New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-03-29
STAGE ARCHITECTURE.
SCENIC HOUSES BUILT LIKE REAL ONES.
HOW PLAY IS MADE TO PLEASE THE ARTISTIC
ryr-oNE PICTURE INSTEAD OF A DOZEN.

cyclone PICTURE INSTEAD OF n DoHES'
In the palny DAYS Of the its patrons were
sometimes with such productions OF pays IN
the matter of scenery and surroundings as would nos
now be tolerated in irst-class metropolitan theatrc.
Palmy days OF the drama are like saints: they are
recognized palmy TIL many years ater '"cy
| are gone II perhaps good arrangement anu
one showing handed justice that the carrier Gays
were PALMER than the later In order 10 compen'
safe for many recent undoubted improvements. When
the footlights were row candles oil lamps, WHICH
be dropped through silt in the stage 10 oarAcn
the suddenly and when tableaus were nlumhAoc
| by red and blue fires, many important ana oeauuiu.
effects must been lost that now accompished
| with perfect and simplicity by the aid Oh gas
the electric lights and calcums. This Is only an OK
ample. The gasman is not the only attendant Oh on'
theatre, whose province enlarged TIL IL oec"'no
| necessary to put his name on the programme 'io
| scenepanter has found himself growing in greamcS
and glory ill., lie had reached the hghest ue'eop-
ment possible for him, some manager conceived the
plan of engaging practical architect as the heah ot
his scenic department. instead Of scenepainoes'
Perhaps this not the actual course OF occurrences
possibly tho practical architect first conceived the plan
of being engaged BY the manager; but this does nos
| greatly matter.
An architect 10 be worth anything, must be an
artist. by instinct and feeling at least Nobody needs
| TO be told that. lie went to theatre ana saot
mentally or aloud " There is something wrong abouu
scene; put mp house with its rooms and doors
|
drive builder crazy, and if it was put up 1t womb
fall down. That other scene is planned we'll enough,
but the coOrs such that the costumes OF the ACTORS
can scarcely be seen against them The people IN
the audience did not know that they suffering an
mposture and they did not appreciate their wrongs.
| but then, neither did the people who used TO make
long journeys In stage-coaches know that they were
| suffering any unreasonable Inconvenience. Let the
| architect build and perhaps they would 80
the difference and appreciate the change
MANY TASKS FOR ONE MAN.
| An architect who has done much 10 show News
! Workers how stage settings may be made at once
| correct and beautiful is william II. Day. Many OF
the results of his taste and skill have been seen al
| the Lyceum Theatre and other theatres have profted
| by them at times. one advantage Of the system,
| though by means the only one, is that 1t places
part Of the control Of several apparently separate
departments in the hands Of man, as TO secure
| the greatest possible harmony in the final result.
Thus the architect, who might better be called tho
artist while he is in the theatre not only designs the
scenery but determines what furnishings and prop
critics shall be used tells the actors what coors they
may wear in order that they may stand In clear relief
| against the backgrounds provided and may form
| pleasing picture, and superntends the arrangement
Of lights. brief account of the process of getting
play ready for the stage may help to an understanding
| of the part that architect may have In it,
The object make display of elaborate
settings and costly hangings and dresses or intricate
| mechanical effects, but present and interpret tho
play. Whatever is needed help the actors in
placing the play before the public must be provided,
| and in such way rs 10 second the efforts Of the
author and those who speak his words in the most
| efectuaI way possible. The architect begins then,
by reading the play and studying II 10 learn It's spirit
| and purpose He then takes il up scene by scene.
He considers what Is the feeling chiefly to be produced
| in the first act and what prevailing color Will best
express and carry this feeling. suppose. for IN.
stance that quiet home scene is first 10 be repre-
sented The color should be warm and cheerful but
not Obt7sive. and it should be such to heighten
the effect of dresses Of different cOlOrs. Dark red =
nav answer these conditions WE'LL and at least three
plays may be readily recalled in which NJ. Day has
used this color in first for just these reasc y
When this is determined list is made of the sha
that may be worn by the actors IL may, perhaps y
clude black, white. dark green yellow and forth.
This list sent first to the leading lady, that she may
choose from the color Of her gown for that
scene After she has chosen il goes TO the actress
who has the second right OF choice. and 50 on. This
choice is Of course subject. like everything else to
tile requirements OF the play II the leading lady
happened to have the part Of a hospital nurse, she
could hardly expect choose light green or dark
yellow for her gown. The dress OF men in modern
plays is limited by fashion TO few colors, sometimes
10 one. and gives little trouble
BUILDING Up THE STAGE HOUSE.
A ground plan Of the scene must be made. and
the architect. beginning on architectural work in .
rostriced sense must consider NV he can accommo-
date the authors requirements for doors. windows,
freplaces balconies, vcrandas and tarcaSes suppos-
ing 10 be an INTERIOR 10 the possibilities Ok
a room in an actual Consd rng that the writer
i, not usually architect. IL may be imagined tlat
thi, is not always easy task. Yet, suppose 1t ae
comuli-Eed \ model of the must then be buls
on an accurate scale, say half an inch To the oo lao
the actual STAGE setting that is to be used In every par
tcular OF form and color. This Is the pretues' part %
tle work. for scene model is like dolls house (nos
rA.1. and
children 10 play with than for TO work WITH Bue
il handed the carpenters and the painters ID
be magnied twenty four dIamecrS and Tie architect
turns his attention to other things lie must see thss
the furniture and the properties are appropriate TO I'll"
place the time the circumstances and the stage pct
Ire The ornaments. the dldpercs and the pictures
on the walls must BE- chosen and arranged WIN WATCH
fll care In some Of these details little ingenuity
is often worth money TO the manager. >" Did you
notice the curtains in that drawingr room sccne! SAID
MIR Day. in speaking OF a play produced early this
season What was the effect OF them Ihey
looked rich and costly, did they not! Wen. inc
stun they were made OF cost l. cents yard ana haa
some figures painted ON t. the adyan'ase OF ts ,s
people in the audience had ev'r seen before IL Duy
draIerics tine minute me curtain 80 up ng cost ~
duplicate them in Broadway or SNthaNe' any " Ro.
but If can make something unlike what tic people
have before they can accept ~ a. t t nis
handsome without knowing anything aDoi ie .ra
we'll yet much of its effect may be ios. inc
of Inc stage is adrOlty managed. 10 pc euro
MOI thiS il we'll done the architect must do II him.
self Of course aud another care Is ADDED 10 nus
ot \ short time a certain pay hdd It's nrst
nrnducon al a benefit. IL required Il setting repre-
ientng a room at side OF the stage; ana door.
Ward and bit Of country landscape at the other 10
was prepared hastily with no rehearsal for the nshs
and mo result was that when a lamp was DrOugnt
INTO Tho room not only the itself was frightened.
but the ward. The road and the country Tor miles
around WA, lighted up we'll When the piece was
niavcd again the architect had regulated matters
And the lamp of fewer candle power.
SOME LIMITATIONS AND SOME HELPS.
There are times, naturally, when the artist is not