St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1891-09-18
LEAPS AND LINGERIE.
Something About the Dancing
and Dressing of the Little

Something About the Dancing
and Dressing of the Little
Fawn."
The moonlight that streams down on
the stage entrapce these warm Septem-
Der nights is beautiful to behold and
becoming TO bask in, but for all prac-
teal purposes plain moonless night is
just as well. Half a dozen actors and
stage hands lounge about the door. and
in the bright and distinct light of the
moon they fix six pairs of inQuiring
eyes Oh you till you feel like falling oil
your knees and confeSsing all your
vlIainous intentions. You can't turn
and run without losing dignity. Your
heels sound like pile drivers. and the
court is mile long, but at last you slip
in at the stage door, incidentally falling
over some one of those six utterly use
less men outside. You stand like a
cigar store Indian while extravagantly
painted people rush by, till at last you
madly grasp call boy. First door to
the left" he says.
You give a knock that you intend TO
sound still and small. The door is sheet
iron and the noise is terrific. The door
opens just wide enough TO give you a
glimpse of curly auburn hair, pair of
bright eyes, and Little Fawn" invites
you in cordially. Amelia Glover is little.
From the top of her curly mop TO the toe
of her dainty two and a halt, slipper is
just trifle more than five feet. She is
deep in the mystery of dressing, and
after looking at you long enough to find
out that you really are woman and
perfectly harmless, she tells you all
about it. There's first narrow divided
skirt, with a number of overlapping
pinked ruffles on it. Then come two
skirts with four rutfleS on each, followed
by the dress skirt and lace OverdresS.
Miss Glover wears no corset when she
dances, and the only thing stiff about the
whole costume is the little whaleboned
bodice. All the ruffieS are of blue silk
null. There are more than 100 yards in
each set of skirts, and a set will last
only about four weeks.
The little dancer adjusts the wilder
ness of ruffleS carefully as she talks,
putting in iudicious pin here and
there, and trying the effect before long
mirror as she talks.
Practice? Yes, indeed. / practice all
hour every morning. Unless one practices
every day. one dances heavily illustrating
her meaning by funny little dance. "Of
course, it's hard work. but | love IL. and al
though | have never taken any private les
sons, / have always been about The stage. |
| played child's part at nine, and danced in
| the back row of Kirslfy's ballet for two
years But in ballet dancing there is so little
chance for originality. It's all those eonyen-
! tonal steps, aud it's such hard work. like
| solo dancing so much better"
On goes a dab of powder, and the
cupid's bow of the upper lip is accentu-
ated little.
Eyes arrange all my own danees-some
! little bit of music hear will suggest dance
| TO me- and work il ont till it suits me. The
dance j give TO the music from Faust is
my favorite. like the soft dreamy music to
dance to. My whole heart is in my dancing
while am on the stage, and if anything
happens to distract my attention l can't
dance at all"
The pretty blue and lace gown is all
on, high-heeled blue slippers strapped
across a high instep, and the little
dancer gives touch here and there to
that dead leaf hair. You are not half
done with your questions yet. In fact,
you have hardly begun. You begin
| again.
DO you''- Somebody says something
outside Miss Glover gives you her
hand with quick smile. The music
bursts into Faust with crash, and
the Little Fawn" goes bounding out
on the stage with the step of a fairy.