AT THE THEATER AND THE OPERA
DRESS AT THE THEATER AND OPERA
For a matinee a simple street dress of a dark material is appropriate
except during the summer months when one may wear dainty fabrics and
light colors.
In the evening if one is to sit in a box one should wear evening dress,
not so elaborate, however, as that worn at a ball or dance. If one is to
sit in the orchestra full or semi-evening attire is appropriate but in
the cheaper seats such attire is out of order. Plain street dress should
be worn.
ENTERING THE THEATER
There is one law of good conduct that cannot be over-emphasized--and
that is the law of making oneself inconspicuous. A man or woman who is
the "center of attraction" when the occasion does not merit it, cannot
claim the distinction of being entirely well-bred. There seems to be a
certain dignified simplicity and modesty in dress, speech and behavior
that distinguishes well-bred people and enables them to move with ease
and unconscious grace among people of every status and position.
ARRIVING LATE
Whether it be the theater, opera, lecture or some other public
entertainment, it is exceedingly bad form to arrive late. People who are
considerate always make it a point to arrive five or ten minutes before
the hour set for the performance.
When one is unavoidably detained and reaches the theater after the
curtain has been raised, it is polite to remain at the rear of the
auditorium until the first intermission. It is permissible to take one's
place quickly and quietly while the audience is applauding; but it is
rude and inconsiderate to attempt to find your place while the
performers are on the stage and the attention of the audience has been
fixed.
It is good form for the man or woman who arrives late to excuse himself
or herself to the people who are disturbed while the vacant place is
being reached. One may say, "I am sorry to disturb you," or, "Pardon
me." Those who are seated should rise to allow passage if the place is
very narrow, but if there is sufficient room for them to pass without
stumbling it is better for those who are already seated to keep their
places, drawing aside to facilitate matters for the new-comers.
ABOUT WRAPS
It is customary for a woman to slip off her wrap in the lobby and carry
it on her arm to her place, where it may either be placed over the back
of her chair or folded in her lap. Some big theaters now have checking
rooms for women, where wraps may be left until after the performance.
Other theaters arrange for a wrap-checking service in the ladies'
dressing-room. Individual preference must decide whether the wrap shall
be checked or kept with one. But to stand up after the play has begun,
and leisurely divest oneself of one's wraps, is a breach of good
manners. If her wrap is a light one a woman may keep it on until she is
seated and then slip it off her shoulders and let it fall over the back
of her chair.
Hat and veil are usually removed after one has been comfortably seated.
Or, if one prefers, they may be checked in the dressing-room. In the
evening, when _decollete_ is worn with an evening veil and no hat, the
veil may be dropped over the shoulders and kept throughout the evening.
A very common fault is to begin to put on wraps and hats before the
performance is over. This is rude to the performers and unjust to the
people around you. Wraps should not be touched until the curtain has
fallen for the last time, even though one is anxious to leave.
Politeness is a vital law of good conduct, and certainly nothing could
be more impolite than to interrupt an actor or lecturer by fussing with
clothing.
Gentlemen usually check their hats and coats in the lobby; otherwise
they remove them both before taking their places. The hat is deposited
under the chair, and the coat may either be folded and placed over the
knees, or over the back of the seat.
ORDER OF PRECEDENCE
There seems to be some doubt as to the correct order of precedence upon
entering and leaving the theater or concert hall. Some authorities on
etiquette claim that the correct order is for the usher to lead the way
to the seats, the lady following immediately behind him, and after the
lady, her escort. But more modern usage has changed this order of
precedence.
To-day it is correct for the usher to lead the way, a few feet ahead of
the gentleman. Immediately behind the gentleman follows the lady. The
reason for this change is that it enables the gentleman to stop before
their places and hand the lady to her seat. Otherwise this duty devolves
upon the usher. However, as the lady precedes the gentleman in almost
everything else, it is safe to assume that both methods of precedence
given above are correct.
One thing is certain--it is absolutely incorrect for lady and gentleman
to walk down the aisle together, arm in arm.
BEFORE THE PLAY
Upon entering a theater or concert hall a few moments before the curtain
is drawn, one becomes immediately conscious of the gentle buzz of voices
throughout the audience. While it is entirely permissible to carry on a
conversation before the play begins, it is most offensive to those who
are sitting near for one to act in a noisy, conspicuous manner. Low
tones are a mark of cultivation. As a matter of fact, loud noise of any
kind is an exhibition of thoughtlessness, and it can be so easily
avoided by a little caution.
Another reprehensible habit often indulged in before the play is that of
standing up and glancing around one in the search of a familiar face,
then nodding and smiling conspicuously to a friend in some other part of
the auditorium. After having once been seated one should remain so,
instead of rising and disturbing others. It is merely a form of vanity
to search for friends among the audience and endeavor to attract their
attention.
A certain gayety of manner is, of course, in harmony with the occasion,
but it should be the kind of gayety that is under control. It is
commendable to be smiling and cheerful--but be careful that you do not
laugh boisterously or talk loudly.
WHEN THE CURTAIN IS DRAWN
The first chord of the orchestra should be the sign for absolute quiet
in the theater. There can be nothing quite as rude as continuing a
conversation while the musicians are doing their best to entertain you.
Usually, when the orchestra begins, programs are hastily opened and
scanned. This causes an unpleasant rustling sound that mars the effect
of the music and is sometimes very disturbing to music-lovers who are
sitting near you. The time to glance through the program is while you
are waiting for the play to begin, and before the musicians have taken
their places. Then it should not be referred to again until during
intermission.
People who arrive while the orchestra is playing should be particularly
quiet. Care should be taken that chairs are not clattered or allowed to
drop noisily.
DURING THE PERFORMANCE
It hardly seems necessary to say that talking or continued whispering
during a performance is ill-bred and rude. Young people are most at
fault in this matter. They must learn to curb their enthusiasms and
criticisms until after the performance or during the intermissions.
"The _intelligent_ listener never interrupts" declares an eminent
authority. Complete quiet should be maintained during a performance or
concert; all talking or whispering is interruption. Beating time to the
music, whistling or rustling programs are also unmannerly.
If anyone near you is inconsiderate enough to talk or hum during the
performance, it is entirely proper to turn and in quiet tones request
that he or she be more quiet. It is necessary, though that you do not
speak in a curt or offensive manner that will cause antagonism on the
part of the stranger. A kind request always meets with an immediate
response. You might say, "Pardon me. Do you mind speaking a little
lower?" or "Would you mind speaking more quietly?" It is polite, also,
to offer a reason, as "I cannot hear very well. Will you please speak
more softly?" If the person thus addressed complies with your request
and answers you politely, you should acknowledge it with a very
courteous "Thank you." But there should be no further conversation
during the performance.
THE OFFENDING HAT
The polite woman removes her hat as soon as she is comfortably seated.
To wear a hat that obstructs the view of the people behind is
inconsiderate--and anything that is inconsiderate is also ill-bred.
If you find that it is necessary to ask the woman sitting before you to
remove her hat, be sure that you couch your request in terms of careful
politeness. This is very important. The cultured man or woman is polite
at all times, and especially so when reminding someone of a politeness
that has been overlooked. It should be remembered that a hearty smile
and a friendly manner go a long way in winning a similar response.
"Pardon me, madam, but may I ask that you remove your hat?" is the form
usually used. But a better way is to offer some explanation, as, "I am
sorry to disturb you, but your hat is in my way. Will you kindly remove
it?" The simple form "Will you please remove your hat?" is sufficient if
it is accompanied by a pleasant smile. But under no circumstances is a
curt, "Take off your hat" permissible. If one hesitates to speak to a
stranger he or she may call the usher and request him to ask the
offender to remove her hat.
The woman thus addressed may, upon complying with the request, either
smile and remain silent, or say simply, "Yes, indeed." Other forms
frequently used are "Certainly," "I am sorry," or, "Pardon me." The two
latter forms are perhaps the best, for they indicate that the offender
realizes her lack of politeness and is sorry.
APPLAUSE
Clapping hands is a natural language of delight. Very young infants clap
their hands when they are happy. Children clap their hands to express
their pleasure. And older people clap their hands to show appreciation
and enjoyment.
But stamping of feet, whistling, or noisy acclamation of any kind is bad
form. This may seem superfluous in a book of etiquette, but it is
surprising how many otherwise cultured men stamp noisily or whistle when
something said or done upon the stage particularly pleases them.
Ill-timed or continual applause is disturbing to performers and audience
alike. Indiscriminate hand-clapping is not only annoying, but reflects
poor judgment upon the offender. When you feel that an actor or lecturer
merits applause, give him a short and hearty hand-clapping, but do not
make the mistake of clapping noisily and excessively each time the
opportunity presents itself.
It should be particularly remembered that ill-timed applause hinders the
progress of the performers.
DURING INTERMISSION
At a theater party, when there are several men and women in the party,
the men may take advantage of the intermission to leave their places for
a few moments. But they must not indulge in this privilege more than
once during a performance, if they wish to be polite and considerate to
the ladies. And they should not go without excusing themselves to the
ladies whom they are escorting.
When a young man and woman are together, it is the height of
ill-breeding for him to leave her alone during intermission. If he
wishes water or candy or programs, the usher will attend to it for him.
He must not leave the lady alone unless she requests him to get
something for her. A gentleman alone may, of course, come and go as he
pleases during intermission.
If one must walk past strangers to leave one's seat for intermission, or
if one wishes to leave before the performance is over, a courteous
apology must be made to the people who are disturbed. "I beg your
pardon," or, "May I trouble you to pass?" are the forms most frequently
used. When the aisle is reached, it is polite to acknowledge the
obligation by smiling and saying, "Thank you."
[Illustration:
Photo by George H. Davis, Jr. Courtesy of the _Woman's Home Companion_.
THE BUFFET LUNCH
The informality of the buffet lunch permits the use of paper napkins but
the hostess may use linen ones if she prefers]
During intermission it is permissible to step across the aisle or into
another box to greet a friend. Often introductions are made, but they
are not formal and need not gain future recognition. As soon as the
curtain begins to rise, the caller must return to his own place.
LEAVING THE THEATER
If you wish your acquaintances to recognize your charm and cultivation,
you should conduct yourself at the conclusion of the performance with
the same quiet dignity that you observed when you entered the theater
and while you were waiting for it to begin. Speak in low tones, smile
but do not laugh, discuss the play but do it in so quiet a manner that
no one but your companion will hear you. It is bad form to gather in
small groups and discuss the play in loud tones. Leave the theater as
quickly as possible. The attendants are waiting to close it.
It usually takes a long time for a large theater to be emptied because
many inconsiderate people block the aisles and loiter at the rear of the
auditorium. As soon as the curtain has fallen for the last time, gather
your wraps together, slip them on if it is convenient and move quickly
down the aisle to the rear. Then pass quickly out of the theater and out
of the way. But if you still carry your wraps, you may either go to the
dressing-room or remain a moment or two in the lobby until you have
arranged them.
Shakespeare said, "All the world's a stage." If this is true, do we not
owe the stage the same courtesy, respect and honor that we owe the world
of fellow-men? Be as well-mannered and courteous at the theater and
opera as you would in the most fastidious drawing-room.