There are two drawbacks to this scheme which is the fairest which can be devised.  It consumes a great deal of time.  Some member of the class or organization best fitted to play a role may not feel disposed to try for it.  Manifestly he should be the one selected.  But it appears unfair to disregard the three boys who have made the effort while he has done nothing.  Yet every role should be acted in the very best manner.  For the play’s sake, the best actor should be assigned the part.  A pupil may try for a part for which he is not at all suited, while he could fill another role better than any one who strives to get it.

In a class which has been trained in public speaking or dramatics as this book suggests, it should be no difficult task to cast any play, whether full-length or one act.  Performers must always be chosen because of the possible development of their latent abilities rather than for assured attainments.

These qualities must be sought for in performers of roles—­obedience, dependableness, mobility, patience, endurance.

Rehearsing.  A worthy play which is well cast is an assured success before its first rehearsal.

The entire group should first study the whole play under the director’s comment.  It is best to have each actor read his own part.  The behavior of a minor character in the second act may depend upon a speech in the first.  The person playing that role must seize upon that hint for his own interpretation.

It might be a good thing to have every person “letter perfect,” that is, know all his speeches, at the first rehearsal.  Practically, this never occurs.  Reading from the book or the manuscript, a performer “walks through” his part, getting at the same time an idea of where he is to stand, how to move, how to speak, what to do, where to enter, when to cross the stage.  All such directions he should jot down upon his part.  Then memorizing the lines will fix these stage directions in his mind.  He will be assimilating at the same time lines and “business.”  “Business” on the stage is everything done by a character except speaking lines.

At all rehearsals the director is in absolute charge.  His word is final law.  This does not mean that members of the cast may not discuss things with him, and suggest details and additions.  They must be careful to choose a proper time to do such things.  They should never argue, but follow directions.  Time outside rehearsals may be devoted to clearing up points.  Of course an actor should never lose his temper.  Neither should the director.  Both of these bits of advice are frequently almost beyond observation of living human beings.  Yet they are the rules.

Rehearsals should be frequent rather than long.  Acts should be rehearsed separately.  Frequently only separate portions should be repeated.  Combinations should be made so as not to keep during long waits characters with only a few words.  Early portions will have to be repeated more frequently than later ones to allow the actors to get into their characterizations.  Tense, romantic, sentimental, comic scenes may have to be rehearsed privately until they are quite good enough to interest other members of the cast.