New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-02-05
STAGE ILLUSIONS AT DALYS'
MIDSUMMER NIGHTS DREAM EFFECTS.


CAREFULLY ADJUSTED STAGE MEOH>Ni'"
IsrIc uaHTING AND COSTUMES
In the production Of " A Midsummer Nights Dream
n, naIv,s Th~atre Augusiin DAILY has succeeded, In
tho nnrov incidental features OF the spectacle pre-
sented in surprising his own previous achievements
as we'll as those of other managers Inc cohPic'o
ness OF Diet all in the various productions OF Henry
irving excited the admiration of his American audi
ences his management of lights, his mechanical ap-
nsnces his harmonious colorIng of costume and seem
arv and all that contributed to the stage picture re-
celying unbounded praise.
The present revival OF old comedy at Days, while
marked by all the excellences that have contributed 10
the fame OF Mr. Days company and Mr. Days I'D
eral management also marks distinct advance In the
nresentaon of a drama in which the spectacular ee-
ment Is important and the temptation to strive aitcr
SPECTACULAR effect almost limtless Mr.. DAILY has sue
ceeded I'm discovering the happy medium between What
II was wise TO attempt and what was beyond the re-
sources OF any stage and in his utilization oil the
eoreeousne.s of the environment Of tho mortal char
acters OF Shakes pearcs play well as the posi-
bues of the supernatural dramatis personse, he has
given TO the fancul creatures of the great dramast
a setting worthy OF the theme
The management Of light Is what hrst impresses the
spectator who is fortunate as to obtain seat al
DaIys In u ese crowded days, when matinee on such
stormy afternoon as yesterday packs the house The
transitions from gasight to moonlight, from moon
Hight 10 darkness and from darkness to dawn and the
sguleence of daylight, while produced by the means
at command IN darbened theatre, are Illusions as
complete as possible. without depending merely on
a darkencd stage" in the gloom of which the scene
changes the Transformation IS effected SO completely
before the spectators eye to seem like challenge
to discover the secret of It, But the secret Is Mr.
Dalys secret and the beholder sits and admlies ana
clever and experienced though he be, wonders at the
completeness of the Illusion He sees now ana thcn
a bit of gauze and knows that the gasman' ana inc
manipIator Of c"ored lights are At work; but he
seeks In penetrate the mystery of inc progress
sve effect and soon in his admiration of the result
throws criticism and curiosity away and heartily ap
plauds.
The mechanism that effects the changes Of scene,
too seems quite beyond what is commonly known OF
stage machinery Pictures and persons seem 10 ghde'
without the customary bitches of the crank interiors
melt into /" a wood Athens" NICK Bottom ana
Snug the Joiner" give place to "TitanIa' ana
Pucks and when, at the close OF the fourth act,
Tbcscus- takes the lovers and all the knghly com
many into his barge and through the Greclan
pauorama toward Athens, the realism OF the passing
scene calls forth loud and hearty applause
IT SEEMS TO BE MAGICIANs' MACHINERY.
All this could not have been effected without the
most complete and pans aldng preparation, and that
Of a kind most unusual. The machinery for pr0dnc-
ing these transformations If not like the cork leg OF
the song "a mixture Of clock-work and Steam' Is
mixture Of clock-wOrk and brains Every particle OF
II was made by the manufacturers OF the mechanical
devices used by magcians whose productions are cal
cuated TO produce vcrtablc optical Illusions not
merely something that will do for the purpose, anu
are as carefully PIT together as cabinet work " PUCK
glIes smoothly over the ground and through the air
and "Thcseus" rides in his barge through woodland
and lake. past temples and villas. that do not pump
along under the hand OF the scene shiter An optca
effect may not be appreciated by all until IL mas
been pointed ont Is the extraordinary fidelity to per-
spective in this moving panorama on the return to
| Athens.
To the eye Of passenger by boat or train the OBJ
ects I'm the foreground move rapidly past, those IN
the middle distance remain longer In sight, whue III
the far distance houses and hills and all the horizon
pass slowly out of view. To attempt the reproduction
Of this perspective with the mechanical contrvances
Of the stage was bold venture and many experts re-
garded it az impossible to accomplish. but Mr. DAILY
has tried and with marked success. Inc coh'acI
between the barge and the water is clevery cohceaeu
| by the foreground which gdes rapidly past the boat
| the objects In the next plane move more slowly the
middle distance moves more slowly stiil' "hlie inc
background changes Just enough 10 perfect the llu-
sion. Careful study required To adjust the move
| mens OF these varons planes, so that they sh'clu
appear and disappear at the proper rates OF speed
and as the scenery unwnds from It's cylinders on one
side the stage to be taken up by the cylinders oppo
site the connecting cog wheels are reVoNcd a. justly
| proportional rates OF speed.
A further Illusion is produced by starting he barge
forward as the ducal progress begins ana wheh II
reaches final position in mid ocean II Is slowed ana
stopped so gradually that the spectator does not re-
| allie f. and continues to carry in his mind the Idea
tina, the barge do move" In placing this scene at
the end OF the fourth Mr.. DAILY has made an inn0-
walton In the Interest of both the drama and the spec
| tacle I'm former revvals OF :" A Midsummer Nights
Dream the barge has brought the lovers from Athens
| 70 the wood and whenever, attempted the panorama
has Icen Introduced IN the ) cond act NY poStp0mnB
il to the happy return of the reunited lovers to Athens;
Mr. naly avoids the error OF making lSsander anu
! Hernia DemetriuS" and Helena depart from
Athens together, and introduces The panorama a. ane
proper point the spectacular climax OF inc pray
SOMETHING ABOUT TIRE COSTUMES.
The harmonious effect OF color in the stage picture
ls the result of the careful operation between the
costumer and the scene painter which Is characteristic
| OF Mr.. Days management The costumes were de-
signed and ready for Mr. Days inspection so long ago
| nc when he was last with his company in San Fran
| cisco when the drawings in color were submitted TO
him. They were designed and made by Thomas the
| costumer Of the Grand Opera In Paris. Under this
| supervlson were made not only every costume down
70 the Shoes but every jewel headband and
| niece of armor-all except the wigs This work was
| so carefully done that fitting was required after
tbe costumes were delivered here except in the shoes
Historical accuracy carefully studied in the prepa-
ration Of the costumes all Of which were modelled ON
| we'll authenticated Greek originals. NJ. Thomas at
first protested against costuming "A Midsummer
| is Victor Hugo, and Hugo had decided that Shake
spcare intended the play TO DO English In Its sur
the fairies be English brownies but Mr.. DAILY was
otherwise persuaded, and required the graceful Athen
ian robe, which have been 50 much admired on the
fumes of this play Will be the last creation OF NJ
Thomas His health has failed since This work was as
another production. well as all other orders, has
remained untitled.