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<h2>THEATER-PARTIES</h2> <div><ANTIMG class="drop-cap" src="images/drop-w3.jpg" width-obs="125" height-obs="126" alt="W" /></div> WHEN A THEATER-PARTY is to be given, it is not customary to use the engraved form of invitations, but notes written in the first person suffice. <div class="blockquot"> 97 Hamilton Street, May 1, 1919 My dear Miss Hammer: Will you give me the pleasure of dining with me on Wednesday evening of next week, at seven o’clock, and of afterward witnessing the new play at the Brooke Theater? In the hope that you are free that evening and kindly disposed toward my invitation, I remain, Yours sincerely, Mary Holmes </div> [135] To such an invitation, the guest should return an immediate reply, either of acceptance or rejection, written in the first person, after the manner of the other missive. It is within the discretion of the host or hostess to secure orchestra seats, or a box. Care should be taken, in the case of a box, not to have a sufficient number of guests to cause crowding. The invitations should be sent out about a week before the evening of the party, but a longer or shorter notice is permissible. A bachelor may find it more convenient to give his invitations in person, orally, and such laxity is allowable on his part. The giver of the entertainment may use his or her discretion in having attendance on the play preceded by an early dinner-party, which may include all or only a part of his guests; or having it followed by a supper-party. Or the theater alone may be deemed a sufficient entertainment. Very often, a host orders an omnibus to collect his guests for a theater-party and[136] to carry them to the theater, and back home after the performance. If this is done, the invitation should specify the fact, and notify the guest of the exact time of the omnibus’s arrival. When a man invites an unmarried woman to be his companion at the theater, he is expected also to invite another woman, either a relation or friend, according to circumstances, who shall act as chaperon. But this rule is not too strictly enforced where a friendship exists between a man and a spinster of mature age. It is the duty of the man to call in person for his guests, and to provide them with fitting transportation to and from the theater. On their arrival at the theater, if the women leave their wraps in the cloak-room, he also should check his hat and coat. He allows the ladies to precede him, and inside the theater secures programs for them, and then gives his checks to the usher. The usher now leads the way, with the ladies following and the host bringing[137] up the rear. If he has retained his coat and hat, he places his hat under the seat and lays the folded coat over the back of the chair or holds it across his knees. He is careful always to retain the checks during the evening since lack of them might prove embarrassing if any error has been made in the seating arrangements, as sometimes happens. A man thus escorting ladies to the theater properly remains with them throughout the performance. The only justifiable excuse for leaving them for a few minutes is when he occupies an aisle seat, and then only when during an intermission a friend comes to pay his respects, who can take his place until the rising of the curtain. The man wears evening dress for the theater. He should by no means appear in a tailless coat when acting as an escort for ladies, or when a guest in a party that includes ladies. He is permitted, however, to remove his gloves on arrival at the theater. The silk hat is often inconvenient for[138] theater purposes, and for that reason the crush hat has been preferred. But this folding form of headgear has lost its vogue to a great extent, and there is a growing tendency toward the use of a black soft hat for such evening wear. The more usual form of woman’s dress is not the decolleté of the ball-gown, but a less extreme style, with sleeves. It is, of course, of such elegance as to suit the occasion. But the low-neck and sleeveless gown is frequently to be seen, more especially in the boxes. With the less formal costume, a hat is worn. This and the veil may be removed in the cloak-room, or, if the wrap is retained, it may be kept on until the seat is reached. The outer garment is then folded and laid over the back of the chair. After having seated herself, the woman then unpins her veil and removes it, together with the hat, and these are afterward held in the lap. If the arrival at the theater is a little[139] late, and the wraps are not left in the cloak-room, it is the part of good taste to remove them before passing down the aisle to the seats. Otherwise, their removal becomes an unpleasant interruption to those seated near by. This same matter of consideration for the rights of others is the reason why it is necessary that the hats should be removed, since it would shut off the view of the stage from those seated behind. It should be borne in mind always, also, that this consideration for others should extend to the matter of conversation during the performance, which must be rigidly suppressed. Care ought to be taken in every respect lest there be an impolite intrusion on the rights of others. If there is supper in a restaurant after the play, the wraps should be left in the cloak-room as a rule, but a woman may retain one of a sort that is not cumbersome, according to her pleasure. The hat is not removed for the meal. The veil may[140] either be pushed up or taken off according to the individual preference. The gloves are removed after the party is seated at table, and kept in the lap under the napkin until the conclusion of the meal. They are put on again before leaving the table. <hr class="chap" /> [141] <div style="break-after:column;"></div>

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