The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-12-25
nounces with Georgian assurance "The
world is mine," are bui a few bags of salt
peter or plain salt tossed on a green cloth

nounces with Georgian assurance 'sThe
world is mine," are bur a few bags of salt
peter or plain salt tossed on green cloth
AGAINST A SCENE.
The mighty motion of the sea that awes
the gallery gods who have "Romany Rye,
ON the brain comprises the united efforts Of
four men. two on either side of the stage,
who shake length of emerald baize known
as sea CLOTH"
pair of wooden squares covered with
the coming of the engine in ACROSS the
Continent" A wish of wires did similar
service for the locomotive in the Main
Line" Cheerful, indeed, looked the fire on
the hearth in the kitchen of Hazel Kirke's
home when she quilted it for the castle of
Arthur Carringford. Gas jets and colored
glass caused the illusion.
10 be Kicked downstairs should be severe
punishment; it seems doubly so when done
on the stage, for the crash, crash, machine
with lot Of loose shingles working on q
cog makes the commotion all the greater.
Once i'll while gentleman is fired through
paper Window and in his descent ap-
parently knocks into smithereens sky
light.
A demijohn wicker cover intact, holding
broken glass, dropped as the actor takes
flight, consummates the disaster to the igno-
miniouS character.
A steam pipe, or, when not convenient,
Stacked lime, will cause a semblance Of dust
OF smoke in earthquakes or explosions.
A poorly equipped theater it is indeed that
has not around a genius who can bark like
dog or crow after the manner of cock.
A wonder to an audience is how change
is wrought so rapidly from exterior to in
terror scenes in 1.-THE Silver Falls" 1.-The
ShaughrauD," "r The Soudan" and other
plays, where no frames are pushed together
or drops used.
The transformation is in view of the
people, but they see no indications of men
pushing, nothing but roundabout move
ment, and the change is done.
The secret is that in the scene are parti-
lions large enough for men to stand upright
between them, and when the "cue" Is
spoken they walk inside the scene, taking
one part from sight as they go and turning
to the gaze of the audience another Of an
entirely different nature.
Realistic properties are steadily encroach-
Ing ON the art OF the property-man. A cage
OF lions IN ''Theodora," horses in "a Run of
Luck, ''Jalma," Kerry Cow and dozens
OF other plays; tanks Of real water in which
Doat-races are carried on and heroines are
half-drowned and Owed after by brave
heroes, etc, etc.
Probably the best piece of stage realism
ever put on the stage was the cascade OF
real water. leaping from height Of fifty feet
INTO the ravine below, seen in the recent
production of Tine Silver Falls" at the
Boston Theater. Tons upon tons of water
were utilized in this scene, and the great
wonder of this exhibition of stage realism
was what became of the water alter it had
dashed into the rocky ravine
1t was simple matter. A huge tank was
Duilt under the stage, which, when filled TO
OVERCOMING, was drained into the sewer
All these realistic effects and such as are
seen IN The Soudan" are but forerunnerS
OF an era that will leave nothing faxed
but the scenery.