Since the production of Aria da Capo by the Provincetown Players, I have received a great many letters from the directors of little theatres, asking for copies of it with a view to producing it.  Very often, after I send the play, I receive a letter in reply asking for some suggestions for its presentation, and enclosing direct questions on points that have been difficult.  It occurred to me finally that it would be reasonable to make up a sort of informal prompt-book to send about with the play; and it is that which is printed below.  It will be found incomplete and uneven, in some instances unnecessarily detailed, in others not sufficiently so; all of which is due to the fact that it was put together loosely, from answers to chance questions, rather than logically, as an entity in itself.

SUGGESTIONS FOR THE PRODUCTION OF “ARIA DA CAPO”

SETTING: 

The setting required is simple:—­a grey curtain, a long black table, two slender black high-backed chairs, and a raised platform.

Instead of wings and back-drop the Provincetown Players cleverly utilized painted screens, the heights varying from 6 to 10 feet, these being set right and left of the stage in such manner as to give the effect of depth and distance.

The table, six feet long and two feet wide, has thin legs and is painted black.

When Pierrot and Columbine enter in the final scene, it is not necessary that the table which Cothurnus has replaced shall entirely conceal the bodies of Thyrsis and Corydon.  Pierrot and Columbine must ignore them until the lines indicate their discovery, no matter how they may have fallen.

Particular attention must be given to the chairs in this set.  They are used to construct the tissue-paper wall, and, although delicate, should be heavy enough to remain solid and steady, up and down stage, without the possibility of an upset when Corydon strides through the wall.

Near the footlights (actors’ left) are two sofa pillows, used to represent the rocks against which the shepherds lean.  On the left of the stage have another pillow, which Thyrsis places under his head when he lies down to sleep.  Use cloth or crepe paper for these pillows, and have them of spotted black and white material, or of any gay color except red or blue.

Cothurnus occupies a chair upon a platform, up-stage, centre, with two or three steps surrounding it on three sides.  Drape this with plain heavy black cloth.

The table covering is important.  Its width is equal to that of the added height and width of the table.  As it must be moved to cover the bodies of Thyrsis and Corydon, it should be of sufficient weight to prevent slipping.  It will be well to experiment with this, to ensure proper performance.

The cover should have black and white spots and striped ends.

The table is set as follows:—­two large wooden bowls (at least seven inches high and fourteen inches in diameter).  One is placed at each end of the table.  That at Columbine’s end should contain persimmons, pomegranates, grapes and other bright exotic fruits.  Pierrot’s bowl has confetti and colored paper ribbons, the latter showing plainly over the edge. (If Columbine uses practical macaroons, put them into this bowl.)