The morning news. [volume] (Savannah, Ga.) 1887-1900, 1895-03-31
LOIE FULLER's DANCES.
Her Grace, Gauze and Flashes Make
faded Parisians Yen With Delight.

Judeo fartslans 4 ell With Delight.
Paris Letter in New York sun.
Last night Loie Fuller reappeared be-
fore a Paris audience in three new dan
ces,which promise to cause a repetition OF
the tide Of enthusiasm which three years
ago brought both Loie and the FOlies-
Bergeres into high favor with the French
public. This time It is the Comedie-Pari-
sienne which hopes TO share in the pop
ularity and profits Of the American dan
Ger. The piece in which she is appear
ing. ''salome" Qoie calls it sally Mayo,
was especially rewritten for her by Ar
mand Sylvestre. NJ. Gabriel Pierne COM
posed the music which is charming. And
now. after a month Of rehearsals and de-
lays, the production has come, and
probably the next thing will be the La
Loie scarfs and the 10 Loie gowns anu
SO on, as it was before.
Loie Fuller is a dancer, yesi but she
owes her great success to Edison and to
| her own cleverness and ingenuity. With
out the electric light Loie would never
have turned the heads of Paris thea
| ter-goers. But at the same time. If she
were not clever enough to effect all man.
ner of ingenius betrothals between the
| light and her dancing, the chances are
that we would have missed a great deal
/ Of beauty. In "Salome" she has intro
duced an entirely different arrangement
/ of lights, and has drawn from this ar
rangement some wonderful results.
The floor of the stage OF the Coincide
/ Parisienne has been cut SO that there
are six large holes.
In these openings, which are almost
yard square, are inserted squares of
/ heavy plate glass, upon which Loie can
/ tread G ha ms feel inclined
/ to attempt. The stage floor is covered
| with carpet, which has openings to cor
/ respond with the squares of glass. Under
| each plate of glass is a powerful electric
| light. II is in this arrangement that the
success of the dance as a novelty lies.
The piece is a pantomime of a digni-
| fed and dramatic nature. Herod, weary
and discontinued, is visited by John the
/ Baptist, who, on finding Herodias there
/ commands Herod to send the woman
away. and, when he will not, threatens
him with the divine wrath. Herod,
| lacking the courage TO dismiss Herodioas,
! is yet unreasonably angry with her and
repulses her. Herodias then studies how
she may win him back, and as she
| stands there, lost in thought, her young
/ daughter, Salome, comes in laden with
flowers and followed by her maids in
| waiting. In this tableau, as the differ
| ent scenes are called, Miss Fuller's dress
is of the most diaphanous material, blue
/ with silver trimmings. One can see her
! figure through the gauze, as one can
| in two of her other dresses, but in this
/ scene she does not dance. Her mother,
/ however, seeing her daughters beauty
i and Loie is really beautiful in her role
/ of the young Salome-commands her to
dance before Herod, hoping thus to win
| him from the mood in which John the
/ Baptist has left him.
In the next tableau Herod is seated
on a raised platform, with several ath-
| Ietic negroes motionless behind him, when
Salome comes in. She is dressed in black
gauze, flashing with irridescent spangles,
| and holds in each hand a soft mass Of
| black gauze whose ruftied edges are strip
ed with silver. Salome kneels before Her
| cd, then rises and begins to dance. 1t Is
| impossible to describe the effect which is
produced as he circles from one stream
of light to the other. One does not realize
that the lights are there, when suddenly
her gauze draperies flame with a violet or
rose of green incandescence. Her very
| body, the outlines of which are plainly
| visible through her drapertes, seems 10
glow with light. Sometimes she Stops JUST
| short of one of the Jets of light, and,
| holding the two scarfs, as she calls them,
over the light, shakes them up and down
until they seem to be foaming with light
and color. The effect is marvelously beau
tiful.
In the second dance Loie wears a sim
| liar costume of gauze of a color between
orange and red. She has a long, broad
piece Of the same stun, perhaps three
! wards long and two yards broad, with
which she tempts still other effects
from those streams of coloVed lights. She
uses this piece quite differently, waving 1t
in a long undulation high before her, then
loosening her hold and running forward
beneath it and catching the other end,
| and SO on back and forth over the stage.
When it waves thus over the lights, which
are all red or yellow in this scene, 1t Is
like living flame. and she herself seems
| like a goddess Of fire.
/ Tbe third dance is less attractive. She
wears a white, shimmering robe in this
| one. 1t is not so diaphanous, but takes
| beautiful lights. This dance Il supposed
to be tragic, however, and Is not so
graceful nor so full Of wonderful ef-
| fects Still, 1t seems to have great
effect on Herod, who is all over his fit
of the blues by this time.
| The scriptural account is now reversed,
| and Herod, overcome by his passion for
Salome, sezes her in his arms. John the
Baptist who has been an apparently in
| terested If homogeneous, spectator OF the
dancing, interferes to protect Salome.
whereupon Herod orders two of the ne
| eroes to take John away. Salome, how
| ever still repulses him, and tries to fol-
| low the prophet, so Herod, who is a man
| of action, dispatches the other negro to
cut off the prophets head, and, accom-
panied by the flash of lightning and the
rumble of thunder, the Ethiopian draws
a very bright sword and goes out. He
returns, holding up the CORY head, which
is remarkably well done, and the curtain
falls. The piece, while well conceived and
executed, is, however entirely secondary
to the dances, and it is to see the Ameri-
can girl dance that people go to see it.
and not to think of Herod and his in
| trigues.
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