The Enigmatic Rituals of Theater
Have you ever noticed the absence of whistling in theaters? It’s a curious phenomenon, one that harkens back to the days when sailors worked the ropes backstage, introducing unique codes of conduct to the world of show business. A whistle, once meant to grab attention or serve as a compliment, could inadvertently lead to a mishap, like a piece of scenery dropping unexpectedly on an unsuspecting performer.
Theater is a rich tapestry of traditions and customs, many of which stem from obscure origins. Yet, these rituals hold significant meaning for those in the industry. In a field that strives to evoke the same magic night after night, albeit with varying outcomes, traditions offer a sense of stability. As Patrick Bevilacqua, a 56-year-old Broadway wardrobe supervisor and costume designer, aptly puts it, these are “rituals of consistency.” They encompass everything from private fist bumps to quick Listerine sprays that are essential for a smooth backstage quick change, meticulously choreographed to ensure the show flows seamlessly.
Some customs have a spiritual essence. Lea Salonga, a 53-year-old actress, believes that “any practice where everyone can see each other as human” provides grounding in the bustling world of theater. Other traditions are more personal. Hugh Jackman, who recently starred in “The Music Man” on Broadway in 2023, has a delightful habit of buying scratch-off lottery tickets for every production member every Friday; every now and then, someone wins a nice sum. There are also secretive customs, like the practice of stealing costumes after a show closes, contrasted with the loud announcements from stage managers proclaiming, “It’s Saturday night on Broadway,” a joyous reminder that the workweek is nearly at an end.
Consider the curio cabinet belonging to Patti LuPone, filled with mementos from her illustrious career. Among the treasures are a doll from “Evita” (1979), an intricately crafted egg from a crew member of “Anything Goes” (1987), and a Mrs. Lovett bobblehead from her time in “Sweeney Todd: The Demon Barber of Fleet Street” (2005). Each item tells a story of its own.
Length of a production often dictates the richness of its traditions. Longer-running shows tend to accumulate more unique customs. This is particularly true in New York, where Broadway exhibits a higher degree of ritual than Off-Broadway, and musicals tend to surpass straight plays in this regard. Amra-Faye Wright, a 64-year-old actress, has been painting seasonal murals backstage for “Chicago,” which has been captivating audiences since its 1996 revival, although it originally opened in 1975.
Interestingly, London’s theater scene is generally more relaxed, with its own quirky traditions. For instance, on opening night, cast and crew members at the National Theatre bang on the windows facing the interior courtyard. Another delightful custom is the Baddeley cake, a beautifully decorated dessert served with punch at the Theatre Royal, Drury Lane, every January 6 since 1795. This tradition was established by Robert Baddeley, an actor who bequeathed funds for this annual celebration in his will.
As Michael Longhurst, a 43-year-old British director, observes, many of these rituals blend practical elements with superstition. Actors often wish each other to “break a leg,” a phrase thought to replace the more straightforward “good luck,” which is considered bad form. The origins of this expression are varied; it might stem from an understudy hoping for a principal’s misfortune, or it could relate to the theater’s “legs”—the thin drapes framing the stage that one would cross to receive an ovation. Regardless of its origins, it remains a phrase cherished by performers, a testament to the enduring nature of theater traditions.
