St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1896-03-22

used as many as thirtyfour in Sa1ome,
and 1t required skilled electrician to
run each one except the two principal
ones, which my youngest brother al
ways manages for me,
When I'm ready to begin, the first
thing that do without any lamps is
to teach the men to find their colors
and follow me, Then they learn the
signals, and as the gas man has to be
taught when to turn the gas off and on,
the stage manager when to ring the
curtain UP and down, and the man at
the back has to learn just when to open
the curtain and to come in and help me
Off the stage, after I am supposed by
the audience to have disappeared into
nothingneSs, And all this has to be
done SO rapidly that the idea of mys-
terry must be ever prevalent in the pub
lie mind. Take away that element
from my work and it becomes tame.
But, oh, dearie me! There's my
warning bell. must slip. into my
Dress"
The maid held up black silk gauze
Mother Hubbard, glittering with sill
yer spangles, and in less than two min
utes Loie, as everybody who has had
ten minutes conversation with her calls
her, was ready to do her turn.
''This is the costume that 1 wear in
La Mutt, and it is the only ornament
ed one I have. 1t isn't but fifty yards
wide, and, as you see, has an aluminium
wand reaching nearly to the bottom of
the skirt, sewed under each arm, and
with these and my lights I do the
work. But we must be off for the
stage"
While somebody else is doing a song
and dance in front of the curtain a
force Of men Is at work behind getting
= L.
ness. Heavy black chenille curtains
are hung all around the stage, and a
jet black carpet laid over the entire
floor, except over a glass plate which
has been sunk into a space about four
feet by four, cut in the center of the
stage. Ten feet below this plate stands
Burt Fuller, guarding his two lamps
Four stepladders of different heights
are arranged in the left and right
wings nearest the audience, and on
each stands an electrician, with his
search light in his hand. Revolving
in front of each of these lights is a
round piece of pasteboard from twelve
to sixteen inches in diameter with a
border of gellatine disks of different
colors. Some of these disks are solid
and others show a combination of two,
three, four or more colorS, and the men
work them rapidly and tremendously.
The two principal lights underneath
the stage are of great power, and they
alone produce more effects than all Of
the side lights put together.
In the dances The Night and The
Sky, the sides are used almost eXclu-
sively, and even by watching them
very closely it is impossible to see how
the effect of the sun is produced one
instant and of the moon and stars the
next. In the Fire dance the two prin-
cipal lights are used almost exclusive
ly. The dress worn in the dance is a
simple full slip, made of plain white,
thin material, and shows just what it
is when the dancer circles around the
stage waving her arms as frightened
bat waves it's wings, when the curtain
first goes up. But no sooner does she
rest on the glass plate than the hem
seems to catch fire Up the flames
creep, and those near enough fancy
they can see a terrified expression on
the dancers face. The more she fans
the gauZe to put it out the higher the
flames leap and the redder they glow,
until finally she snatches a gauze scarf
from her neck, and with a look of hor-
ror beats at her, draperies until the
scarf, too, catches the glowing color,
and in an instant nothing but inky
blackness is left to tell the tale
How do l get the changeable eff
fects?" said the dancer breathlessly, as
she rushed into her impromptu dress
ing room, made of scenery, at the back
of the stage. That's very simple. It
is done by using the colored lights over
the lamps underneath me-and a few
chemicals" she added, with sly wink,
(which I don't think that 1 shall talk
about
The rapidity with which Miss Fuller
changes her costumes has surprised a
good MANY persons. The truth of the
matter is, all Of her costumes are very