excepted.  Stage accessories.  PROPERTY-MAN.—­The man who takes care of the properties.  PROPS.—­Property-man; also short for properties.  PROSCENIUM ARCH.—­The arch through which the audience views the stage.  RIGGING, STAGE.—­The ropes, pulleys, etc., by which the scenery is worked.  RIPPLE-LAMP.—­A clock-actuated mechanism fitted with ripple-glass and attached to the spot-light to cast wave-effects, etc., on or through the drops.  ROUTE.—­A series of playing dates.  To “route” is to “book” acts.  ROUTINE.—­Arrangement.  A specific arrangement of the parts of a state offering, as a “monologue routine,” or a “dance routine.”  SCENARIO.—­The story of the play in outline.  SET.—­Noun:  a room or other scene set on the stage.  Verb:  to erect the wings, drops, and flats to form a scene.  SET OF LINES.—­Rigging to be tied to drops and other scenery to lift them up into the flies.  SIGHT ACT.—­See “DUMB ACT.”  SINGLE MAN—­SINGLE WOMAN.—­A man or woman playing alone; a monologist, solo singer, etc.  SLAP-STICK BUSINESS.—­Business that wins laughs by use of physical methods.  SMALL-TIME, THE.—­The circuits playing three or more shows a day.  SOUND-EFFECTS.—­The noise of cocoanut shells imitating horses’ hoof-beats, the sound of waves mechanically made, and the like.  SPOT-LIGHT.—­An arc-light with lenses to concentrate the light into a spot to follow the characters around the stage.  STAGE-DRACE.—­An implement used with stage-screws to clamp flats firmly to the floor.  STAGE-CENTRE.—­The centre of the stage.  STAGE-LEFT.—­The audience’s right.  STAGE-MANAGER.—­One who manages the “working” of a show behind the scenes; usually the stage-carpenter.  STAGE-RIGGING.—­See “RIGGING, STAGE.”  STAGE-RIGHT.—­The audience’s left.  STRIKE, TO.—­To clear the stage of scenery.  STRIP-LIGHT.—­Electric bulbs contained in short tin troughs, hung behind doors, etc., to illuminate the backings.  TAB.—­The contraction of “tabloid,” as burlesque tab, musical comedy tab.  TALKING SINGLE.—­A one-person act using stories, gags, etc.  THREE.—­The stage space six or more feet behind the rear boundaries of Two.  TIME.—­Playing engagements.  See “BIG-TIME,” “SMALL-TIME.”  TORMENTORS.—­Movable first wings behind which the Olio runs, fronting the audience.  TRAP.—­A section of the stage floor cut for an entrance to the scene from below.  TRY-OUT.—­The first presentation of an act for trial before an audience with a view to booking.  TWO.—­The stage space between the Olio and the set of wings six or more feet behind the Olio.  TWO-A-DAY.—­Stage argot for vaudeville.  WING.—­A double frame of wood covered with painted canvas and used in open sets as a flat is used in box sets; so constructed that it stands alone as a book will when its covers are opened at right angles.  WOOD-CRASH.—­An appliance so constructed that when the handle is turned a noise like a man falling downstairs, or the crash of a fight, is produced.  WOOD-SET.—­The scenery used to form a forest or woods.  WORKING DRAPERY.—­See “DRAPERY, WORKING.”  WORK OPPOSITE ANOTHER, TO.—­To play a character whose speeches are nearly all with the other.