Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1897-01-13
Realistic Stage Effects.
(Chambers's.)

~
The sphere of the stage-manager has |
widened since the days when MIR. Vincent
Crummles considered the introduction of
n pump and two tubs on the stage a nota-
BILE achievement i'm realism a drawing
room scene is now furnished with al
most as much care and expense as III |
il were actually an apartment In the |
West-End, while the inevitable attack IN
a modern military drama is incomplete
without the aid Of a complement OF
Maxim guns.
Where there Is such close adherence to !
reality, part of the credit is due to the
uphosterer and the ordnance manurac-
turer. 1t Is in the invention OF subtle
devices by which the spectator is COM
pletely illusioned, frequently by means
which he would hardly suspect. that
stage-craft is raised almost to the level
of an art.
Spectacle and drama naturally afford
the widest scope for realistic effects.
In T. w. Robertsons military comedy
ours" however, there are certain "ei-
fects" introduced which for forcibly con-
viewing the desired impression by
thoroughly legitimate means have never
been surpassed. The artistic way that
the climax is worked up at the end OF
the second act-the departure Of the
the patriotism of the most phlegmatic
Briton.
we see only London drawing-room.
| with four or five of the dramatis per-
| sonae looking from "A balcony window az
the various regiments which are sup
| posed TO be passing in the street below.
But we hear the brass and fife bands
playing the farewell marches, the sharp
| peremptory commands of the officers, the
continuous tramp of the men as they
file steadily past. Little wonder the scene
| effected even the indolent Hugh Chalcot'
and made him suddenly resolve 10 JON
his friends in seeking the fortunes OF
war Yet that impressive tramp, tramp.
of marching soldiery IS simply produceu
| bv a. couple of assistants behind the
| scenes. who mark time" on the boards
| and another couple who do the same in
q shallow box containing cinders.
In the next act are introduced some
| telling "winter effects" Here we have
the interior of q rudely constructed hut
| occupied by the English officers at the
| seat Of war in the Crimea; this is built
| I'm scene with q practicable door, the
| only entrance 10 the hut, on the right
hand side Of the stage At the beginning
| Of the act the wind Is heard shrieKlng
and moaning outside, and When any
! one enters or leaves the nut ne opens
the door lust sufficient 10 let him pass
through, then quickly closes it to pre-
| vent IL being blown inward. In the
mentary opening Of the door we hear
| the wind shrek louder, and catch
| elinpse Of the white waste outside
with the snow driving in clouds against
the door.
| Rather elaborate preparations are ne
cessary to faithfully reproduce THIS CT
feet. The outside Of the hut door IS nrst
profusely covered with pads Of cotton
| wool. Then there is placed opposite 10
II. In the side-wings one OF the large
| riddles used by builders men to sift sano
| ana lime. and which resembles the frame
| of an ordinary door strung with wires
| Two mon stand behind the riddle with
nleutIful supply Of bran and salt mixed,
| which every time the door Is opened
| during the progress Of the storm, they
| toss rapidly through the wires, aiming
| ALWAYS at the door. The wires cut
through the bran and salt, and give the
| compound the flakey appearance OF drlft-
| ing snow, the bran being used TO soften
the heavy swishing sound or the sait.
TO further emphasize the severity Oh
the Crimean winter, when Hugh Chalcot'
| late the lOunger about town, rises yawn-
ing from his couch and prepares for his
/
| the bucket has frozen over night Now,
| no stage-mana ger would, for moment,
| think OF putting real ice In that bucket;
| he has choice OF two simple and mex
| nensiye expedients by which he can pro-
| duce the desired effect even In the
| dog-days. He Gay cover the bottom or
the bucket with a layer OF sand, place
common dinner-plate on the top or the
sand then fill the bucket three parts fuil
\ 81 ha "A
| Mate. he can fix two crOss-bars or thin
wood between the sides Of the bucket,
| above the surface OF the water. "Ice, as
| usuaIl" remarks Calcot, as he taps the
| plate-or the laths-with a crowbar, 10
convey the idea that the substance Is ice.
| When more vigorous blow breaks the
| obstruction, and the water splashes over
the sides of the bucket, the illusion Is
complete.
Shipwrecks on the stage are invariably
| depicted as occurring at night or in the
| obscurity accompanying thunderstorm;
doubtless with the twofold object OF
| helghtenng the impression and concealing
the means by which 1t Is attained
| thrilling incident I'm certain sensational
| America drama is the passage through
stormy sea OF snail boat containing
three Of the characters. who are making
their way TO the lighthouse. To the spec
tators In front the slow and perilous pro-
gress OF the tiny craft looks wonderfully
realistic, but when seen from behind Il
has rather a funny aspect. The raging
pillows are agitated By scene-shifters
stationed at the wings In the manner
usually employed IN shaking carpets.
The property boat Is a mere profile
the model OF one side OF boat-whieh
the actors behind n grasp by the gun
vale. and sway vigorously up and down.
while they walk vigorously across the
stage. their feet hidden by the raging
pillows aforesaid.
An instance OF the care bestowed by
Sir Henry Irving in perfectIng even
| minor illusion u shown In bis dressing OF