Theatre Superstitions

_{Written by Erin A. Craig}

Theatre folk are, as a rule, a superstitious lot.

Though every company undoubtedly has traditions and practices unique to it, there are some beliefs which transcend both geography and art form and are honored in every backstage space from the smallest black box to the grandest concert hall. Many of the superstitions are rooted in a desire for a successful run of the show. Others act as wards to keep the company members from harm. Given the high-risk nature of live performance - the rapidly moving scenic pieces, the dazzling special effects - it only stands to reason that everyone from the ‘prima donna assoluta’ to the chief of the flies would do anything in their power to keep a ‘disaster beyond imagination’ from occurring.

BREAK A LEG

While it seems counterintuitive, anyone who works onstage will tell you it is extremely ill-mannered to tell someone “Good Luck!” before a performance. Though every discipline has its own way of wishing others a good show, you will never hear any talk of luck mentioned.

Before a play or musical, performers will often tell each other to “break a leg.” Several theories try to explain the unusual phrase. Some believe that it refers to the cast coming out from behind the legs of the scenery - the velvet drapes which usually border the sides of every production - to bow, satisfying a happy and applauding audience. Others think it means the physical act of bending a leg to take a bow.

Before a ballet begins, dancers will wish each other “Merde!” Back when horse-drawn carriages dominated the roadways, cast members would peek out their backstage windows to see how much manure had gathered outside the theatre. The more “merde,” the better attended the performance was meant to be.

Should you find yourself backstage before an opening night at the Opéera Populaire, make sure to tell any singers you meet, “Toi, toi, toi!” It is meant to ward off bad luck and is often followed by a rap on wood. Say it with enthusiasm and you may even earn a smile from La Carlotta herself.

WHISTLING BACKSTAGE

Back in the 1700’s, the fly systems in theatres were very similar to the rigging on ships. Sailors on leave were often hired as stagehands and would use coded whistles to relay their cues across the fly loft. It was considered bad luck and a dangerous action for anyone else to whistle backstage. You might accidentally begin a scene change at the wrong moment, resulting in injury for anyone who chanced to be in the wrong place at the wrong time.  

PEACOCK FEATHERS

Though lovely to behold, peacock feathers are never meant to be ornament costumes or be used in prop pieces because they bear too much of a resemblance to the evil eye. Wearing such a dazzling display onstage is seen as a welcoming of bad luck.

THE SCOTTISH PLAY - OR OPERA!

Shakespeare’s magnum opus, Macbeth, is rumored to be the most cursed stage production of all time. People debate whether it’s the Bard’s use of his iconic witches or the fact that the show itself has more sword fights than any of his other works and therefore more chances for actors to sustain onstage injury. Whatever the reason, for hundreds of years, theatres across the globe have refrained from saying the name “Macbeth” backstage. Disaster is certain to befall anyone who forgets or wishes to court fate’s temptation.

If you must refer to the Shakespearean tragedy while within a theatre, one is encouraged to say “the Scottish Play.” Or, should you find yourself backstage at the Populaire, “the Scottish Opera” might be more appropriate.

THE OPERA GHOST

Though many theatres claim to have a resident ghost, often the spirited remains of an actor or audience member who perished during the course of a long ago show - the Opéra Populaire’s specter is like none other. Not content to spend eternity at rest, the Opera Ghost takes a keen interest in all comings and goings of the company and is even known to write notes to management, expressing his opinion on anything from orchestral arrangements to casting. Rumor has it that he’s even kept on salary, retaining sole possession of Box Five for his viewing pleasure, as well as commanding a hefty salary - 20,000 francs a month!