Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1884-10-25

plays that one expects to see at the Eden
Theater in Paris. the Alhambra in London.
and Niblo's in New York. This time the
Star Theater is to have the honor instead of
Niblo's.
Every morning upon the stage some fifty
young and pretty coryphees are whirling in
dance They constitute a part of the
grand ballet corps of l25 girls upon whose
efforts the success of ''Sieba" will largely
depend The faces are fair to look upon, but
the dresses are not. The rehearsal dress of
the ballet consists of one very short skirt of
muslin, and ct ceteras tucked up above the
knee. The upper part of their attire is nom
descript, often portion of their ordinary
street dress The ballet master, Signor
Coppini, middle sized man with rather
truculent mouth but a good natured eye,
stands in the center of the stage ten feet
from the fnotlghts. Behind him upon
rickety chair sits a musician with long and
melancholy visage, and a violin. He fur
nishes the music. Around him are clustered
number of small children chattering and
skylarking. They will be called upon to
rehearse their parts later. Signor Coppini's
two assistants stand at the right AMI left.
One of them the Kirafvs brought over from
the Eden Theatre Paris. where he assisted
in the production of "Sieba" last year
AS the violinist gives a final scrape the
ballet stops and the girls gossip in groups.
"You see we are busy" says Mr. Teal, the
stage manager. THE first call for rehears-
al is at 8 A. NJ, and the last at P. NJ.
which usually carries the rehearsal on till
ii p. M. We have so many performers.
There are l25 ladies in the corps de ballet;
As male dancers, "a children in a corps by
themselves, and score of choristers. In
al, -, ~l.,l. Il. Al
act there will be over 400 persons on the
stage. The premicres danseuses are Mines.
Lactali, Biaranza and MILAN, all of whom
have reputation of the highest order Sig
nor Camearo is the chief male dancer"
At this moment Signor Coppini is heard to
utter an ejaculation, in what language who
can tell! The ballet girls cease talking, and
range in long lines across the stage. Sighor
Coppini, standing erect, strikes the floor with
a thick club in bis right hand. As the sound
echoes among the empty flies, the musician
draws out an agOniZing strain and the ballet
gracefully and slowly swing this wav and that
and then, as dance air steals in, dash down
the stage. Looking from behind the ballet it
appears as if Signor Coppini and the meian-
chOly musician would be swept off the stage
AS the rehearsal goes on Signor Coppini
shouts his directions, and now and then
dances lew steps 10 snow now the thing
should be done. Towards the end of an hour
perceptble increase of grace appears, and
despite the coarse costumes and the perspir-
ing faces, the scene has some charm. "Ev-
cry land is represented there" says Mr..
Teal as the ballet is dismissed; "French
German, Italian, English-indeed, every ma
tionalty."
The ballet master turns his attention to
certain individuals, whom he is nstructing in
steps and postures really intricate and diff
cult, though an audience thinks them easy
enough when it sees fifty girls go through
them at once.
visit to the property rooms reveals a vast
accumulation of stage armor and costumes.
The dresses are piled in well ordered heaps.
On each stack of costumes Is water color
sketch of the dress as it appears when worn.
Some of the designs display great artistic
taste, and all are magnificent in color and
material. The suits of armor, the helments,
breastplates and shields are all of. excellent
construction in steel. silver plate and solid
brass. One suit of untanned leather and
chain armor, the latter of heavy weight, looks
good enough for a trooper of Prince Rupert.
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