The herald., 1893-10-22
rBy L. BBnymrR.l.

III
\ book soon to appear containing some
comic tragedies, written in the early
days by that benefactor of households,
Louisa M. Alcott, dear Aunt 10, who is
embalmed in the thoughts and loves OF
thousands OF little men and women.
Roberts Bros, Boston, have just pub
lished Comic Tragedies, written by 10
and Meg and acted by the "little
women"
In the good old times, when the little
women worked and played together, the
big garret was the scene OF many dra-
matte revels. Alter long day OF teach.
ng, sewing and "helping mother" the
greatest delight of the girls was to trans
form themselves into queens, knights
and cavaliers of high degree and ascend
into world OF fancy ahd romance. Gin
dersla'sg godmother waved her wand and
the dismal room became fairyland.
Flowers bloomed, forests arose, music
sounded and lovers exchanged their
vows by moonlight. Nothing was too
ambitious to attempt; armors, CONDO
lac, harps, towers and palaces grew as II
bv magic, and wonderful scenes of valor
aud devotion were enacted before ad-
miring audiences.
Jo, of course, played the Williams,
ghosts, bandits and disdainful queens,
for her tragedy-loving soul delighted in
the lurid paris, and no drama was per-
feet in her eyes without touch OF the
demoniac or supernatural. Meg loved
the sentimental roles, the tender maiden
with the airy robes and flowing locks,
who made impossible sacrifices for ideal
lovers, or the cavalier, singing soft SER
enades and performing lofty acts OF
gallantry and prowess. Amy was the
fairy sprite, while Beth enacted the page
scr messenger when the scene required
&aeir aid.
Yet the most surprising part OF the
performance was the length OF the cast
and the size of the company for 10 and
Meg usually acted the whole play, each
often assuming five or six characters,
and with rapid change OF dress becom-
ing, in one scene, a witch, q soldier,
beauteous lady and naughty noble.
This peculiar arrangement accounts for
many queer devices, and the somewhat
singular fact that each scene offers but
two actors, who vanish and reappear at
most inopportune moments, and in a
great variety of costumes. Long speeches
were introduced to allow ruffian to be-
come q priest. or lovely damsel to dis
guise herself in the gsrb of sorceress,
while great skill was required to pre-
eerve the illusion and aHtonish the audi
erce by these wonderful transforpa-
tIone.
The young amateur of today, who can
easily call to her aid all the arts of the
costumer and scene-maker, will find it
hard to understand the difficulties of
this little company, for not only did
they compose their. plays, but they
were also their own carpenters, ecene-
painters, property-men, dressmakers
and managers. In place of well-ap-
pointed stage, with the brilliant lights
and inspiring accessories of q mimic
theatre, the "littls women" had q
gloomy garret or empty barn, and were
obliged to exercise all their ingenuety
to present the scene OF their ambitious
dramas.
But it is surprising what fine effects
can be produced with old sheets, bright
draperies and q judicious arrangement
OF lights, garlands and picturesque
properties and JOS dramatic taste made
her an admirable stage manager. Meg
was especially handy with saw and
hammer, and acted as stage carpenter
building balconies, thrones, boats and
towers after peculiar designs of her own.
Bureaus. tables and chairs piled aloft
and arched with dark shawls made dun
geon walls and witch caves, or formed
back ground for haunted forest and
lonely glen. Screens OF white cloth fur
nished canvas on which little Amy's
skillful hand depicted palace halls, or
romantic scenes for lovers' tryst and
Beth's deft fingers were most aptin con-
structing properties for stage ornament,
and Transforming the frailest material
into dazzling raiment. For the cos
TUNES were serious consideration. No
money could be spared from the slender
'rurse to supply the wardrobes of these
aspiring actors, and many were the de-
vices to cloths the little company.
Thus robe in one scene became
cloak in the next, and the drapery of
couch in the third; while bit of lace
served as mantle, veil or turban, RS best
suited the turn OF the play. Hats COW
cred with old velvet, and adorned with
feathers plucked from the duster, made
most effective headgear for gay cavalier
or tragic villain. sFrom colorN cotton
were manufactured fine Greek tunic5
and flowing trains; and remarkable
court cOStum6b WtIo 6VOlV6u IrOIn I'll
old sofa covering, which had seen bet
ter days, and boasted little gold
thread and embroidery.
Stars OF tin, sewed upon dark CAM
brio, made suit OF shining armor. San
dals were cut from old boots. Strips of
wood and silver paper paper were fash-
ioned into daggers, swords and spears,
d while from cardboard were created
helmets, harps, guitars and antique
lamps, that were considered matter
pieces of etage art.
Everything available was pressed into
Nrervice; colored paper, odds and ends
(of ribbon, even tin cans and their
bright wrappinga were treasures to the
young actore, and all reappeared as
splendid properties. at first store OF
red curtains, some faded brocades and
ancient shawls comprised the stage
wardrobe; but as the fame of the per-
formances spread abroad, contributions
were made to the little stock, and the
girls became the proud posseesors OF
velvet robe, plumed hat adorned with
silver, long yellow boots, and quantity
OF mock pearls and tinsel ornaments.
Such wealth determined them TO write
play which should aurpass all former
efforts, ,,give Jo a chance to stalk haught-
lily upon the stage in the magnificent
boots, and Meg to appear in gorgeous
train and diadem OF jewels.
The Witch's Curse was the result. and
xuco x,re.duoad with oatounSir,o fact