"business." When the actor is conscious of any action, the entire audience notices it, also. All movements and "business" on the stage are gestures that is, movements made to help our story. Action must be "in character," in tempo with our speech, in rythm with the scene, and always in emphasis of what we have to say. Repeat until it comes.

The third week, all lines and business and characterization must be perfected; the fourth week devoted to ensemble and general plot and movement of the play. By this time the actors should begin to play together, not as separate persons, but all working to make the play a unity; not attempting at anytime to exploit personality. The fifth week you will continue on ensemble, with particular attention paid to tempo, so that the play is now a drama; a semblance of life.

The sixth week is devoted to final dress rehearsals, when the entire play is produced each rehearsal, and actors must remain whatever time it takes. The first rehearsal of the week should be a scenic and full property rehearsal. The second, a property and scenic rehearsal with make-up. At this second rehearsal the "props" omitted must be in place, wrong "props" changed, and the scenery passed upon and such needed changes made. The third and fourth rehearsal are final for lights, props, scene, make-up, and costumes -full dress rehearsals. A day should then be given actors to rest up and be fresh for the performance. If this time table is strictly adhered to, you will be surprised, and the audience more so, at the fine performance you will give. You can all be justly proud of yourselves. The time for a one-act play should be half that given to the three act plays but you will need as many dress rehearsals to make a smooth production.

Remember that the director must solve all difficulties; even if he makes a mistake it is better to be definite and wrong than vasellating between two conceptions. The director must know the play thoroughly, and conceive and plan all scenes, character, and business. The first rehearsal should be given to laying out the play as a whole, but the two middle weeks will be devoted to working scenes, and acts over and

over.

Take care that the characters and contrasts are kept distinct. Amateurs have a bad fault of all playing in the same character key and value in the same scene. The actor must consider himself as within the character he is attempting and never for a moment must he drop out and become himself. You must think, feel, speak, move, eat, etc., like the character; this is most important to remember when not speaking or moving. One of the most difficult things to do well on the stage is to keep in character when not speaking-to listen well. The director must conceive the varied possibilities of the characters and lines and never allow the values to be lost. Little bits can only come by repetition, repetition; always be willing and anxious to repeat, I saw John Drew once take a half hour repeating the taking off of a pair of gloves. Repeat until it is right and easy. Always work to feel comfortable and

easy.

The actor should learn his lines by practicing them out loud and in character. Silent memorization is a waste of time, for lines so mechanically learned must be unlearned and learned again right. By learning, saying, and doing you will have memorized it long before you can do your part well, and with the line will always come the emotion, and motivation-the real soul of the line. "The

letter killeth, the spirit giveth life.”

All business must be written in by the actor when given by the director. Down stage is toward the footlights and in stage parlance is D. Upstage is from the footlights and is designated U; Center is half U in middle of the stage; R is right of stage, L is left of stage. R. U. is right up-stage; L. D. is left, down stage; C. R. is center, right; U. L. is left up stage; U. C. is center of wall at back of stage. H. R. L. or X. C. indicates crossing stage in the directions indicated. This simple code learned will save much time.

Always find a motive, a reason, for every movement or speech, and then never move or speak without this motivation. This makes the playing real, and gives real soul development to the actor for he really lives his part.

Don't suppose you have to have experienced each emotion or feeling. You should build through your imagination, from similar experiences.

Never drop out of character. Never speak on the stage except in character, unless it is necessary to speak to the director. Always speak in character when continuing the conversation in whisper or undertone, in the by-play. Never assist the director in giving directions unless you are asked to. It ruins the continuity of the play not to keep in character, and it is difficult-well nigh impossible -for the amateur to get out of character and get back.

Always move the shortest way across the stage. Walk right up to the people you wish to address on the stage, as in real life. Remember you can talk to people across the stage. (which is across a room). Walk straight to a chair or seat, and sitdon't back up to it. Start to walk

on the stage in character several steps away from your entrance, and continue your exit in character some distance off stage. The greatest American actor, Richard Mansfield always went back and forth to his dressing room in character. He would never permit any one to speak to him, after he entered the stage door, except on the stage. Do one thing at a time while speaking, and never anticipate or even think what you will do next.

PLAYS SUGGESTED FOR THIS MONTH

The Rest Cure Gertrude Jennings an excellent, fine comedy. The man must be played very seriously, in order to make the play real. The women should be careful to differentiate their characters, and hold them-remember value. If you cannot play Murial in "cockney" dialect, she can be played in Irish or Swedish. There are always Saints in our L. D. S. communities who come from the parts of the world where we could get our characterizations and who will help us get dialect and character. Study your part with them. 1 man 4 women. One act. No royalty. 80 cents.

Between the Soup and the Savory -Gertrude Jenning. An excellent bit Emily should get a good deal of symof servant life, if played well, maid must be careful to speak more pathy from the audience. The parlor elegantly, and be more superior than cook or Emily. There is nice gradations of character from the parlor maid to cook, and cook down to Emily. Be sure and keep these characters definite and distinct. Three One act. No royalty. 30 cents. Both Miss Jennings' plays are in the volume at 80 cents with two other one act plays.

women.

The School Mistress by A. W. Pinero. A splendid piece of comedy, with Pinero at his best. No one has given us such clean cut characterizations, and interesting plot forms as this great English play-right. The tempo is rapid. As in all Pinero's plays everyone is given a splendid opportunity to act; be sure you take your change even in the shorter parts. Remember there is no such thing as an unimportant part. The majority of characters are young and therefore this play is easier for young people. The only difficulty this play presents is the large number of characters. No director, except one who has had experience should attempt it for this reason. Three acts, three scenes. May be played in two scenes. The first and second scene may be played in one set by decorating with Christmas greens the second act-9 men 7 women, 55 cents.

Walter Baker, 5 Hamilton Place, Boston, Massachusetts Royalty $10.

Mice and Men-by Madeline Leuette Ryley. A beautiful romantic comedy, with charming atmosphere. It needs one strong actor, with experience, to play Mark Embury; a man who can lend strength to the play, a man with humor, and one who can play sentiment and pathos with sinerity. Sentiment is very idioic if not played earnestly. This is a costume comedy but may be played in modern clothes. modern clothes. I advise, however that you try your hand at making costumes-it's so much fun-don't rent them. This play has four acts three interior and one exterior scenes. It takes 7 men and 5 women. Price 55 cents.

All the plays except the one, noted above can be secured from Samuel French, 28-30 West 38th Street, New York.

weeks, immaculate every Monday and well cared for during the rest of the week.

Hilda saw the glances and colored hotly. She was conscious that her new dress was skimpy and plain but she didn't mind that. It was the fact that the girls of Oakville High judged her by her clothes and refused her their friendship because she was poor. She had overheard them calling her "The Swede" and guessed it came about because of her name and her long fair braids. She longed to "fly at them" as she told herself sometimes, and convince them that she was a real Americana fighting American!

The idea would have been funny to

any one who could have read her thoughts, for Hilda Olsen was the very girliest type of girl, her complexion like roses, her hands and feet almost too delicate for her size.

But the fighting American spirit was there as the flying minutes were soon to tell.

Jennie Belle Carson was making the piano do jigs in a merry key when suddenly some one beckoned and she stopped in the midst of a loud chord. In the sudden lull, these words were clearly heard throughout the room: "What do you suppose that blue percale cost?"

The vivid roses in Hilda's cheeks faded to white ones. Her blue eyes flashed to sapphires. She caught a long breath to steady herself and then she rose slowly.

Straight to the startled group in the corner she came, looking like some insulted lily, whiter, taller, and slimmer than ever. Not till she stood face to face with Maisie Hill did she speak. Then her voice was low and perfectly controlled, but through it spoke honest indignation and infinite scorn.

"I'll tell you what this poor dress cost, Maisie Hill! More than any one of yours did, I am safe to say. though yours are of silk or Georgette or gingham as fine and costly. My dress cost love and thought and heartache. Do you think mother would deny me pretty clothes unless she had to? She paid for this by weary hours on her feet behind a counter. She made it by wearier hours at a machine when she should have been asleep. She would have gone without things she needed herself, to trim it, if I had not said I

would not wear it-so. Your clothes cost nothing but money and I wouldn't wear them if I had to wear under them a heart like yours!" And Hilda, head high and lips quite steady, walked away and out of the

room.

The group stood in benumbed silence all eyes turned away from Maisie's stricken face. Suddenly she caught two hands in hers.

"Come with me, girls-all of you! I want you to hear what I have to say to Hilda."

They found her beneath the big oak at the end of the porch, leaning against its friendly trunk in an attitude of desolation and loneliness. her eyes on the far-away hills. But at their approach she stiffened.

Maisie's little face had never been so winning as it was with its look of tender appeal as she faced Hilda bravely.

"Hilda, I have come to ask your pardon and to say-some other things."

Hilda's face softened and she raised a protesting hand but Maisie would not be halted.

"Let me say them for the good of my soul. I-I've been a horrid little snob-just because my father happens to have money. I want to say that I envy you-envy your courage in speaking as you did-envy your dress and the love and devotion that-that gave it to you. If I had had that maybe I wouldn't be soso horrid! My mother died, you know, when I was a little baby!"

In an instant, Hilda had the little thing in her arms and the girls stole quietly away and left the two together.

"Who trusts in God's unchanging love
And does His will perform,
Builds on the Rock that naught can move,
Safe from the raging storm."

We all were boys; and are yet, for that matter, although now we are old enough to vote, which we were not then. Yet we had known years of work, even in our teens; for, in those days, to be a good subject for apprenticeship for a proficient tradesman a boy must not be over sixteen years of age fourteen was better; and most of us had set out at the latter age to earn our own living.

We were a bunch of "printer boys" -they called us "journeymen" because we had graduated from our apprenticeships-compositors,

pressmen, bookbinders; all branches of one craft at that time, in the old Deseret News Building, where now stands the magnificent Hotel Utah.

Did we work? Well, yes, to the limit of speed; and played, too, whether at baseball or other games, or mountain pastimes-for we knew the canyons, the fishing streams, and the hunting grounds; we studied his

tory, science, philosophy, and were mindful withal of the lessons from Him "who spake as never man spake;" and sometimes we experienced severer personal hardships than are met by most of the boys of today. But we learned from it all.

It was the early years of Mutual Improvement Association in Utah. One day-this was in 1879-there came to the printing office two messengers from Ogden-the burg by the Weber which every resident thereof says is the best place in Utah to live, until he changes residence to the capital city. One of these was Joseph A. West, then president of the Mutual Improvement Associations in Ogden, and still a leader whose voice and pen proclaim in clear and forceful language precious Gospel truths. The other, also an M. I. A. worker, but younger than Elder West in years, being nearer our own age, was Edward H. Anderson, then an employee of the Ogden Junction, later manager of the Ogden Herald, and Standard.

Ogden is the birthplace of the pio