Los Angeles herald., 1891-07-19

them more effective than ever. He
%spromisesNa ballet OF twenty girls and
company of sixty-eight people. Few
managers coming to Los Angeles keep
such promises, and it is possible Mr..
ale may leave few coryphees and
promises up in San Francisco where he
Is played last week, but if he does, the
HERALD will make the fact known. 1t
has consistently exposed the false repre-
Y sentations of travelling managers who
Y #give the Los Angeles public only a. pert
pf what they present to audiences else
q where, and the same course will be per-
sued hereafter. Mr.. Yale, it is only fair
to say, has heretofore treated this city
Every fairly and there is no reason to an
ticipate any other treatment from him,
only if such thing should be, the pub
}ic will know it.
N Daniel Frohman's Lyceum Theater
company will appear at the Grand for
va five nights and matinee, commencing
n Tuesday, August 11th, during which
i time they will present all the novelties
Nj in which they have appeared since their
q appearance here two years ago, includ-
Il ing The Charity Ball, The Idler, and
Old Heads and Young Hearts. Daniel
n Frohman's company is we'll known here
from it's previous visits, and it is pleas
nN lLR W AQbc UlldU x1ClOClU IACAoOyt, W. -
"a LIE Moyne, George Cayvan, Mr.. and
II Mrs. Walcot and Mrs. Whippen are still
members OF the company.
y BEHIND THE SCENES.
n Have you ever been behind the scenes
during the production of spectacular
u play?
M If you want to experience sensation
4 (which YOU will remember as long as you
live, go to one of the theaters when a
sspectacle is on the boards. See the show
from sin 'front.'" as the attaches call it,
and then-if you have pull-induce
!R the manager to admit you to a peep at
Ifthat dark and mysterious domain be-
hind the scenes. You may have thought
VIZ you knew something about contrasts
q Wperhaps you have experienced few in
n the ups and downs of checkered career
but you never imagined so great
a transformation or 80 sharp contrast as
will be revealed to you. astonished gaze.
&lby the first glimpse of the neither side of
4 great theatrical show. From your seat
nj in the orchestra you behold a stage
~ full of pretty girls, in gor-
geous-though scant costumes. They
march and countermarch in graceful ev-
n olutions with the careful precision of
{ automatons. Silently, with emotionless
faces, statuesque Amazons, with the
figure and pose of goddesses, move
through the mazes of the dance or the
march. Everything goes along with the
smoothness of perfect piece of machin-
cry. There is not sound from these
N voiceless beauties. Goddess-like in their
N silence, these lovely women look as
y though they were superior to all human
emotions. But pass through the dark,
narrow hallway that leads from the
! foyer and you will find yourself behind
Il You find yourself plunged at once into
NJ what looks, in the half darkness, like a
scene Of inextricable confusion and riot.
AS soon as you gather together your
startled senses, you find you are in the
midst of mob OF ballet girls, "supers," :"
coryphees, pieces of scenery, Amazons.
"grips," or scene shifters, extra la
dies" stage managers assistants, car
l penters, properties, and all sorts OF
1aueer combinations and machines, the
like Of which you never saw before, and
whose purpose you can't begin to guess
lat. Seen from the front there was no
hurry, no confusion. Every performer
Nseemed to move silently into his or her
tfplace at just the right time. But be-
vhind the scenes confused figures rush
44QlJner anu CnlCner, 6tumDllng over edcIl
Xther. 1t is confusion worse confound-
ed. The first thing that strikes you
Ehen you begin to comprehend details
Is the size of the stage and the great
humber of people crowded there. You
Nan easily believe the stage manager
yhen he tells you that there are 100
lseople in the company; and the noise
zach one Of the 100 seems to
Ne on the stage at the same time, talk