years shines out , destiny illumined , as the crowning glory of

n fi an illustrious life . Within the meager co n es of a single year such high and noble circumstances shaped themselves that here we give pause once more , on this anniversary day , to review the wonders of a century ago . We shall see brave men and devoted women , dedicated to the high service of God and of humanity, establish refuges for the desolate ; homes ’ for the destitute of God s little ones . The Arts contribute of their grace and culture ; the drama with its pictured life , music with its moving cadence , and rhythmic motion with ’ the charm and dignity of measured step . The nation s chief

- executive comes to honor the sailing of our namesake ship . Wise and learned men establish halls of education and of worship . The gallant Frenchman , renewing his allegiance u to a once struggling nation , receives from s and from our

children the warmest welcome in our gift . These only of the scores of high and noble deeds of the century may we pic t Go ure ; yet all others should we hold in due remembrance . , H r e alds , to the appointed sta”tions and announce the moving r of the memo ies of the past .

A fanfare of trumpets accompanies the H eralds as they S conduct avannah to her dais and then take their stations . Savannah remains standing until the floa rish of trumpets ends and then speaks again :

Yet this review must needs give place , for a time , to those more elemental in fluen ces that underlay our very THE TECHNIQUE OF PAGEANTRY

H 0 H a he . t origin , eralds , summon to s here the spirits of gre at river whose name is ours and from whose bounties we m he fi l s do live . Call forth the ny phs of the forests and t e d who gave of th”eir carefully guarded treasures that we might live and grow .

The Buglers in attendance upon Savannah sound a call S which is answered by other Buglers . The pirit of the River accompanied by nymphs and dryads dance in symbol of their gifts to the city .

A n d at her feet the rilmt water: flow ’ Oft hi ned by u phyrr rare and J umet : glow!

H V H . SA ANNA And now , my eralds , bid those appear whose nobl”e lives and deeds of high endeavor we here com memorate .

E D Call back he ears the hun dred ears tha t H . t RAL y , y , B d th n l b ore roun d our cen tury of remembra n ces . i emu ro l ef

ea ur ass in Fromout their mids t retain with as their m s ed p g. a s tha t mos t memorable deca de whos e circums ta n ces of un

- a e ra t h m erishin ren own we here to d commmo e . Bid t e p g , y, , o a ll th ears s ta with as a n d resen t to a s or a roba f e y , y p f pp tion a n d for reveren ce thos e very circums ta n ces imperish a kn n t h a bric our bein that are our ride an d ble it i o t e f of g, p , ” our glory .

A bugle call is sounded . Other bugles respond, and

19 19 leads on the hundred years . As they pass the last ten detach themselves from the line and move to their places , fiv S w e on each side of avannah , here they remain until the years are again rolled forward at the end of the pageant .

149 THE TECHNIQUE OF PAGEANTRY

e E E Mr. Frederick Pen n iman GENERAL Jams OGL THORP .

Mr. James C. Bran an

L W. W. Dou las JOHN WES EY . g

Group of Bethesda Boys

LADIES AND GENTLEMEN OF THE COURT OF GEORGE II

M acDon ell i iz l Mr. an d Mrs . Alexan der R. M ss El a Sch ey

. im M . Al D ll . M r an Mac Mr an d rs . I. A S s on e

A . R. w o Miss Sarah Bacon Mr. La t n

Mrs . Ford Fuller

FIRST PUPILS T m . mn W . Bose a Harry Beaseley Lan ey Fripp Walter Beck EPISODE II FOUNDING“OF SAVANNAH FEMALE ORPHANAGE A — N bo s n l bu r s s e n H ER LD . ot o i l al o wer ou d y y, t g f h n o r a k b a mon g t y n eedy o es . N r we e there l c in g n o le women who uttin aside ers on al ain an d leasures built u within , p g p g p , p thy borders a home wherein such girls might grow in kn o e n a el ta t r The oun din wl dge an d i gr ce as w l as s u e . ”f g o h F ema an a o o memorate f t e le Orph ge we n w c m .

This episode represents a meeting of the Board of the S v a annah Female Orphan Asylum , depicting the manage n n n in 181 me t a d life in that institutio 9 .

’

P ren den t o the Board Ma s . E IZA B ETH S ITH . f , L M

Re presen ted by Mrs . John Heard Hun ter

r MA RGA R T TE . Sec etar Mas . E R y , HUN

Re e e Mrs . . A G. arson pres n t d by J . C

r r M . M olff T easu er MRS. ARAH LAM Re resen te rs ax , S B p d by W i B E e r n M . . ow n s MRS. HOLCOM R p ese ted by rs John S H k

F C . en Mr . . at e Ma s . ANN CLA Y Repres ted by s B t y

M M . e . R. Al rich Ma s . JANE SMITH Represen t d by rs d

LADY ANN HOU STON

- - M . . R r s n te her r at re at ran au hter rs F C. r ep e e d by g e g g dd g , J Mye s

Ma s ANNAH CA ISTER Re resen te Mrs . Gor on Sa . H M LL p d by d ussy

E I S H. il o o M s ARAH Re resen ted M . e hn n a . S J NK N p by rs W y J s

M or o NN RE e re en rs . n ( i v MRS. A MOO R p s ted by G d roo er

R CCA NEW E Re resen te iss e se Mas . EBE LL p d by M H s M Th m ARY A . Re resen te . Al es a Ma s . M W LL p d by rs ex r

Y A Y S Matron of the A sylum, MRS. L DI M ER . e M Repres n ted by rs . George Co pe

CHILDREN or TH E ASYLUM or 1819 . Represen ted by Children of the S avan n ah Female Orphan As ylum 147 EP ISODE III

L N R F PRESI ENT ONR E MAY 181 BAL IN HO O O D M O , , 9

’ E D Th a i n Chi Executive Presiden t . e n t o e H RAL s f ,

M on roe hon ors thee Savan n a h in comin to witn ess the , , , g s ailin o th n a mes ake -shi the rs t such s hi in all the g f y p, fi p The his tory of the world to brave the da n gers of th e s ea . P es high an d n oble of thy son s a n d daughte”rs receive their r i easu den t a n d ma ke merry for his pl re .

fifth U S James Monroe , the President of the nited tates , S and the second to Visit avannah , was received in the city on S 181 aturday, the eighth of May, 9 , with every demonstra tion of delight to honor the Chief Executive . Most prominent of the entertainments given in the Presi ’ - in dent s honor was a ball , a building prepared for the

occasion in Johnson Square . This act depicts that historic u t ball , and shows the g ests being presented to the Presiden , H S by the onorable William carborough , a merchant prince S of avannah , to whom the city owed much of its advance

ment, and at whose home the President stayed while in

' S a . s avannah A feature of the ball will be ong, sung by

H arri . Kol . Mrs . lock ( Mrs Gordon son) M any notable people fromSavann ah an d the surround e o the ing counties att nded the b all. Am ng them were fol lowing :

T PRESID ENT MONRO E Represen ted by Dr. Fran cis urn er

I IA C U GH . The HON . W LL M S ARBORO

Re resen te his re at- reat-n e hew ohn St ar p d by g g p , J k

i M . A Y E a or o t . a mes f t he 11 ON . T 11 H J W N , M y C y Re resen te his escen an t a n e un n in ham p d by d d , W y C g 148

150 THE TECHNIQUE OF PAGEANTRY

T E GE B Mrs . all Mas . G OR ARNARD Represen ted by attn Pritchard

I M wi . e mu l K llock . Ma s . MAR A CA PB ELL Kou ocx ( fe of Dr L e o )

- Re r s n te her rea ran au hter Mrs . Gor on arri on p e e d by g t g dd g , d H s

- . . . hi n . . o . W RD . e resen e eat an so or n r W. GO ON R t s r r W W G p d by g g d , d , J

Geoa omBRYAN .

Re resen te her reat- an au hter iss ais Gor on p d by g gr dd g , M D y d

AN R W . I ER of Au usta Ga. D E J M LL g , Re r en te his reat- ran son ran Le Hard p es d by g g d , F k y

WI I a e a Erwin . Mas . JARED IR N ( s b ll )

Re r en t her reat- reat- reat-n iece iss Ruth uston of p es ed by g g g , M H ,

Coatesville, Pen n .

A E IRWI au hter o v. are Irwin . J N N, d g f Go J d

- - Re rese te his eat reat n iece Mrs . harles Al ert ha man p n d by gr g , C b C p

Josarn HABERSHAM . i r a - - o W l Represen ted by h s g e t great gran ds n , e bomColquitt

Mas . Jose pn HABERSHAM. Re resen te he ea - reat- reat-n iece iss ose hin e lar p d by r gr t g g , M J p C k

Isaa c I IS R esen t his ran son A ram in is M N epr ed by g d , b M

C o N w e c o r ill MRS. FRA NCIS HENDRI KS f e Jers y (The Hen dri ks C ppe M s

furn ished the copper used in the Steamship Savan n ah) .

- Re resen te her eat an au hter Mrs . A ram in is p d by gr gr dd g , b M

A PTA I ose s Rocaa s who comman e t he Steams hi Cit of C N M” , d d p y

Savan n ah.

N n Re resen te his escen an t Mr. Ern est Ro ers of ew Lon o p d by d d , g d ,

Con n .

e . E MRS. Mos e s ROGERS Repr sen ted by Mrs rn est Rogers — Children of the day repreren ted by;

il The Ch dren of the Kate Baldwin Free Kin dergarten s .

The Children of the Savan n ah Kin dergarten .

il i l The Ch dren of the K n dergarten of the Coun ci of Jewish Women .

The Children of the Bishop Beckwith Kin dergarten . EPISODE IV

OPENING OF SAVANNAH THEATER

H ERA LD. A home or mimic art establis hed earl f , y, av l asa n t en tertain men t or th leisure Th e e . ese n ow g p f y ,

who come do s o in the ers on s o thos e whos e art de icted , p f p life when the theater was firs t open ed an d in scribed with thy me n a .

S ’ The oldier s Daughter, a patriotic play, was written L by Andrew Cherry, an actor of some repute of the ondon The fi L . r stage play was st produced in ondon , when

a rehen England was ablaze with patriotism , due to the pp

sion of a Napoleonic invasion . The play was given in S th S avannah at e opening of the avan nah Theater, Decem 181 ber 4 , 8.

CAST OF CHARACTERS

Harold Be lford

Robert Kn ox

MA LFORT R ac rowther , J J k C

Ca rmmWoon t aY H ugh Saussy

An drew Caraker

TmQUA INT Ambrose Solomon

SIMON Eman uel Lewis

’ T1111 Wmow CH EERLY Nan O con n or

MA LFORT . o l n Mas . L uise Strick a d

Reba DuBois

T W Irvi Ma s . O NLEY n a Morris EPISODE V

P G R EPTION AT A ACADEMY 181 O ENIN EC , CH H M , 3

E D That there mi ht be n o lack o learn ed an d H RAL . g f d women in th service halls o educa tion an d godly men a n y , f Oha amA cadem is here be ore of worship were foun ded. th y f as s hown as in its irst da s o service open ed with the dig f y f , ” e n ity an d courtlin ess befitting such an en t rprise .

The Republica n a n d Savan n ah Even in g Ledger of 12 1812 c d December , , ontaine a notice signed by John L R M . S Bolton , . tites , and John awson , one paragraph of which reads : The undersigned committee of the trustees of the Chatham Academy are happy to announce to their fellow citizens and the public that the academy will be opened in ifice t the elegant and convenient ed , lately erected in this ci y, for the reception of pupils in the various branches of litera first ture proposed to be taught in the institution , on the

Monday in January next .

The Republica n an d Sava n n ah Even ing Ledger made an 1 181 announcement on Friday, January , 3, of this invitation

The ladies and citizens of Savannah in general are

respectfully invited to attend at the academy on Tuesday, the ’ fi fth of January next , at twelve o clock, at which time the

building will be opened for the reception of scholars , and an ! appropriate address will be delivered on the occasion .

St William ephens , president of the board of trustees T M r. . M . ( Cunningham , president of the Board of Educa tion )

154 THE TECHNIQUE OF PAGRAN TRY

OTHER PUPILS

Eva Alpert Helen Sin clair Mary Barn es Nadin e Solteric ' Bertha Bradley Catherin e Staflord An n ie Baxley Mamie Smith Jessie Cary An n a Starts Leola Clark Gertrude Schwalb Catherin e Cubbedge Katherin e Smith Leila Cubbedge Helen Smith Philippa Delph Alice Tun n o Gladys Dawson Leila Waite Julia Broderick Katherin e White Joyce Edwards Leola White Rit a Eisen berg Louise Whitehurst ’ Fan n y Estrofl Paulin e Wills Ida Friedman John Bridger M ary Horrigan Samuel Cohen Lottie Jackson Osgood Bridger Han n ah Foss James Dotson Doro thy Porter Cooper Morcock M arian Pin kussohn WilliamTurn er M argaret Lan e Herbert M atthews Helen Mccarthy WilliamSheehan Belle Morecock Edwin Hodgkin s Camille Leacy WilliamStubbs Myra Palmer Walker Saussy An n a Pritchard Herbert Hutton Justin e S avarese WilliamTaliaferro Sara Schwab Charles Wiehrs

SPECTATORS AND PATRONS

Miss Katherin e Davis Miss Eloise Vamedoe M r . Miss Mary De Bardeleben Mr. an d s Ira Gain es

D. e . . h Miss An n e D Jon es Mrs Z . W at

i . M . . F ill M . M. l T. A . s r G r an d Mrs . W am s B an ton T M . . . . A Mr H. L. Weatherby rs Lemon EPISODE VI

N’ AN IN CH L MR. GOODWI S D C G S OO

Tl H E A LD. h eo le 0 Savan n ah lovin li e in all R y p p , , g f e ts om t ov s a hou e its as c made r r i ion or rs o l asure . p , p p p f g y f p A dan cin master n ow resen ts before as the s tatel min uet g p ” y , w h e ith other graceful measures of t e tim .

r f ha n or of M . h or ten o Goodwin, w o years d the h a being patronized by all the principal families in Sav nnah , ra gives proof of his remaining abilities in the steps of g ce , as illustrated by his pupils in the minuet and a dan ce called ‘ ’

o . Independence , r The Stars

M m r. Al n M ll MR. Goon w a acDon e

PUPILS

Alicia Youn g Carohn e John son Lois Luther M ary Alstaetter Elizabeth Thesmar Mary Fan d Helen Wright Jack Stoddard Edward Lovell Remer Lan e Beach Edwards StormTrosdal Aubrey Abbott Kurt Nan n in ga Herman Kalman Win throp Dwelle Edith Hun ter Pope Barrow An n ie McIn tosh Callie Wilkin son M An n Lawren ce James W. cIn tire Jean Beckett M ary Lefller M ary Warin g M argaret Kayton Nin a Hammon d Virgin ia Norton Fan n ie Blun Margaret Elton

i Al r Oli I . Dan el Baldwin exan de n Mc n tosh, Jr EPISODE VII

RECEPTION OF GENERAL LAFAYETTE

L ette r t Euro ea rien d o oun H E A D. a a s n R L f y , fi p f f y g America ! Received with our mos t cordial welcome a t the

ren ewal o his a n d our alle ian ce. H ere is s hown the ride f , , g p a n d om o his rece tion when in revisitin the n a tion p p f p , g whos e in te rit he hel ed to save he hon ored as with his ”g y p , resen ce p .

L ur to m a fift General afayette , ret ning A er“ic nearly y fi r t r years after his s a rival in this country, to plunge with youthful ardo r into the American struggle for in depen d H a 1 1 2 . ence , visited Savannah on M rch 9, 8 5 e attended the laying of the cornerstones of the Greene and Pul aski o m numents .

This episode is a review of the festiviti es arranged in honor of General Lafayette during his visit . The words of w r R the song e e written for the occasion by George obertson ,

r. s a . I , and ung t the dinner In the pageant General Lafay b S at ette is received y notable people of avannah that time , i and a flag made in his hono r s presented to him . The original of thi s flag was borne on a flagstafi at the bow of the Altamaha as that vessel carried General Lafayette from Sa vannah to Augusta .

Amon g t he n ot ables who took part in t he cere mon ies were

o LA FAYETTE Represen ted by Mr. R aif rd Falligan t

e r sen t b Mr. T ll c r GEN . M URAT R p e ed y attn a Prit ha d

n GEN. FRANCIS HUGER Represe ted by Lieut . Percy Huger

e esen te Mr. ichar A a GEN . TATrNA LL . R pr d by R d d ms

Comon oa n OH ERBERT E T U . S. N. J N H D N , e t b his - R presen ed y great gran dson , Gratz Den t IS5

158 THE TECHNIQUE OF PAGEANTRY

Ml ss LA ymtA CamsmN (who was crown ed queen of t he carn ival by

Lafa ett e at est Poin t Va. y W , )

- - e r en h a an a . R es te er reat re t r u hter Mrs . . R a all p d by g g g dd g , J M rsh

Im am

- - Re resen ted her reat reat ran au h er Mrs . o t Gale p by g g g dd g t , H y W. o ve f Cle lan d, 0 .

The youth of the city gathered with their elders in n L Joh son square to welcome afayette .

Mary Teasdale Elin or Brown Julia Ftan ces Floyd Woody DuBose R uth Foster McCaskill Fan n ie Patrick Elizabeth Stephen s liz e s Olaf Otto, Jr. E ab th Fo ter Margaret Ellen Les ter Jan e Tharin Elizabeth In gles by Floyd Foster Gussie Clay Marjorie Thomas Hilda Allen Charlotte Lan n eau Lizzie Gray Davis Rosalie Foster Martha Gaillard Mary Pritchard Ben j amin Palmer Axson Elizabeth Foster Beggs Nell Fat low Axson Georgie Foster

r. i ac A . oster Al c B John F , J e kus Camille Nicolas Alice Wanin g Elizabeth Chapeau Helen Heyward Philip Min is Majorie Van divere Eugen e Edwards Fran ees Floyd Sallie Thesmar Ida Floyd SOphie Thesmar Lee Russell An drew Edwards Eulalie McLeod Lucile Gorin In a McLeod Helen Walthour Cora Howard Thomson Jean Labouchere Charlotte McDowell Virgin ia Walthour Jean ette Martin Dudley Sweat Mary Warin g Helen Sweat Agn es Morris Dorothy Bon n ey Catherin e Tew erson m . Lawto i an Gladys Hen d Mrs . J n W ght

l r. w Marmaduke F oyd, J Mrs . Ed ard Frost er a Eugen ia Gran g Mrs. Cr fts Virgin ia Powell

Mu rmurs or LONG Aoo T M . . hom M . E a . B Ch Imperson ated by rs s, rs J . erry PROCESSION OF TH E YEA RS “1819- 19 19 - H ERALD. Su0h n oble i ts Savan n ah con erred u on g f , , f p thee b these ears o ea rl en deavor are n ot to be e ualed — y y f y , q n ot by any decade passing sin ce W ha t yet may be is n ot

r a kn n Yet eac decade assin le t or mo t l owi . h in has f g , p g, f

it rt deed re on n e The ow w h the wo h s o a t c se ue c . se n e y f g q , in swift rocession movin come to remin d as o their ifts ”p g, f g to thee .

The ten years of the fi rst decade of the century come f an off down romthe dais d, recalling the next decade , pass the stage . Each decade passes thus in turn , presenting to Savannah the memorial of their contribution to the life of the t fi ures ci y. The last decade consists of nine g in red , t ar fi ur in re re representing s rife and w , and one g e white , p s All ex 1 1 enting the peace to come . depart cept 9 9 , who presents a scroll to Savannah .

I 8I 9 - 2 9

Durin g thi s Decade the Episodes of the Pageant Took Place

. H B. S Mrs . Isaac Minis , Mrs . keele , Mrs . Francis

. A . Muir, Mrs . Pritchard, Mrs J. Moore , Mrs . J . J . I l A V M rs . M r . a . . r Powers , s o Bishop , Chaplin, Miss No a bb d r Edm . . . C e e s M rs E W u . on ton , and g , J

182 9-39 First Railroad Started in this Period

In A r 18 6 a s p il, 3 , company was formed and preparation were made for the beginning of the C en tral of Georgia R. R.

15 9 160 THE TECHNIQUE OF PAGEANTRY

H . as t l H aze r . G. he M s r o M s B s, is es A b erta G ays n , l

R Cook s Glaimas H M rs. obinson , Era , Jo ephine , ilda Allen , Ben ts hn er M olomon Al n Bula c , arie S , Ethel le , Elizabeth

Perkins .

1849-5 9

Beginn ing of Public School System

I of e t h t In April, the will P ter Massie gave o t e ci y a sumof money to be used for the education of the poo r

children of the city .

r . r Sau s . M rs . a am M s F e ss Mr W yne Cunningh , d y, F B z . ehn es M . a ar Julian Chisholm , Mrs ranz , rs D vid Schw t , L B D M rs. . . a r . M we Mrs . Jabez Jones , Mrs J. . ax ll , T ylo ,

. Dcmere a Sas t . Mrs Edward , Miss M rtha ne t

I 94

First Park Founded H M r. m 18 1 W . In 5 , through the suggestion of odgson , the fi rst park was laid out as a place of recreation for the

M r. n people . It was given the name of Joh Forsyth, of

S . Georgia , then Minister to pain H l s . Misses A ice Battey, Edith Battey, Mr George un ter,

H M rs . Gordon Mrs . Mrs . arvey Gilbert , Ambrose , Edwin

. M r . L H . t M rs ve s ub e . . C bedg , Mrs Dimmit , Byron Glo r,

R M r Valmore L . S. s . . Dighton , ebey

185 9-69

Civil War Period

During much of this time the entire city was en listed in the cause of the Confederacy .

B M Neil M E r Wm. . c ss s M an L a M s . , the i e llen org , il H r Cabaniss , Bessie Garden , azelle Bea d , Walton Parker,

Dowell M rs. e M s e . W M c I . s a Mrs . , John Dy r, i Juli Bourn ,

Miss H enrietta Cohen .

162 THE TECHNIQUE OF PAGEANTRY

1899 - 1909

Growth of Industry

During thi s period the city made great strides in its industrial an d fin an cial growth .

s e Willin k R Ka ton r n ia H ar Mis es Kath rine , uth y , Vi gi e d, L t l e s Mary at imore , Isabelle Dwe le , Sarah N ville , France ml o e E an r exan er Lu s s c rm . Jone , E i y C p , le o Al d , y A trong

190 9- 19

World W ar

The most important event of this decade was the Great r— c es a W a brought to a lose by the pr ent ye r.

s L l a a s H l Mi ses i l Train , C roline Jone , arriet A drich , r i n Rauer herin e R n er Fr M a y W lder, Joa s, Cat a a, ieda n L n n am eon S mk s ar a e S mk n s . Cun i gh , a i i , M g r t i i

Miss Elizabeth Pettus .

At a fanfare of trumpets the bugl ers an d heralds return r S and esco t avannah , who reads from the scroll presented by 1 1 m s h 9 9 , as she oves forward from the dai S e is preceded b 1 1 e the o y “9 9 , and sp aks for y ung year Youn an d mute un certain et o what the uture has in g , y f f store this resen t ear in a ll sin ceri t a n d all humilit , p y , y y, comes as the symbol of a n ew era of pea ce fromout the waf e a ti n Th s re n ea red ears o s d s ol o . i s e t r with y f p y , un limited ossibilities or worth deeds ives to as the p f y , g opportun ity to rival thos e n oble deeds h ere to-day recalled n den ce o human a d revivi ed. hall n ot with such evi fi S we , f achievemen t an d huma devotion behin d as led e to this n , p g ear an d to all the future the most en erous service to y ”g , Savan n ah t America to the W orldl , o ,

The bugles sound a last call as the p age ant ends . r ' ' On e Formof Pfogram

‘ Bro gre ss of Lib e rty

C A P ITOL P LAZA EFFERSON CITY M1ssonm J ,

edn esda J un e 1 m W . y, 9, p T ursda J un e 2 0 h an . y, , p

Given un der the aus pices of the ’ men s Committee Missouri Division Coun cil o Natian dl De ense Wo , , f f , ole un t it e and C Co y Un of th Committee.

s . o ck e a man Mr H u McH nry . Ch ir

Du vet s ”

ORCH ESTRA

rms Dames zn d Wo Theo. Hu t , Jr.

EPISODE I

The Rule of Tyran n y an d Force

Directo r Mrs . Chester P att , l P oet . D Mr. onald Mosby Margaret Heisler Rose ro n gs B Sm Rev. Geor e L Barnes i w g . gms ’ iss ar S ha M Miss M j . chme uson d ar aret Bramlet WArcmmu M tun a 1. W lsh r M g es , I . ar aret Tuc er illian Busb M g k Mr. y al Mr. W ter Hampton

Mx. H Ase! mon Mx. Ralp Ham d

Mr. Ro n s or Pm rt n . be Nelso An c cs . Miss Adalyn Paris u Mr. G y Son e Miss Mildred Berry Mr. Buster Miss Marie Ellis

ouise K err Geor e Pla er r L g y , . M An dre Se r. w war

Mr. Joe Wheeler Carl osc Mr. B h Har M . D . ba Mx. h ln in t Mr. Linco M ic r n M . Harry Hodgma ‘The Struggle of the Greeks A gai n st the Persian s

Director, Miss Daisy Sa ber

Mrs. Davis

Gladys Hel! ” Searle Fa is EPISODE m

Th e Gifts of the Ro man s to K eep Ro me Free

M r Wm. us s. B by M n n rs . Be Dallmeyer Miss Alice Barrett

Su m

Miss Olive Pu b Hu n ! B . M . Seward

EPISODE Iv

A Le ge n d of Swiss H atred of Tyran n y

' Miss Paulin e Richardson Somu n MISS Ferne Pate Miss Helen Derkum Miss Edith Hin es

Pu u m .

Sue Irwin

Ella. Mae Hott

EPISODE VII!

The Spra d of De mocracy

EPISODE 1x

Marshalin g of the H osts of De mocracy

l ev. A. Y . Bentfi e

Sovu An n I n k l l l ou h ey

Fo rty- Eight Stats

’ A merica s W ar C o n tribution

Dr. Hill M Dr. cChester Wan n a .

H mGlom HISTORICAL FESTIVAL AND PAGEANT 167

M A N EW SPA P E R N OTIC E FRO robes of difi eren t colors an d TH E S A V A N N A H M OR N I N G hole of the art or in dus

N E WS A ri l 85 1919 . . p . tin guished theman d the of characters of a cen tury quain t old fashion ed dress marvelous rocess ion as they moved COL OR F U L P A G E A N T p over the eu in the aftern oon sun li ht wi flickerin shadows rom Recalls City of g g f the trees fallin g upon them an d va ran t reezes la in a u th m g b p y g bo t e . It was like a. dreamstory come tw o eo le elt stran e an d eauti ul an d P ROCESSION of TH E YEARS p p f , g b f wholl charmin y g. Tells of Beautiful though the outdoor pro ’ Savannah s Wonderful Aehlovements cession was it hardly prepared people for the eaut of the mdoor s ectacle an d b p which move swiftly fromscen e to P UD ISTORY RO H scen e with always the lovely back groun d of the symbolic fi gures T F T . P agean t W ritten b y D r. A r u e n h g o p d o t e stage . The charmin lin f Dr g es o . pagean t which wove all the scen es B y J A N E J U D G E . together gave such prologue as was Life in Savann ah a hun dred years n ecessary to ther u all that was to ver b eautifun recalle come an d ore t 0 e iso es the ago was y y d , f p d yesterda at the historical pagean t heralds station ed at each side of the Dr Lin woo Ta t an d sta e an n oun ce the a roachin written y . d f g d pp directed by himan d presen ted by the scen e an d bugles in differen t parts 0 i n the house soun e calls n Savan n ah Festival Associat o . d d a d were n e n ere th u l Probably n ot even those i charg a sw d b o er b g ers . of the various episodes an d workin g The who e house broke in to spon on the committees were pre pared for tan eous applause as the lovely the charman d beauty of the spec Spirit of Savan n ah with atten dan t acle aw it mfolde l im ms it mai en s heral s an d u lers asse t t d , d b g p d m00lor an (i grou in g ame an g through the audien ce when the pa p g lovel rich with tra t ion an d his ean t o en e as cen e the sta e an d y, p d, d d g ric n terest n ot without its occa summon e the eauti ul S irit of the to i , d b f p sion al enliven in g touch of humor an d Savan n ah River with n ymphs of the the e c f f res the fl d accompan ied b sw et musi o o t an oo . strin g an d win in strumen ts an d the li ad tl?le pa an t lacked an ythmg f u l lls of eaut di it or race th Fro clear n ote o b g e ca . b y ; g — e ese Thousan ds of people were on the sion of the gears 1819 1919 would streets aroun d the historic Chatham have been en ough to make it quite n h h h d A ca em ow t e Hi Sc ool an er ect . d y, g , p f in fron t of the In de n den t Presby Poetically con ceived this lon g pro terian Church on 0g ethorpe Aven ue cession win din acr“oss the stage a”t an d in the n eighborin g streets when the begin n in go the Hun dred Years the procession led b the Spirit of han d mhan d was like the un foldin g Savann ah left the rayto n Street of all the try an d tradition the ’ en tran ce rom tl at o clock cen tur he d an d rea earin a ain p p y y , pp g g an d passin g aroun d Hull Street an d at the en d of the an t decade by down Bull en tered the green at Ogle decade each deca e with its symbol h r ven u Here walkin over of accomlishmen t the H t o pe A e . g p un dred the r an d etween the rows of Years ave eaut to the s r g ass b g b y to y . trees that border the park they were The ten earliest years clad in robes i ur The f ur le n s n tin the most beautiful p ct e . o p p a d repre e the decade bolic figures of Savan n ah an d when the episodes of e pagean t t 9 Savan n ah River an d atten dan t to ok place occu iad seats on the dais n ymphs an d dryads in flowin g dra at each side 0 Savan n ah at whose eries of man y colors the Hun dred feet rested the Spirit of the River an d g r ou ed decades wearin the n mhs an d r s At e ch ea s gr p by g y p d yad . a 168 THE TECHNIQUE OF PAGEANTRY side of the Spirit of Savan nah a the ten years of the first decade of herald stood to soun d the d down fromthe an d the two heralds who the stood at the corn ers of passed 03 Decade by the decade the ears en tered their i ts van n ah e g f to , each decad h ma e in ro es of difi eren color whic d b t , an d en tered music suite d to the they expressed beautifully the orch r The n by est a . last te years gemale represen ted the years of war an d the n ew year of peace an d n in e of them den t o g of the were clad in red each child in the Savan n ah the o n in g 0 ’ n Pe Mr . Cmdma 8 Dan cin g School (1 the Visit of olive bran ch represen ted tte year 1919 with l tB hope an n the en d of the pagean t came As she stood alon e beside an d before the epilogue was spoken

THE BORROWE R WILL BE C HA RGE D A N OVE RDUE FEE IF THIS BOOK IS NOT RETURNED TO THE LIBRA RY ON OH BE FORE THE LAST DATE STA MPED

- BELOW . NON REC EIPT OF OVE RDUE NOTIC ES DO E S NOT EXEMPT THE B W FR M V OR RO E R O O E RDU E FEES .

Harvard Co lle ge W id e n e r Lib ra ry 4 9 5 -24 13

W ID E N