Pacts about the Stage Censor

New Zealand Tablet, Issue 17, 25 April 1907, Page 33

Pacts about the Stage Censor

In aur editorial columns a few weeks ago we iniciden'tally referred to the duties and powers of the censor of plays. Perhaps a brief account of these may be of interest. It is not^ generally known that- before a play is given- in public permission to perform it must be obtained from the Lord Chamberlain. A copy of every new play intended for production must be sent to the Lord Chamberlain se^en clear days before, the -date of the first performance, together with a fee of one guinea if the play consists of less than three acts, or two guineas if jn three or more acts. This copy need not necessarily be typewritten, but it must be clearly written,- otherwise the manuscript may 'be returned with a polite request to submit something that may be deciphered. 'Such a delay might lead to serious complications, so it is as well to 'do the thing properly at the start. It should also be borne in mind that they do not give credit at St. James's, and that the fee must accompany the manuscript ; it will not do' t,o send it on afterwards, as such a proceeding would be suie to result ftn a complete impasse. The fee is for the reading, and the official reader is the judge who passes the olay for performance or prohibits it, a,s the case may be. The Lord Chamberlain is only an imposing figure-head in the matter— a nominal official. Mr. George Alexander Redford is the Examiner of Plays, and has occupied the position now for some years. His head must be crammed with plots. One thing Mr. Bedford will readily admit that his experience has proved to him, and that is that the best plays are not confined to London, but that much- excellent dramatic work is produced in the provinces that never sees the light of London for financial reasons.

Well, supposing your play contains nothing objectionable, then the manager of the theatre whereajt! -the play is tO be produced w«lll duly receive an elaborate form of certificate empowering him to produce the play in question. The wording of this is as follows : 'It having been represented to me by the Examiner of all Theatrical Entertainments that a manuscript entitled " Crimson Footsteps, or the Bloodstained Tennis Court," be'lng, a drama in seven acts, does not contain in its general tendency anything immoral or otherwise improper for the stage, 1, the Lord Chamberlain of His Majesty's Household, do, by \i>rtue of mv office and in pursuance of the Act of Parliament in that case provid-ed, allow the performance of the said manuscript at your theatre, with the exception of all words and. passages which are specified by the Examiner in the endorsement of this license and without any further variations whatsoever. Given under my hand this 20th day of November, 1905.' Then follows the sign manual of the Lord Chamberlain, and in the bottom lefthand corner, 'To the manager of the Royal Jollity Theatre.'

These manuscripts are all bound and placed in the Dramatic Library, and in the ordinary course of things they are not parted with under any consideration. If you lose your own copy— and this occurred once to a friend of the writer's— you must apply and pay for another copy of the one in the possession of the Lord Cta/miberlain. In the case of a contemplated change of the title of a play, notice of this must be sAit to the Lord Chamberlain before the change »is made. Also in the case of additions and interpolations notice should be given, otherwise the authorities have the right to stop the performance of such a play. Pantomimes must also be licensed.

The managers of provincial theatres are held responsible for the plays performed in their houses by touring companies, and are suDposed tci satisfy themselves that such plays have been duly licensed.

There is one thtng that is badly wanted in connection with the production of plays, and that is an official list of titles. It has been, many times pointed out to the 'licensing authorities, who have admitted that s>uoh"a list is necessary and would be a boon to dramatist®, but at the same time they say that they do not consider it their business ~to initiate it. In consequence the work of naming , a new play is a matter of -considerable difficulty and irritation, leading to no end of confusion. '