Almost every time we’ve done A Midsummer Night’s Dream, it’s had a different twist. Dark forest, 1950s High School, Las Vegas. Take a look at our past Midsummers through the years.
Archives for April 2017
Laughter, music, and fairy magic mix it up in our production of A Midsummer Night’s Dream. Take a look at rehearsals for the show which performs May 3-21 at the Cornish Playhouse.
Shakespeare wrote during one of the largest vocabulary growth periods in the history of English. How many words did Shakespeare add to the English language? Guesses have ranged from just a few hundred words to more than 5,000.
English is a language that’s always evolving. Just since the start of 2017, the Oxford English Dictionary has added 500 new words and phrases. And just so you know, the word of the year for 2016 was “post-truth”
The world of show business has a language all of its own. Like Shakespeare, who shaped and shifted language to suit his needs, so did the world of show business. Performers from various countries and backgrounds (especially Yiddish) added their contributions to describe aspects of their acts. It was during vaudeville’s heyday that much of show business lingo got established. Some words are coded so that those not in the know wouldn’t be any wiser. Many phrases reflect the transient nature of traveling from city to city (and may actually be how it the terms spread across the country).
Wayne Keyser’s website about vaudeville and burlesque is a great source for the vocabulary of show business. Variety, the publication of record for the entertainment industry since 1905, also has a wonderful compilation of what they call “slanguage” about the world of show business.
As Seattle Shakespeare Company is about to launch an homage to the world of theatre and movie musicals (which were often about the theatre) with our production of A Midsummer Night’s Dream, we’ve edited and compiled a list of words and phrases (from the sources listed above) from the world of theatre and show business for your enjoyment.
Show Business Lingo
Ad Lib — Short for “ad libitum” (latin for “at will”): to perform dialog or business made up by a performer on the spot (and not rehearsed or in the script). Doing an ad lib might be necessary (to disguise some problem, like another performer forgetting a line). It might also spring from an inspired burst of creativity or from an unprofessional and undisciplined choice to ‘show off’. In any case, ad libs are risky (they might surprise other performers enough to break their concentration).
Alley-Oop — An Acrobatic or gymnastic act. The performers (often European) were often heard to cue their team members (in French) “allez” (“everybody”) and then either “up” in English, or a simple vocalization like “hup” to coordinate timing.
All Washed Up — A performer was “all washed up” when he could no longer get a booking anywhere. Usually a condition that occurred when he had proven unreliable or just not very good, or when the style of his day was no longer popular.
Amateur Nights — The very cheapest vaudeville entertainment to produce, with guaranteed “home town appeal”. Local amateurs, often kids, could perform without pay, trying to get exposure and experience, with prizes for the performers who pleased the audience best. A number of big-name stars got their beginnings at amateur night shows. Some performers were “pro-am”, frequenting such nights and gaining lots of professional-level experience, and easily winning prizes.
Ankle — Verb coined by Variety to indicate that a performer has quit or been dismissed from a job, without necessarily specifying which. It suggests “walking”.
Apron — The part of the stage projecting out past the proscenium.
Asbestos — A fireproof curtain of asbestos fabric, set immediately behind the proscenium arch, almost touching it and traveling in metal guide channels (‘smoke pockets’) so as to cover the opening fairly tightly. It could be lowered when the theater was dark and raised a few minutes before the show, and was also rigged to drop quickly at the pull of a stage-side handle in case of fire (a theater, including the house, stage and fly gallery full of combustibles, is a huge and very efficient fireplace). Most building codes require a fire curtain and automatic fireproof stage doors in theaters with a stage height of more than 50 feet.
Baggy Pants Comic — A performer (often a full-time employee of a single theater) whose act consisted of coarse, slapstick humor.
Ballyhoo — A wild, figure-eight, all-over-the-place gyration of the follow spotlight.
Banana — Burlesque term for a house comic, probably derived from the description of anything crazy as “bananas.” Never used by itself … the “top banana” was the head comic, the “second banana” would fill in where needed, the “third banana” would be assigned to stooge duty, taking falls and getting pies in the face.
Beat — A short pause (measured intuitively, about one second) used for comic effect or dramatic emphasis. “It would be even better if you heard my line, and then waited a beat before doing your spit-take.”
Belting — Describes singing done in a vivid “chest voice” rather than a more classical “head voice” or “legit voice”. Some singers, like Ethel Merman, belted all the time, while others use the technique when dramatic emphasis is needed.
The Bill — The program or list of acts, in order of performance. As in “who else is on the bill?”
Billing — The names of performers as displayed on a theater’s marquee and in its advertising. A performer’s status is indicated by the size and placement of their name (who is higher or more prominently billed). Not just a matter of opinion but a matter of detailed legal negotiations. Billing is still an important measure of a performer’s status in theater and film, with the most prominent artists ranking ‘name above the title’ billing.
Bit — A sketch, routine, trick, any segment of an act.
Blackout — A brief comedy routine ending with the quick closing of the curtain or a quick extinguishing of the lights at the punchline. Often used when the writers have a joke that’s good for a big laugh but there’s nothing to follow it with, no way to make it a part of a more elaborate routine.
Blocking — The planned movement of performers on stage.
Blue Material — Crude jokes or other material using graphic sexual or toilet references or profanity. The term comes from the days when E.F. Albee, of the massive Keith-Albee vaudeville circuit, insisted that performers stick to strict standards of propriety. Sophie Tucker, in her biography “Some of These Days,” wrote “Between the (Monday) matinee and the night show the blue envelopes began to appear in the performers’ mailboxes backstage … Inside would be a curt order to cut out a blue line of a song, or piece of business. … There was no arguing about the orders in the blue envelopes. They were final. You obeyed them or quit. And if you quit … you didn’t work on the Keith Circuit anymore. During my early years on the Keith Circuit, I took my orders from my blue envelope and — no matter what I said or did backstage (and it was plenty) — when I went on for the Monday night show, I was careful to keep within bounds.” The tint of those envelopes gave “blue material” its name.
The Boards — The stage itself. Theater stages are surfaced with rows of wooden boards, made of soft wood and replaceable when too worn, that allow scenery to be “anchored” (nailed or screwed down temporarily) with “stage screws”, special screws topped with wings for easy insertion and removal by hand. Concert hall stages, on the other hand, are surfaced with hardwood boards, varnished and polished, never to see a nail or stage screw. To “hit the boards” was to take up a career in the theater, or for a show to move from rehearsal to performance. To “tread the boards” is to have a stage career.
Boffo — Outstanding.
Bomb — To perform an act that elicits little more than boredom.
Booner — A talent scout (from Daniel Boone, a frontiersman who scouted the American west).
Borscht Belt — The resorts in the Catskills, frequented by Jewish audiences and known for entertainment reflecting the audience’s background. Ethnic and dialect humor were expected and were not considered offensive because the audience was bonded by their ethnicity.
Box Set — An interior set consisting of three complete walls; the proscenium is understood to be the fourth wall (and from this comes the term “breaking the fourth wall”, meaning violating the convention that the plane of the proscenium is as solid as any of the other walls).
Boston Version — A “cleaned-up” version of a routine, so called because Boston censors were very strict.
“Break a Leg” — The traditional backhanded expression wishing other performers a good performance. Many ridiculously complicated spurious etymologies are often cited, but the simplest explanation is the most plausible: in many fields common superstition suggests that to wish someone well (in so many words) would jinx a performance. That said, this phrase is now in such common use that the “members only” quality of jargon has been lost, and professionals leave the use of ‘break a leg’ to the amateurs.
Break-in — The three-week period during which a new act was polished and perfected before an audience in “out-of-town” venues before metropolitan critics would see it. Theaters in out-of-the-way places could get an act for half its projected rate (the 50% rate was standard) during its break-in period; they might even get bigger name performers they couldn’t usually afford as the stars broke in a new act.
Break Up — To lose your concentration so severely (often by being carried away with laughter) that you have to pause to recover. It is considered unprofessional, though it can be indulged in (even feigned) by comic performers to give the impression that the proceedings are funnier than they really are.
Business — Any physical action a performer includes in his routine. Script directions like “walks upstage” or “lights a cigarette” are describing bits of stage business. Also used to describe ticket sales (e.g. “The show did good business.”)
Buster — A broadly-performed comic stage fall.
Call — The time a performer is expected to be at the theater. “I have a 5pm call.”
Call Board — A bulletin board just inside the stage door posted with daily announcements.
Call Sheet — A list of actors and other personnel, on which everyone must sign in on arrival at the theater.
Callback — A joke that gets extra energy by referring to another joke earlier in the show. A joke with more than one callback is a “running gag.”
Capper — The last in a series of jokes (usually a series of three) on the same theme which ends the series with the biggest laugh.
Chantoosie — female singer (chanteuse); “Chantoosie Barbra Streisand has a warm and sharp set of pipes.”
Chapeaugraphy — An act in which the performer uses a large stiffened circle of felt with a hole in the center to bend and twist into various hats, depicting various characters.
Chewing the Scenery — Performing in a hammy, over-the-top manner.
Chorus — In revues, the no-name group of dancers/singers backing up the stars.
Circuit — A multi-city chain of theaters with the same ownership, and booked as a block.
Civilians — People outside show business.
Claque — A group of audience members paid to respond enthusiastically to an act, and sometimes to boo a performer’s competitors.
To Close — To give the final performance of a show (“the show closed on April 3”), or to perform the last act after a star’s performance (“I closed for Sophie Tucker in Peoria”).
Cold — A “cold” audience is in a bad mood and responds poorly to even the best entertainment. Or a performer may go onstage unexpectedly (perhaps the preceding act just keeled over of a heart attack onstage) and have to perform “cold” (without adequate preparation). Or a performer may do his best to audition using a script he has never seen before, giving a “cold read.”
Corny or Cornball — Sentimental, obvious, overly broad and old-fashioned material presumed to appeal to unsophisticated country audiences.
Counting the House — Looking out into the house surreptitiously, perhaps through a hole in the curtain or from a gap at the proscenium, to estimate the box office success of the show.
Cover — To make up dialog and/or business to keep an act’s continuity despite a mistake or accident onstage without breaking character or letting the audience become aware of the error.
Crossover — A stock comedy routine, easy to put together because it needed no involved setup. Two performers enter from opposite sides of the stage, meet in the middle for a bit of comic dialogue, then each exits in the direction he was going. For instance, one guy has a suitcase … “Where are you going?” “I’m taking my case to court.” (They meet again, the guy now has a ladder.) “Where are you going now?” “I’m taking my case to a higher court.” In another, one guy has a black eye … “What happened to you?” “I was living the life of Riley.” (Slang for ‘the easy life’) “So what happened?” “Riley came home!”
Crow’s Roost, Crow’s Nest — The rear section of the upper balcony, the only place black patrons were allowed in many theaters. “Crow” was a common epithet for negroes, viz. “Jim Crow” (Thomas Rice’s iconic black character) and Moran & Mack’s blackface act “Two Black Crows.”
Cut House — A theater that paid lower salaries. A performer might play a cut house in an idle period, but wouldn’t want to have it known that he couldn’t command the salary he once did.
Dark — Describes a theater in which there is no performance on a particular night.
Death Trail — Different circuits were characterized according to their most notable qualities. The “Death Trail,” for example, was a string of small, cheap theaters extending from Chicago to Southern California.
Deck — The stage floor. This, like many theater tech terms, recalls the nautical origins of stage systems.
Deuce Spot — Second act on the bill. Considered to be the worst spot in the program (the usual opening “dumb act” not even being worthy of consideration by a self-respecting artiste.) The second spot was forgettably early in the show when the audience had not yet been warmed up to a good level of response, and just before the big star whose act would eclipse whoever played the deuce spot.
Deucing — Playing the deuce (second) spot. A performer might be deucing if he was not yet (or was no longer) worthy of a better position.
Dialect Act — A comedy act using dialect material (a broad accent and ethnic humor, usually Italian, Jewish, Irish or Negro). This brand of humor seems crude by today’s standards, but it went over far better in a time when most of the audience had just gotten off the boat from somewhere else. They accepted humor directed at any immigrants as humor related to their own experience, especially when immigrants tended to be embarrassed by their “simple” origins and yearned to become “more American”.
Died — Played to perfunctory applause or none at all.
Dimmer — An electrical control that adjusts the amount of current going to a light, or to a set of lights, changing their intensity. Formerly a large number of dimmers would be operated from offstage, but now the controls are electronic and the control board is located in a booth at the back of the house.
Disappointment Act — An act substituted for an advertised performer who could not appear.
Drop — Lateral curtains extending the full width and height of the stage are called “drops.” They may be hung at various distances from the footlights (see “olio”). They might be simply draperies, or they might be painted with various scenes and serve as simple sets. A good theater would have a variety of painted drops representing generic settings, like a “garden drop,” a “palace drop,” a “woods drop,” a “street drop,” coordinating with stock furniture and set pieces (a garden bench, a throne, a tree stump, a street lamp). The very front curtain was usually called the “house drop,” which was often painted with advertisements for local businesses (unpainted front curtains were the rule in non-vaudeville types of theaters). The “street drop” usually hung just behind the house drop for simple “two guys meet on the street” routines played close to the footlights.
Ducats — Tickets.
Dumb Act (or Sight Act) — An act that did not involve speech, usually performed to music, such as an acrobatic act or a juggler. A dumb act was often first and/or last on the bill because the audience was still entering (or leaving) noisily.
“Dumb Dora” — 1920s slang for a comically mindless female. The name was applied to a standard two-person vaudeville act in which the man (playing ‘straight’) would try to communicate with the woman, whose odd logic defeated all attempts to make sense. George Burns and Gracie Allen elevated this scenario to its highest form (see “Straight Man” below). The precursor of “dumb blonde” humor.
Dumps — The smallest, cheapest, shabbiest theaters. “The last I heard of him, he was playing the dumps around Chicago.”
Effect Finish — A finish getting its impact from the use of props or special effects (think of a baton twirler finishing with a bombastic display of flags, sparklers and lights.)
Excess Baggage — A vaudevillian’s spouse who tours with the performer but does not perform.
Feature Spot — The top-billed act, the major advertised attraction.
Feeder — The straight man, whose function was mostly to “feed” opportunities for humor to the comic.
Fighting the Agents — Looking for work, often in vain.
Finish — The finale of an act, especially when it contrasts with the rest of the act (the performers in a comedy act might break into a song and dance, or finish with a pie in the face or some other effect.)
A Fish — A poor act (“Stinks like a three-day-old fish.”)
Five — “The five” is the stage manager’s warning that ‘places’ will be called in 5 minutes. “Are we at five?”
Flash Act — A generic act, usually a solo number like a tap-dancer; something that could be booked on little notice and fit anywhere into the program without rehearsal, often as an emergency replacement.
Flashback (or comeback) — When the line after a laugh line elicits an even bigger laugh.
Flat — An element of scenery; a rectangular wooden frame stretched with canvas and painted as necessary, usually representing a wall.
Flirtation Act — An act based on flirtatious banter between a man and a woman, perhaps ending with a romantic song and dance.
Floor Pockets — Boxes set into the floor, fitted with sturdy hinged covers, containing electric sockets connected to the dimmer board, to supply electricity to nearby stage lighting instruments.
Flop — An act or show that does insufficient business.
Flop Sweat — The physical manifestation of the realization that your act is flopping or is doomed to flop.
Fly Gallery (or “the Flies”) — The area above the stage, ideally an additional 1½ times the height of the proscenium arch, where a system of ropes and counterweights allows drops and other pieces of scenery to be lowered to the stage. The counterweights were once sandbags, but now they are heavy iron ingots stacked in a secure “arbor” to adjust for heavy or light loads. Each fly position raised or lowered a “batten” (a sturdy straight pole as wide as the stage, to which the flown scenery or lights were attached. A batten hung with lights is an “electrical pipe”, and safety rules prevent scenery from being hung on these. Suspended items that do not raise or lower are said to be “dead hung”.
Footlights — A row of lights at floor level extending the width of the front edge of the stage. Used in the days of gaslight (or inefficient electric lighting) to illuminate performers working very close to the front.
From Dixie — Attributing a “good enough for the rubes” quality to a performer who wasn’t considered able to perform well.
G-string — A narrow strip of fabric that covers a stripper’s pubic area, the remainder supported by nearly-invisible strings, designed to circumvent narrowly-defined anti-nudity laws.
Gagbook — Jokebook published as a resource for both amateur and professional performers, primarily between the late 19th and early 20th Centuries. A typical one might have chapters like “monologues,” “acts for two males,” “acts for male and female,” “sidewalk patter,” “parodies,” “minstrel first-parts” and “afterpieces.” The books usually contained a mix of original material and scripts gleaned (stolen) from older sources. The authors may have claimed to be the originators of the material, but a study of several examples will show items common to many books. Joe Miller’s Joke Book, a famous example, was published in 1739 and republished endlessly.
Gagging — Adding “ad lib” remarks or other business into an act unexpectedly during the performance. A performer might “gag” in the same sense he could “upstage” someone, aggressively drawing attention or throwing the other performer into confusion.
Gallery — Synonymous with ‘balcony.’ The gallery seats were the cheapest. In turn-of-the-century New York, lower gallery seats were 50¢, while upper gallery seats cost 25¢.
Get the Hook — To be such a bad performer that you were dragged off stage mid-performance by the stage manager, using a long hook like a shepherd’s crook (ostensibly to avoid having a stagehand be seen by the audience). “The hook” was reportedly introduced in 1903 at Harry Miner’s Bowery Theater in New York, when novice performers could try their skill in “amateur night” competitions, exposing themselves to harsh judgment by the audience. Often the management knew that some of the acts were terrible, and booked them for no other purpose than to bring the hook into play and get a laugh from the audience.
Ghost Light — A single bare bulb on a head-high stand, left lit on the stage overnight for safety. A variety of legends have been concocted for the ghost light (like “it placates the ghosts who haunt the theater”) but it is required by safety laws because a pitch-black theater, with its pits and easily dislodged hanging scenery, is a hazardous place.
Girl Act — A one-act musical comedy. In one writer’s words, “all I remember is a lot of pretty girls who changed their clothes every few minutes, two lovers who sang about the moon, a funny couple and a whole lot of music.”
Go Up — To lose your concentration suddenly and completely onstage, forgetting your next line, possibly the line you’re speaking at the moment, and even how you can possibly cover for your error.
Gods — Or “Gallery Gods,” the occupants of the cheap upper-circle seats who commonly made their approval or disapproval known in very rowdy and noisy ways.
Green Room — Not often available in vaudeville theaters (where performers usually awaited their call in their dressing rooms), the “green room” is a quiet parlor (traditionally painted a restful shade of green) adjoining the stage where performers who are ready to go on await their calls to the stage.
Grouch Bag — A small bag or purse worn under the clothing, carrying the performer’s valuables (which are likely to be stolen from an unattended dressing room).
Half-hour — The first of several calls (backstage announcements to performers in their dressing rooms or the green room) by the stage manager, culminating in “places” at show time. All performers were required to sign in by half-hour or face penalties. Also called “the half”: “I have to be at the theater by the half.” Half-hour is called at 30 minutes before curtain time, a “British half” is called at 35 minutes before. Quarter is called at 15 minutes (20 in Britain), and the five is called at 5 minutes before the show begins (10 in Britain). The final call is “places” in America, “beginners” in the UK.
Headliner — Star of the show whose named appeared most prominently on the bill and in the advertising, perhaps even “name above the title.”
“Heads!” — Warning shout used when something has fallen from above, or when scenery is flying in at an unexpected time. Everyone should immediately look above and get out of the way.
Heckler — An audience member who taunts the performer. (Yes, alcohol is often involved). Performers often trade “heckler stopper” rejoinders.
High Hat — To be very classy, or perhaps to have an overinflated opinion of yourself (referring to the top hat which traditionally accompanied men’s formal evening wear).
Hokum — Corny, old-fashioned material. Clichéd sentimentality, kneejerk patriotism and old-wheeze jokes.
Hoofer — Dancer.
House — The audience seating area. When the doors are opened to admit the audience, it is said that “the house is open,” and it would be very unprofessional for a performer to be seen in that area (unless actually performing). Also, may refer to the theater as a whole: “The Orpheum is a high-class house,” or “I don’t bring my own, I just use the house scenery.”
House Manager — Responsible for coordinating activity in the house area.
House Seats — A few tickets to very good seats reserved for distribution to people associated with the show: critics, friends, etc. May be released for last-minute sale if not given away. Also called “comps”.
Hype — manufactured promotional buzz; hyperbole; “The show did not live up to the hype.”
In-and-Outer — A performer equally at home on the legitimate stage and the vaudeville circuit.
In One — An act or routine that works in the six-foot area between the footlights and the closed main show (number one) curtain. An act that needed that area plus the next six feet was “in two” since that area was in front of the number two curtain, and so on up to “full stage.” While various theaters’ stage dimensions might vary a bit, these specifications were standard ways of describing an act’s space requirements and were a primary consideration in planning the practical flow of a full program.
Ingénue — Young actress (usually fresh-faced and pretty), plays romantic roles.
Insurance — A surefire joke or bit that could be relied upon to spark better response to material a performer didn’t trust.
Juvenile — An adolescent performer, or a role depicting a youth.
To Kill — To be a complete success with the audience.
Knockabout Comedy — Exaggerated physical comedy like pratfalls and mock violence (the Three Stooges might be a good example).
A Knockout — Greatly successful with the audience.
Lard Actor — A performer who can’t make enough money to remove his makeup with cold cream, but uses lard instead. Lard being “ham fat,” after a while the term matured into “ham,” an untalented performer with a broad and unskilled style.
Lazzi — From commedia del’arte, a recurring bit (running gag) that builds comic impact by repetition.
Lecturing the Skull — When the straight man talks while (supposedly unknown to the straight) the comic mugs. Probably from the iconic “Alas, poor Yorick” speech in Hamlet, which was likely to be spoofed with the addition of mugging behind ‘Hamlet’s’ back.
Leg — A narrow drop masking the wings from the audience’s view. Legs are in pairs, stage right and left.
Legit — “Legitimate theater”. The term differentiates serious drama from musicals or mere amusements like vaudeville or burlesque.
Legitimate Encore — An encore demanded by the audience without “milking.”
Limelight — An early (pre-electric) stage light, using a hydrogen/oxygen flame to heat a cylinder of lime, raising it to white-hot incandescence. The term is still used to mean “being in the public eye”.
M.C. or Emcee — Master of Ceremonies; the person who introduces the performers.
Milking — Inducing (by body language or just continuing to stand on stage and “accept” applause) an audience to continue applauding long after they would ordinarily have ceased. Usually becomes obvious rather quickly, to the detriment of the performer’s reputation. Sometimes called “stealing an extra bow.”
Milkman — A performer with a reputation for milking.
Monologist — A performer whose one-person act consists entirely of talk. Probably the origin of modern “stand-up comedy,” the vaudeville monologist’s act might also be serious (a patriotic or poetic recitation), and the material might be rendered straight or in dialect.
Morgue — A house that is not doing much business, or an audience that resolutely refuses to applaud.
Mugging — Making faces and over-exaggerating lines, trying too hard to get a laugh.
Nut Act — Comic(s) using an excessive style, usually mugging or simply acting goofy.
One-Liner — A joke made up of only one or two sentences.
To Open — To give the first performance of a show (“the show opened Saturday in Boston”), or to perform the warmup act before a star’s performance (“I opened for Durante in Vegas”).
Out of Town — Anyplace that isn’t New York City (is there anywhere else?).
Paper — Complimentary tickets were given out (“papering the House”) to give the impression that the show was drawing large crowds and to ensure a crowd of sufficient size to keep them from nervously “sitting on their hands.” Often done on an opening night when critics were in attendance.
Patter Act — An act based on rapid, clever dialog (Abbott and Costello’s famed “Who’s On First?” is an example.)
Pin Rail — A sturdy horizontal rail, firmly affixed to the wall and floor, holding a row of belaying pins. Each 12-inch wooden pin is shaped to fit the hand, which also prevents slippage of the hemp line tied to it. This system is used to snub off the lines used to raise scenery into the fly gallery. It is a reminder that in many ways stage systems mimic the fittings of a sailing ship.
Pit — The sunken area immediately between the edge of the stage and the first row of the house, in which the house musicians play.
Places — The last in a series of timed calls from the stage manager. They begin with “half hour” and culminate in “places” (or, in Britain, “openers”), the signal for those in the show’s first minutes to take their places onstage.
Playing to the Haircuts — Playing last on the bill (in other words, playing to the backs of the audience members as they left.) In its worst construction, performing so badly that the audience walked out in boredom and disgust.
Prop — Short for “property”, any item onstage other than scenery.
Proscenium — the main arch, behind the apron but in front of all curtains.
Protean Act — A quick-change act (from Proteus, a Greek god who could change shape).
Quick Change Act — An act of lightning-fast onstage costume changes. See “Protean act”.
Revue — Like a vaudeville show, a revue consists of sketches, songs, and comedians. However, instead of changing its acts weekly, a revue has a longer run, and the acts might be tied together with a central concept. Ziegfeld’s Follies and Lou Leslie’s Blackbirds of 1928 were some of the many revues.
Roper — A cowboy act.
Running Gag — A joke or physical bit which appears several times throughout the show, gaining momentum each time through its familiarity and through its appearance in a new context.
Sellout — sold-out performance; “Her act was a sellout the day tickets went on sale.”
SRO – Standing room only. When a show’s seats are sold out, a limited number of tickets may be sold allowing standing along the back aisle of the house.
Schmaltz — Yiddish for “chicken fat.” Schmaltzy material is broad, sentimental material like weepy songs about your poor old mother back in the old country.
Schtick — Yiddish for a “bit.” Exaggerated, stylized business or clowning.
Sight Gag — A joke which conveys its humor visually.
Show-Stopper — A bit or act that earns such enthusiastic applause that the performers must pause until the ovation quiets. Often prompts a brief reprise of the material or an encore number.
Silo Circuit — Small towns and rural areas (referring, of course, to the feed silos.) The equivalent of the circus term “mud show.” Also, summer stock.
Single — An act by a single performer.
Sitting on their Hands — An audience resolutely refusing to applaud.
Sketch — A short acted scene, almost always comic, with two or more performers. There is only the most rudimentary plot and the simplest characters (e.g. “a couple on a date” interacting with “a waiter”). One modern example is the “sketch comedy” featured in Saturday Night Live. The word “skit” is derived from “sketch” but implies amateur performance.
Skull — A double take or mug.
Slapstick — Knockabout physical comedy, named for the “slapstick,” a bat-like paddle with a flap that emits a huge “slap” sound when struck.
Sleeper Jump — The top-floor dressing room, assigned to the smaller acts. The higher in status an act was, the closer to the stage they had their dressing room. The old theaters had dressing rooms stacked all the way to the fly loft (and that could be four or five stories.) And, of course, you got there by backstage stairs all the way up. The top floor dressing room was the farthest, the hottest, the least well maintained, and performers had to carry their wardrobe trunk up all of those narrow metal stairs. Called a “sleeper jump” because it was so far from the stage that it seemed to take an overnight railway trip to get up there.
Small Time — The circuits playing more than three shows a day.
Spotlight — A lighting unit that projects a bright, defined pool of light. The beam can be controlled to have a hard or soft edge, focused to cast sharp or soft shadows, and adjusted by metal shutters to a round or another shape. If the unit is rigged to move in order to light a single moving performer, it is a “follow spot”. Follow spots often have an adjustable iris which narrows the beam, and a “boomerang” (a selection of holders for color media).
Spotted Week — A week in which an act was not fully booked. Similar to “Split Week,” in which an act was not booked for a full week in one theater but played a part of the week in another house.
Stage Door — The entrance from the street to backstage. A bulletin board located here holds a daily sign-in sheet, information about nearby hotels and restaurants for the benefit of traveling artists, and rules particular to that theater. There might also be a set of mailboxes for the performers to receive mail or notes from the producer (see “blue material”).
Stage Left — The side of the stage that is on the performer’s left as he faces the audience. (Similarly, “stage right” is the other side.)
Stealing a Bow — Reappearing on stage for another bow (tending to keep the audience politely applauding) when the volume of applause does not really warrant it. One way of “milking” applause.
Stick Act — A gymnastic act on the horizontal bar.
The Sticks — Out-of-town (out of New York) venues, especially really out-of-town venues.
Stooge — A comic aide to a comedian, often a performer who pretends to be a “volunteer” called up to help from out of the audience. A magician may also employ a stooge to give the appearance of performing miraculous effects on a randomly chosen audience member (the stooge).
Straight Man — Half of a comic team, the performer who plays the “average Joe,” the person the audience can identify with, who meets or converses with someone odd, resulting in comical situations. George Burns was the straight man in tandem with wife Gracie Allen. He always explained, “I just stand there and ask Gracie a question, she answers it in her way, the audience applauds and thinks I’m a great comedian.”
Suitcasing — Travelling on tour with very light or minimal baggage. Performers paid their own expenses between engagements, including the expense of shipping their props and scenery.
Tag Line — An additional punch line to a joke; gives a second laugh without a new setup.
Take — A comedic facial reaction. A “double-take” is a “take” (usually depicting simply noticing something and starting to move on) followed by a quick return to the sight and a broad, shocked reaction to what you’ve just seen. A “spit take” is a reaction of such shock that the performer sprays out whatever he had been drinking or eating when the stimulus was received. Alternately, the day’s or week’s “take” is the total sum taken in at the box office.
Teasers and Tormentors – Short black drop hung across the stage (teaser) or on each side (tormentors) just behind the grand curtain, adjusting the visual height of the stage. Both of these are usually stiffened with a frame.
Terp Team — Ballroom or other paired dancers, from “Terpsichore,” the Greek muse of dance.
Three-sheeting — Hanging around in front of the theater trying to date a town gal or impress people that you are a performer. Named after the 44″x84″ posters (made of three standard-size printed sheets) used on the side of the theater. Managers discouraged the practice because it looked seedy and detracted from the mystique of the stage.
Tin Pan Alley — West 28th Street in New York City, where many music composers and publishers had their offices at the turn of the century, and the sound of multiple instruments playing different tunes was described as “like banging on a thousand tin pans.” It came to represent the whole burgeoning popular music business of the day. Tin Pan Alley publishers mass-produced songs and promoted them as merchandise.
Took the Veil — Retired from professional life. From the Catholic term for becoming a nun.
Topper — A joke that amplifies and gets extra energy from the previous joke.
Tormentors — The drape masking the side of the stage, reducing the visual width of the stage, usually capable of adjustment to provide varying widths.
Trap — A “trap door” opening in the stage floor enabling performers to enter or exit downward, fitted with a secure covering to make the area just another part of the stage floor when not in use.
Upstage — Before the twentieth-century stages were often “raked” or slanted, higher in the back than in the front. Anything done upstage would be behind the back of the star, who would be downstage and facing the audience, and a misbehaving cast member could easily steal attention from the performer who should be the focus of attention. Also, to take on a superior and patronizing attitude: “George is getting upstage lately.”
Walking off Cold — Flopping, leaving the stage at the end of your act while leaving the audience unimpressed.
West Coasting — Many west coast houses had low fly galleries, too low to fly drops unless they were first ‘west coasted’: reefed like a sail (bundled up and tied at intervals to the batten suspending the drop.) Alternately, may refer to the sloppy practice of simply bunching up a drop and stuffing it into a packing box. Similar techniques include “tripping” (folding in half by securing the bottom of the drop, fitted with a second batten, up to the fly batten) and “breasting” (tripping, then tripping again using a third batten installed ¾ of the way down the drop).
Wheels — Theater circuits, chains of theaters under the same management.
Wings — The areas offstage right and left, out of sight of the audience but clearly visible to performers onstage.
Work Lights — General utility illumination for the stage during non-performance times. Work lights for the house were called “cleaners.”
Wowed the Audience — Was a huge success, synonymous with a dozen other expressions like “laid ’em in the aisles,” “knocked ’em dead,” etc.
Yock — A really big laugh from the audience.
1930s movie musicals about show business serve as the muse for our final production of the 2016-2017 season – A Midsummer Night’s Dream. Artistic Director George Mount directs Shakespeare’s funniest comedy at the Cornish Playhouse which runs May 3-21, 2107.
“This production is literally 20 years in the making,” said Mount at the first rehearsal for A Midsummer Night’s Dream. “I first approached this idea for one of Wooden O’s 2nd or 3rd productions in 1997. We’re taking Shakespeare’s words and using them as lyrics for originally written melodies and creating a Shakespeare musical.”
Mount is using movies musicals of the early 1930s to mid-40s as inspiration for the production. “They’re called backstage musicals,” said Mount. “They’re movies about people on Broadway putting on plays. So we’re going to do a play, based on the movie genre, about putting on plays in which shenanigans and hijinks ensue. And since there’s such great suspension of disbelief both with Shakespeare and movie musicals, the power and magic of theatre is the spark that allows the fantastical things to happen during the course of the events.”
In A Midsummer Night’s Dream, four young lovers on the run cross paths with squabbling fairy royalty. A band of local tradespeople get mixed into the madness when one member is transformed into a donkey. The fairy Puck, who initiated the foolery, sorts it all out in time for a grand wedding and a nutty comic skit.
The show will be set inside a theatre in the early 1940s. It is a Broadway Revue house owned by “Duke” Theseus Athens known as the “Palace Woods.” The live onstage band is known as The Huntsmen. The characters in A Midsummer Night’s Dream populate the world of this fictional theatre. “Some work in the theatre as carpenters or costume stitchers, usherettes, plumbers, or stagehands,” said Mount. “Then there are the performers as well that serve as the acts. Our lovers are known as the juveniles and they’re a sort of young, ingénue singing act like Ruby Keeler and Dick Powell. And then there are the grand dames, sort of divas and divos, they are our Titania and Oberon. They’re the stars of the show. And then there are the chorus girls as well, and those are our fairies.”
Seattle Shakespeare Company returns to the Cornish Playhouse for A Midsummer Night’s Dream. It features a cast of 19 actors. Vanessa Miller plays Titania, Terence Kelley plays Oberon, John David Scott plays Puck, and MJ Sieber plays Bottom. The production will feature original music by Nir Sadovik. Full cast can be found here
After the success of the epic, two-part production of Bring Down the House this past winter, Seattle Shakespeare Company and upstart crow collective have decided to continue to follow the story of the Yorks and Lancasters through to the end with a co-production of Shakespeare’s Richard III during Seattle Shakespeare Company’s 2018-2019 season.
Director Rosa Joshi will return to direct Richard III which may feature some Bring Down the House cast members continuing their character’s stories.
“Bring Down the House was such a monumental event and a thrill to watch unfold,” said Seattle Shakespeare Company Artistic Director George Mount. “Each part was gripping, edge-of-your-seat theatre that just left you wanting more. There was such momentum and drive in the telling of it that left us with an almost cliffhanger ending as Sarah Harlett’s Richard begins his ascension. How could we not keep the story going with this incredibly talented team? I’m excited to partner with upstart crow again to bring this story to its inevitable conclusion.”
“We’re thrilled to continue the saga begun with the Henry VI plays,” said director Rosa Joshi. “We’ll workshop early ideas for Richard III in August 2017 with a small group of artists. We can’t wait to immerse ourselves in the troubled psyche of the masterful deceiver on England’s throne, and the turbulent fallout of the War of the Roses.”
Richard III was Seattle Shakespeare Company’s very first production in August of 1991. The company has produced the play 4 other times in its 26-year history.
Beginning where the Henry VI trilogy ends, Richard III completes Shakespeare’s cycle of plays covering the War of the Roses and warring factions of the royal houses of York and Lancaster. Tempted by the lure of power, the brutal Richard hungers for the crown of England. Through lies, bloodshed, and seduction he crowns himself king then has to combat and connive to keep his throne from those who wish to topple him.
Richard III will be part of Seattle Shakespeare Company’s 2018-2019 season. Details about specific dates and locations will be announced at a later date.
Subscription ticket packages for Seattle Shakespeare Company’s 2017-2018 season are now on sale.