New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-07-14
q" STAGE HANDS,"
THE MECHANICS OF THE THEATRE.

THE MECHANICS OF THE THEATRE.
r-ndor f,o generic term stage hands, are usually
rcluded all the men who work In the mechanical
denortments OF the theatre, but NOT me
scene-painter and his assistants who OF COURSE
claim to belong 10 the artistic side Even inc poS
who grnds the colors is by day an artist tholeh IL
night he may increase his income by lending manu-
at moving scenery. Then he becomes PLAN GRIP
the worl used TO designate the carpenters assistants
The origin Of this is not hard to discover as the
GRIM grips the scenes and them on and on the
stage Nearly all scenes which arc not raised OF
lowered by ropes from the rigging LOFT or space
under the roof above the stage mounted on wheels
which enable them to be easily moved upon the stage
hence the compound verbs run-on" and rin-oh''
which are In universal use IN the theatre. The word
moveo Is scarcely ever heard. An elaborate scene
is seto whom arranged upon the stage and
struck7 when It IS removed. Drops IS the name
for the that arc hung, and these are ." let
down. and taken up In the best modern plays,
scenes arc very seldom changed in sight of the
audience and consequently there is little of the old
MISUNDERSTANDING plan Of running on fats in the
first groves near the front of the stage, to enable
the grips" to set another behind them. Every
playgoer has been annoyed or amused at some time
other by the painful and often abortve attempts OF
the grips to make pair Of flats" meet properly
They will them and OF the stage two or three
times without being able to get the seemingly obstinate
the Victoria Theatre In London, commonly known as
the "Vic." where CORY melOdramas were played at
cheap prices, the fats occasion could not be
induced TO meet After several unsuccessful attempts
the grips gave up the endeavor. whereupon boy in the
gallery called We don't expect no grammar, but
yer might jne yer fats
Although OF late It has been customary TO print
in tho programmes of the principal theatres the names
Of the heads of the mechanical departments the pub
lie rarely notices them, and is scarcely likely to give
moments thought to the unseen workers, who
really contribute much 10 the effect Of the en-
terainment. These departments those Of the
carpenters property men. gasnen and calcium-men.
In many Of our theatres. and the number IS being
almost daily increased, gas has been replaced by
electricity, and the gasmar has either given way to
electrician or has learned enough about electrical
engineering 10 be able to control aud direct the plant
The reason that the incandcscent electric lights
were not at first more generally adopted was
that it impossible TO graduate the lights except
by changing the speed of the dynamo, and the doing
so was not only difficult but when accomplished,
would affect lights in the auditorium and lobbeS,
which It was not desired to alter No intermediate
light was possible between dull red glow and the
full power. The Introduction Of what are known as
resistance boxes" enables the person in charge
to regulate the light as easily and certainly as lie
could that OF gas
The carpenter's forces are divided into several
c1oups The first IS composed of himself and one or
two assistants who are efficient carpenters, and who
helm in tho construction of the scenes we'll as in
the rrnning Of the stage They assisted at night
nv the renusite number of gripe" or sceneshifters,
who are not necessarily carpenters but are frequently
men who work at various trades during the day
The lTtp's1 pay is rule, 81 a performance.
Another group Of assistants are the n.y. ana curtain
mcno These work in the fly galleries. or fies'
of tho ahnNa a IN
Of ordinary scenes. In some large theatres and
onera houses there are two tiers Of flies" Tho
unaccustoned visitor to these would be likely TO think
he had got on shtpboard. There is perfect wilder
ness Of ropes with the end Of each wound round
a belayingpin or cleat These ropes are used to
LET down and take up the drops, the sky, foliage
or interior boi,les," strips Of canvas that
nrevont the spectator from seeing into the rigging
loft the "borlor lights long of gasbattens
that hang between the borders the chandeliers ana
the ceilings now generally used Interior scenes
Some OF thse pieces very heavy and are worked oy
a tackle known as " bull wheel" Inc curtain,
though as accurately counter-wcghted as possible,
is also worked by large Wheel which often needs
two men TO control 1t. The rigging loft or wooden
network ceiling above the stage called in English
Theatres the gridiron," a well-chosen term which
pretty closely describes It's appearance. through
the interstices Of this lines be 10 part
OF the stage for the hosting OF scenery or perform
ers. When in Glover De Wolf Hopper suddenly
begins 70 ascend and floats above his associates,
his soaring movement Is due TO wire let through
the aridron" and controlled nom the fies.' The
number of car,eners grips" aud fly mem employed
I'm a theatre varies necessarily with tho character
of the house and the kind of play being done.
As a general thing there Will be in irst-class city
theatre at least six men on the stage and four IN
the dies" When " Mazulm with It's many trick
scenes was being played at the Academy Of Music,
! II ma
OF these had 10 stand with their eyes glued 10 little
holes cut in the scene, ready at certain points
In the business 70 haul or let 20 Of Their lines
When that beautiful and elaborate supper scene la
| the "Palfslan Romance first shown at the
Union Square Theatre, eighteen men were needed TO
set and strike" It. At first the setting TOOK over
twenty minutes, but this time was subsequently re-
d,ced fully one-half The work OF the Sccne-shilters
* very hard while 1t lasts but the hours of actual labor
are short. The moment after curtain falls
and the order TO strike is given, each man se2es
a portion Of the TO which he has been assigned
and runs 1t of to the room or the pack against
one of the walls If the sets are elaborate other
men start at the tlmc 10 bring the pieces for the
! new set but win ordinary scenes the same mon
| uscd and men have to be detailed To so under tae
| stage and work these This branch must be en-
ted TO extremely careful and reliable mon, the
actor's lie would often pay the forfeit Of slight
mi,calcuadon Of time or distance. \ bell runs iiun
tho prompi-stand directs the movements OF the men
working tho traps.
Stage carpenters and grips" naturally &c: TO be
pretty good Judges OF acting, and the player who can
hold the hands I'm the wings to watch him play
scene must possess good deal more than the average
amount u ability. Their ideas OF the merits Of ting
are sometimes founaed on singular grounds The
writer knew a carpenter who for yesIs stOutll main
| tanned that there never any one who can near
Booth IN Hamlet being pressed one day for his
reasons, which he had hitherto refused give no al
4 last said Booth get through II ten minutes
quicker than any other Hamlet that played in
| this house,
1t Il n curious experience 10 watch a play from the