How a play is produced/After the First Night

by Karel Čapek

Layout 2

After the First Night

 

AFTER the first night the author remains in complete ignorance as to whether his play has been a huge failure or a huge success. True, he has been called before the curtain, but perhaps the audience only applauded for a joke, or because it was sorry for him, or for some other unknown reason. Full of fear and mistrust, the author examines the words and looks of his friends.

“You are happy, aren’t you?”

“I think that the first act ought to be cut a bit.”

“But it was played quite well, considering.”

“I congratulate you.”

“Perhaps the third act could be cut?”

“Of course! They ought to have played it quite differently.”

“Clara was quite impossible.”

“I liked the end best.”

“Don’t you think that the second act drags just a wee bit?”

“You ought to be satisfied.”

“I think that it was wonderful.”

So the author staggers about in a haze of uncertainty. Was the play a success or not? And on the next day he buys all the newspapers: surely he will learn from the critics how it really went off. Well, from the critics he learns the following:—

(1) That his play has a plot; but every critic gives a different one;

(2) That it (a) had a splendid reception; (b) a lukewarm reception; (c) was hissed by part of the audience; (d) deserved the hearty reception it received;

(3) That the producer: (a) had absolutely nothing to do at all; (b) did what he could; (c) was not half attentive enough; (d) paid great attention to the production;

(4) That (a) the tempo of the play was brisk; (b) the play dragged; (c) every one played with enthusiasm; (d) the players did not know their parts; (e) the players contributed to the success of the play;

(5) That Clara (a) was wonderful; (b) was obviously unwell; (c) did not interpret the part correctly; (d) filled the rôle with intense life; (e) had fair hair; (f) had black hair (while he even reads that Miss Jarolim was splendid in the rôle of Clara which happened to have been played by Mrs. Nova!);

(6) That the decorations: (a) struck just the right note; (b) did not suit the character of the play at all;

(7) That the ensemble: (a) was as good as it always was; but (b) it was very inadequate.

Consequently the poor author never really discovers whether his play is successful or not. For even if it has a long run, that means nothing. In theatrical circles, when a play is only given a few times they say it is no good, and a failure; if it should run a long time, however, they say that this is a sure sign that the play is rubbish.