Alexandria gazette. [volume] (Alexandria, D.C.) 1834-1974, 1896-10-17
FATAL STAGE REALISM.
pIlshaps In Carrying Out Directions That
Have Ended In Death.

Have Ended In Death.
Such a piece Of realism on the
stage as that which occurred III a
London theater lately, where one &c
tor in duel scene inflicted through
a mishap mortal wound upon one
of his stage comrades, is by no
means infrequent Accidents, fatal
and serious, humorous and tragic,
constantly occur in stageland, and
many an actor can show scars re-
ceived in the mimic strife. The
traditions of the stage are full OF Sc
rious and comic tragedies
One such is said to have occurred
at La Scala, Milan, in the presence
Of royalty itself twas at the finale
of production of Fra Diavolo,
then the chief operate sensation
In tie closing act the captured ban
dit chief is led up rocky path on
his way to prison. He turns to bat
tie with his guards, when Lorenzo
orders his troops to fire and Fra Di-
avolo dies. On this particular night
the picturesque bandit, who had al
ways made traditional fall, so that
he would remain the central figure
of the tableau on which the curtain
descended, introduced what appear
ed to the audience some new busi
ness. He gave one short, despairing
shrek and then fell forward from
his elevation into the very midst Of
tie chorus Of soldiers and villagers.
When tho members of the com
pany ran TO pick up the singer, he
was dead a bullet had pierced his
heart. In the confusion one Of the
soldiers, beardless youth and re-
cent addition to the chorus, quietly
passed out of the theater. He was
pursued and arrested two days later,
when the romantic discovery was
made that the young soldier was in
fact q girl who had been in love with
the tenor. They had quarrcled some
time before, and, unknown to linn,
the girl joined the chorus Of La
Scala, loaded the property gun with
q deadly bullet and thus introduced
some startling realism on the Italian
stage.
If statistics of theatrical accidents
were compiled, it would he curious
to note the Large number Of mis-
haps which happen in the perform
ance of Romeo and Juliet. More
than one well known actor bears on
his face and body the marks and
scars inflicted by rapiers in the quar-
rel scene in tho famous tragedy. \
few years ago at performance Of
Romeo and Juliet III the city OF
Manchester the ending Of the play
was tragic indeed. The actors We're
amateurs. All were greatly excited,
and tho two representatives, Of Mer-
QUITO and Tybalt fought with an I'M
happy realism. A purely accidental
thrust by Mercutio caused Tybalt to
fall to the floor, and before the au-
dience understood what was the
matter tho unfortunate Tybalt had
expired. Fortunately for the Ner-
QUITO of the performance, coroner s
jury returned a verdict Of death
by misadventure. "
William Tcrriss once had mar
row escape from death in the repro
sentation Of this tragedy. II had a
little experience, = he says, in the
run of Romeo and Juliet when
produced by Miss Mary Anderson
which taught me to beware of stage
weapons. l was once playing Ro-
meo to the Juliet Of the late AIDE
laide Nelson at the Haymarket,
when I equipped myself with dag
ger sharp as a razor. AT one of the
dress rchearsals Miss Nelson no.
ticed this weapon and earnestly en-
treated mo to substitute blunted
weapon for it. did so and thanked
her for her suggestion. During the
Lyceum run of Romeo and Juliet
! forgot her wise counsel, and the
result was that l. fell on my own
dagger, which was SO sharp that it
pierced mo in the side. Since then
! have taken the lesson to heart. "
Na,v Vorlr V,iI1,,a