Etiquette for Theatricals

Patrons arriving after the rise of certaln will not be seated until after the close of the act in progress at the time of their arrival. This action is taken in justice to those who have cultivated the commendable habit of being punctual.

“They Like to Make a Display”

Theatrical Managers Discuss a Rule to Squelch the Richly Dressed Late-Comers

WHETHER or not the majority who arrive at the theater before the curtain goes up shall be annoyed and have their pleasure interrupted by the minority who come late, is a matter that is attracting the attention of the theatrical managers of the city. The discussion of the subject was brought about by the publication in The San Francisco Call recently of a rule which is fully enforced in Eastern cities. 

In one of the popular theaters of Denver, the adopted rule is as follows: "Patrons arriving after the rise of curtain will not be seated until after the close of the act in progress at the time of their arrival. Accommodations will be provided for seating late-comers in the rear of the theater until that time. This action is taken in justice to those who have cultivated the commendable habit of being punctual." 

While the managers all agree as to the justice and desirability of such a rule and would be as glad to hail its general advent as they were that of the ordinance which made Captain Hottanzi famous, and relegated for all time the big theater hat to its proper place, they do not think it can be made a success in San Francisco. 

"The rule is a very proper one and I sincerely hope some way may be found to bring about its adoption in an effective manner," said J. J. Gottlob of the firm of Friedlander, Gottlob & Co., managers of the Baldwin, Columbia and California theaters. "For instance. you take such plays as were presented by Henry Miller, where the utmost quiet and attention were required for their proper appreciation. It was a gross imposition upon those who arrived promptly to have people come stringing in all through the first act, spoiling the scenes for others and distracting the players. 

"The women are the worst culprits in this respect," continued Mr. Gottlob. "In many instances this late coming is the result of false pride. Some have a beautiful new gown or wrap, and it is necessary that they should come in late so that there can be no possibility of their being overlooked by the other women.

“Yes. I am late. But look at my fabulous new wrap from Paris!”

Then there is that class who are afraid their friends present will not know they are at the theater unless they come in about the middle of the first act, and the higher the price of the ticket, the more such people seem to feel obligated to commit this infraction of the niceties of playhouse etiquette. 

It is hard to regulate such people, because if they could not do these things, the play would have little attraction for them. However, you can take these same individuals under other circumstances and they pride themselves on their politeness and good breeding. 

"Probably the only way such a nuisance can be abolished will be by the force of public sentiment. If these late-comers were convinced that the early comers they so regularly annoy, regard them as ill-bred people who do not know any better, they would soon find it fashionable to be in their seats before the rise of the curtain." "I tried that scheme a part of one evening, and nearly had a riot," said Mark Thall, manager of the Alcazar, "and I am content to let people have their own way in this matter. I am the grandfather of the managers of this coast, and through a lifetime of experience, I have evolved the idea that I don't want to pose as a reformer. 

The other fellows can do that. I believe In conducting my theater in the same manner that a first-class dry-goods house is run— keep what the people want and give it to them without playing favorites. This matter of punctual and late coming is between the playgoers, and if the early comers, who are the majority, cannot suppress the objectionable late comers, it is their own fault. 

The proud Papa who shows up late to the theater, so as to show off his four marriageable daughters.

In this matter, notwithstanding, it would be very delightful to have such a rule accepted. I propose to keep right in the middle of the road. I have had enough of trying to regulate these swelled-head, young bucks who think that because they have bought a seat or two they own the theater. They are the fellows who would block this game, for they have neither manners nor sense." 

"Such a rule could not be successfully applied to a vaudeville house," said Manager Morriaty of the Orpheum, "but if I were running a legitimate house, I would expect to make a failure if I did not protect the best class of my patrons in that way. These late comers don't care for the play. They are the kind of people who will pay $7 to hear Melba, and not arrive until the latter part of the first act. They don't understand the music and don't care to, but they know how to make themselves conspicuous and a nuisance to those who are there to enjoy the attraction." 

The New Comedy Theater has adopted the rule and put it in force successfully on Monday night. "Our theory," said Manager Kllinghouse, "Is to at all times, comply with the wishes of our patrons in every possible way, and in justice to our early comers we are in duty bound to carry out the policy of instructing our ushers to seat the house to the rise of the curtain on the first act, then to keep in waiting until each act is at an end for the seating of patrons that may enter the auditorium, who would then be seated, between acts. 

This policy is being carried to a successful issue in all the leading theaters in the East, and should be adopted by the local theaters of this city. We appeal to our patrons in this cause, as our policy in the future will be carried out as above announced." — San Francisco Call, 1898

Etiquette Enthusiast, Maura J Graber, is the Site Editor for the Etiquipedia© Etiquette Encyclopedia

Concert Etiquette

Good concert etiquette helps an audience have a wonderful musical experience and enables the musicians perform to the best of their ability.

Artists from all over the world have always considered Argentine audiences to be the most appreciative, warm, knowleadgeable, thankful and enthusiastic in their response to a remarkable performance.

Alas, another adjective may soon be added to the list. “Noisy” may be a gallant way to describe it.

Money has changed hands, patrons with little experience fill the halls, younger generations have invaded the auditoriums (that’s good if they are duly prepared) and a new set of jet-setters and upper executives seeking fame as patrons and pictures in glossy magazines have taken over. Unfortunately, they are yet unaware that there is a set of rules to be respected and have thus altered the religious atmosphere that used to prevail in olden times.

Welcome, newcomers. Here is a list of some of the obligations you may find useful in trying to blend with veterans.

Theatres were built in order for people to listen. Additions to the sounds emanating from the stage are not welcome.

Enemy Number One: The mobile phone. It should be left at home, set in vibration mode or entrusted to the ladies in the wardrobe section. A thorough investigation has determined that calls usually deal with the childrens’ homework or the status of the roastbeef in the oven. Never a “Transfuse immediately,” “Administer Alphabetazone in the carotide” or “Call the fire brigade urgently.”

What all the messages have in common is a disruption of all the neighbours’ attention and enjoyment of whatever they are hearing.

I remember a performance by the exceptional Yo-Yo Ma. He was playing Dvorak’s cello concerto. Just before the concluding cadenza the orchestra stops at an ominuous chord, and after a silence loaded with suspense and anticipation the soloist begins his meditation of all that has been going on. Then the orchestra renews its attack and the first movement ends.

Nightmares of cell phones ringing?

This was years ago, but I am sure Maestro Ma still wakes up screaming remembering the silly beeps (in a wrong key) that intruded in the wonderful silence and totally destroyed what is one of the great moments in music. 

There are counterexamples, though. In the middle of an opera a man from Galería (one of the higher and cheaper locations at the theatre) shouted “Please, a doctor!” The lady next to me reacted compassionately with a loud “Shhhh!” I grabbed my chance asking “What if it were your son?”

Silence reigned once more and the performance continued. I can only hope that the ailing spectator in Galería found a good doctor. And that the lady was duly punished by whoever is in charge of torture. 

Also at the Colón, when James King was declaring his passionate love for Sieglinde in Walküre, some (quite loud) backstage noises preparing the explosive arrival of spring so upset Jeannine Altmeyer that she lost it, left a kneeling Sigmund about to embrace a reluctant lover, and ran out of the stage screaming “Non si può cantare con questo rumore tremendo!”

After some minutes, which I suppose were spent making Altmeyer drink a heavy-duty sedative, the performance was eventually resumed  and ended in triumph.  Am sure we all celebrated that Siglinde was doomed to endure a painful pregnancy next to a ferocious dragon.

I later asked Maestro King what he thought of the fiasco and he answered “No comment.” But added “In the US we say ‘The show must go on’.” 

On another occasion, I was in Bayreuth watching an exceptional performance of Walküre. In my most adored part, when Brünnhilde tells Siglinde she is pregnant, the mother-to-be utters one of Wagner’s most magnificent phrases. Just then, a neighbour of mine’s mobile phone required his attention. The criminal stood up, searched vainly for the weapon, and gave up, thus ruining beyond recovery our involvement with the drama.

The next week, I asked my friends at the press office what they did about mobile phones. 

“Walküre July 22, row 22, seat 12?  He is forever banned from Bayreuth.” A lesson to be learned.

Enemy Number Two: Coughing. Why here? Would you cough as well and as loud if you were being proposed to?

Are you medicated? Is it possible that a huge delegation from a lung hospital coincides at the same theatre? Or that an army of aliens are communicating in their weird language? Have you noticed that an artist never coughs or sneezes (or answers his mobile) while performing?

I shall not elaborate on this subject, because an understandably irate Keith Jarrett has spoken for us all, but still… I have seen great pianists walk away, and all for the same reason.

It is seldom a question of health. It is more often a matter of indifference and bad manners. We can do much better and regain our position as wonderful audience. And yet… there is more we can do to alienate the artist.

How about shouting “Salud” or “Jesus” or even “Gesundheit” every time someone coughs? At least it might prove that we may be noisy but well-mannered.

And... What about whispering, applauding at the wrong time, sporting alergy provoking perfumes, opening and closing hand-bags with resonant clicks, arriving late, humming along with the tenor, etc?

Surely a good opportunity for a second Concert Etiquette?

This article by Jaime Botana originally ran in the Buenos Aires Herald, May 2011

Etiquette Enthusiast, Maura J. Graber, is the Site Editor for the Etiquipedia© Etiquette Encyclopedia 

Audience Etiquette for TV Show Tapings

Pay attention to the instructions given by your warm-up person, and behave accordingly.

General Audience Etiquette Guidelines:

How to Dress

With sitcoms, the audience is not on camera.  If T-shirts and shorts, or jeans, are all you have with you while vacationing, then choose to go to a sitcom taping. The studios are kept cold, and you'll probably be there for longer than you imagine, so it's best to bring a sweater or jacket, even when it is hot outside.

If you are receiving them by mail, most TV show taping tickets will include a letter with instructions regarding what to wear; (no flip-flops, no T-shirts with messages on them, etc...) Well-dressed people have a better chance of being placed in good seats and being on camera.  Business casual is more often the norm than not.

Because audience members are frequently on camera, they're a bit more serious about dress codes for reality shows and talk shows.  If you dress appropriately, and stick within a conservative dress-code, you probably won't be relegated to a spot behind a pole somewhere, or dumped into an off-camera area.

Your television show taping ticket will have instructions specific to the production you are attending.  Keep in mind that some rules are more strongly enforced than others.

What Not to Bring

No food is allowed in the studio, but you can usually eat while you wait in line.  Just remember your manners and throw away your food wrappers or other trash before entering the studio. There will not be problems with say, that energy bar in your bag, or even a small bottle of water.

Do not bring cell phones with cameras, video cameras or recorders of any kind with you. Leave them in your car (or locked up in your hotel room), otherwise you'll have to leave them with the studio security or staff.  They will put any electronic device you have in an envelope, to be picked up by you at the end of the show.  You can save them the trouble though, by not showing up with the banned items to begin with.

Proper Behavior

When the camera is rolling, remain quiet when required, or you'll be escorted out.

Remember where you are.  Attending the taping of a sitcom is not at all like watching TV in the privacy of one's home, but more like attending live theatre.

Do not try to converse, or even whisper loudly, about the plot line with a seat neighbor, make unnecessary noises, nor yell at the characters or actors.

Be enthusiastic but only to a certain degree.  Clap with enthusiasm when warranted, but don’t scream or interrupt the taping of the show.

They will not allow you in for the taping if you seem to be intoxicated in any manner.

It is always a good idea to use restroom facilities before you are seated, as there are very limited opportunities to use the restrooms.

Understandably, reality shows have different levels of audience participation, so audience exclamations are often encouraged.

If you pay attention to the instructions given by the warm-up person, and behave accordingly, you'll most likely be welcomed back.

🍽Etiquette Enthusiast, Maura J. Graber of 

The RSVP Institute of Etiquette, is the Site Editor for the Etiquipedia© Etiquette Encyclopedia