Dodge City times. [volume] (Dodge City, Kan.) 1876-1892, 1881-01-08

borders" Thus q soft green light is
thrown over the entire distance, while
its source does not meet the view of the
spectator. A usual feature of stage
moonlight scenes is water. because it
affords an opportunity for the intro
duction of the ''ripple"-a charmingly
natural stage effect. The main scene
in moonlight view is ALWAYS
painted on a "drop'-that is,
scene made like the curtain let down
between the acts. The position of the
moon being determined. Immediately
under it, beginning at the horizon, q
number of small irregular holes is cut
in the drop. These are then covered
on the back with muslin and painted
over on the front to match the rest of
the water. Behind these holes is placed
an endless towel. about eight feet in
height, running around two cylinders,
one at the top and one at the bottom.
The lower cylinder has crank by
which the towel is turned. In this
towel IS cut a number of holes similar
to those cut in the drop. A strong gas
burner is placed between the two sides
of the towel. When the machine is
turned the flashing of the light from
the passing holes in the towel through
the stationary ones in the drop produce
fine ripple. 1t is always better to
turn the towel SO that the holes pass up
ward. as that helps to make the mimic
wavelets seem to dance up toward the
sky. Instead of a towel large tin evil
inder has been used, but it is cumber-
anh nnsSt- II i, 49, .,,-.
this towel with great steadiness; other
wise the ripples will go by fits and
starts. and entirely lose their natural
appearance. Stars are easily put into
the sky. Each twinkling orb consists
of u spangle hurg upon a pin bent into
a double hook. The slightest motion
of the drop causes these stars to shake
and the flashing of the light upon them
produces the twinkle.
One of the most beautiful effects pro-
duced upon the stage is the change
from day to night or from night to day.
OF these the former is the more strik-
ing, and a description of it will serve to
explain the principle of both. In order
to produce the proper effect the back
drop is made nearly double the height
of the usual scenes. The upper hall of
it is painted to represent sunset sky
and the lower half to represent moon
light. 1t is hung so that the upper half
alone is visible The scenery of the
distance is then painted upon sepa-
rate piece. which is "profiled;" that is.
the irregular line of the horizon made
by trees, mountains or houses, is sharp
ly cut out with circular saw. This
piece is placed Immediately in front of
the sky drop. A few feet further in
front is hung what is known as a cut
gauze drop. This has sides and top of
canvas painted as the case requires;
while the center is filed with fine gauze
which lends an aerial effect to the dis
lance. Red mediums" are employed
to give soft, sunset glow to the scene
At the proper moment, the back drop is
very slowly and steadily hauled up.
while the red mediums are slowly
turned off and green ones turned on.
The moon is made in the night half of
the sky drop, and rises with it. When
it rises above the distant horizon the
green mediums" are turned on to
their full power and the green calcium
light is brought into play. The effect
of this change. when carefully managed.
is always very beautiful. and is sure to
draw forth applause from the audience.
Moonrise, in scene where there is
no change from daylight to darkness, is
often produced with a muslin drop and
a "mOon- box" The muslin drop is
painted to represent the sky. the clouds
being painted on strips of canvas cut in
the required shape and sewn on. The
moon is made with box on one side of
which q circular hole is cut. Over this
hole is pasted a piece of white muslin.
A couple of wires serve to draw the
moon upward. OF course the white
circle shows plainly through
the muslin sky, but disappears when
M ssiuo behind the canvas clOuha Rv /