The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-10-05
A MAGNIFICENT
REPRESENTATION.
The Transformation Scene in the
=. "Crystal Slipper.
The -Four Seasons, Winter. Spring, Summer
and autumn, Iisalizsd-The Picture
Crowned With the Golden Age.

EAT is seldom that more beautiful cOncep-
"a ton is seen than that which is shown IN
h the transformation scene in the crystal
Slipper" now being presented at the Grand
Opera House. From the front it is a
gorgeous spectacle. From behind 1t is not
so 90 SO eous, and III 5 article is to explain
away The mystey att ching tn tie changes
The cOuce Ii IA AMI Carrying ont of the plot
IS the w * OF Ere DANCE fed, and the
working of Il e m chinery is Superintendent
bye. C.vtnt Y. tn s.age manager.
The Transformation represents series of
five epochs, t. W t: winter, spring, summer,
autumn and Golden Age. In two OF the
galleries mel are stationed with calcium
lisRls. each b ing supplied with glass blinds
of d ffe mt colo-s. the sage being supplied
with SINH ar lights. For the guidance of the
small army OF men required t. work the
shifting so,n ny with exaetness. each is sup
piled t. pots OF hi, work. Ii is necessary
that Every man a tend strictly to the duty
aIlot d h M. and lie has no time to be look
ing around at anything else. The first Of
these s., Of instruction is called the border
plot AMI is in tie hands of the scene
shifters; the second is the calcium plot for
the men working the calcium lights in the
gal cries, and the Third is the calcium plot
for the stage. Accuracy and unanimity of
actien is absolutely necessary, otherwise the
effect would be destroyed.
PREPARING.
The transformation scene is being ar
ranged while the second scene of the fourth
ac.:>is being PLAYED. The Prince, who is
. pprsonated by the beautiful Louise MOnta-
que, is vowing that he will marry no one but
the owner of the glass slipper, and the
passage of $50 beauties of all nations before
the Prince would prevent any noise from
be ng heard, even if there were any. which.
hGweyer, there is not. \ back curtain is let
down which presents the full, or harvest
season, This effect is produced by a circu-
lar piece being cut out OF the heavy canvas
-aua a thin covering fastened over it. a
powerful calcium light Is thrown on this,
aud there is the full moon in all its glory.
The drop in front of this is a car
apparently resting on the gold-tinted
c.rud, on which lies resting at
Fl Il length the figure of the Harvest
Queen in the person of Miss Kitty Stevens.
= In front of this is flower piece which for
TIE time being hides the Harvest Queen
.f1om view. The drops that follow in sue
cesSiun after this are the swallow. rainbow,
robin. and holly, this latter being the first OF
the shifting scenes completing the trans
formation and hidden from view at first by
what Is called the time-drop. Everything is
row ready to begin.
THE DARKNESS.
For a few moments the theater is sbrouded
iii darkness. \ white blind is in front of
the gallery lights, and purple and green
blinds are Il position and ready to lower at
Tile proper time. Mr.. Coventry is at his
.D'ace with a-llttle click bell. The orchestra
is playing so that in front the click of the
. bell cannot be heard The light is suddenly
flushed on tire scene and discovers the time
drop, representing the fight of time. The
bel clicks, and time begins to take his fl ght
slowly heavenward. At the same moment
fha side wings. representing flowers and
leaves. are Slowly drawn back and discover
a g.Tg1onS bIrdeT of grain and fruits.
within which the holly bushes ana berries
are sefn, with flock of robins in the bOughS
A purple light is thrown on this, coming
= down very slowly. The whole machinery
If the scene is now in operation. The holly
and robin drops are slowly lifted. disclosing
!;he rainbow drop. The colors thrown on the
sLeue at this stage Of the transformation are
purple, green, pink ana orange, and the
effect Is magnificent. The rainbow disap-
Fears and in its place is a cluster of swai-
:; Jews. circling through the air. Meanwhile
the ever-changing lights flash brilliantly
.. aver the picture. The next view IS bed of
fdwets, the swallows having taken their
flight. Six bells have now been rung, and
TIE time has come for the full tranSfOrma-
ton scene IL burst upon the vision. 1t comes
with the seventh bell, when the Harvest
Queen, riding in her chariot of gold on tieecy
clouds, in the light of the full harvest moon,
is seen. This IS the only figure of human
being seen in the grand picture presented.
TIE HISTORY.
- Cold black and white can convey but
a. faint idea of the history of the pic
ture;: land nothing whatever of its magni-
iirent SplendOr. Seen in the light of day
10 one could for one moment imagine the
wealth of beauty it brings out. But even
its glowing rOlorlng would fail to give its
proper effect we're it not for the use of the
.p9W erful lights that throw the tiuts on it.
1t possesses the power of multiplying itself,
and every time it is seen it presents some
new beauty not before discovered. There are
IN tile audiences persons who have not
missed. Il single representation, and who
declare that often as they have seen
II there is az each representation
some new feature developed that
had esCapGd their vision before.
..%Mr. Henderson has Ddngerfeld and his
staff Of artists already at work preparing
the SCENARIO for the Chicago Opera House
next SKINNER. 1t required twelve weeks of
constant and .unremittng work to complete
this transformation scene here presented.
It is IN the adaptation of each feature that
: the great work: of the designer consists.
First, he has to elaborate his plot and then
'srT..nge the details so that no one feature
shall clash with the others. Many trials of
HE feet Of light have to be made before a
:pIoper blending of tints can be ob tanned
and even then the corps of workers in the
Way of scene shifting ana managing the
lights must be thoroughly drilled So that
everything may move in harmonious order