The record-union., 1898-02-14
MANsFIELD'S OUTFIT.
How the Scenery and Props" Are
Transported


callingS by alarm clocks and trips
across town to the railway tracks. An
older generation pictures dusty cav
alcade trudging over the pike. Neither
privilege is accorded the urban boy of
this period. Yet he might have u new
sensation and a right good time If he
had been down to the Polk-street sta
/ ton the other morning TO see Richard
Mansfield arrive with his company and
/ extensive belongings.
/ Mansfield is not circus, though his
enemies try often TO make him out =
clown. and he centraliZes in himself the
functions Of a dramatic ringmaster. but
| in point of bigness his coming TO town
compares very favorably with the land>
! ing of circus. Mansfield likes big
! things, whether it be a big company, a
big production, a big reputation, big
train or a big trip. by way of crafty
/ ing his playful ambitions on the lasI
two points he chartered a train OF eight
cars for all his scenery and other freight
canvas, papier-mache and human
and picked out the longest trip he could
4 ind Cn the map. 1t extended froia
/ New York to Chicago.
/ Before the appointed hour for the ar
rival the depot was unwontedly alive.
(
| for the ladies and gentlemen of the
company, six big baggage wagons fair
! ly yawned fer the expected loads. IN
line across the street were scene
/ trucks that looked like flat cars vita
! the SIDE boxing off and six and eight
| horses attached. and then there was
A. NJ. Palmer. Mr.. Mansheid's mana
ger, complacent. but cognizant of every
detail of the big affair.
The train didn't get in at the appoint
ed hour, but the crowd was cheerful,
| though cold. When it did arrive il
steamed into the station with a con-
scious pride. The first to alight were
| the actors. They came out in cloakS
and ulsters, soft hats and tall hats,
| bonnets and turbans.
After considerable eommotion on the
part of a large gathering at the rear
| end Of the train and some pelyglot &c
robatics on the part Of a pair of Wallets
and a maid, an ulster, with a big col
| lar, TIPPED Off with a soft hat and
| bound in the middle with a big belt
was seen to emerge from No. 50. As
no locomotive force was visible without
| the inevitable conclusion was that II
| came from within. That was a wise
guess AS II emerged from the hooded
platform it turned out to be the great
actor himself. He didn't curse any
body. No dying missiles We're observed
He wasn't even cross. He just shook
hands all around and fell into a car
rage With him were Mrs. Mansfield
and Mr. Palmer. Into the second car
riage were crowded three band-boxes,
dog, parrot, a wicker hamper two
valises, the Turin maid and the poly
| giot Wallets.
Landing Mansfield was the first.
quickest and most important part of the
proceedings. Suddenly a couple or
frislxy switch engines. with asthmatic
coughs and pronounced bronchial
sneezes, began a "do-ce-do' movement
as worked in the Virginia reel. and the
cars assisted like fat but fair country
lladies. The "do-ee-do" movement was
succeeded by grand -and-lett
and Their the five baggage and scenery
cars stood detached in a long line, with
room enough between for the scene
trucks to pull in.
The scenery was drawn out OF the
end doors. 1t came out in all shapes
and conditions. like the pieces OF q
pugzle map. Then what theatrical peo-
pie call props were drawn from their
snug places, somewhat in this order:
A wheel. a throne. a pair of steps, the
bed of a wagon, a mounted SUIT OF
armor. a carved table, another wheel
a big tree (lat as a Canal-street PIE
and folded in the middle), two enameied
white chairs. another wheel, the SIDE
of a house, a part OF slXteehIh-
century bedstead, one-third OF "a nan
in the CASTLE" more chairs, more Ia
bles. more steps, more armor, more
trees a few mountains, a couple or
bundles of stage glass. other parts OF
the castle" a New Hampshire last
century pump, a rustic seat from the
mall and another wheel.
These wheels were quickly put on to-
the wagonbed and most interesting
old low vehicle was the result. 1t was
hitched to the rear of scene track
and disappeared up Dearborn street IN
the direction of the Grand Opera-house-
A pole, wrapped in canvas, about
fifty feet long and not more than eight
inches in diameter. was drawn out OF
a car near by and nearly put a puncture
in a looker-on.
Look QUIT" cried a scene-shifter.
What is this, jimmy"
"I dunno. If it's No. AZ it's Bos-
worth field
IT'S 49,
That's the meadow behind Webster
bridge in The Disciple
Another voice from another car called
out:
Where does the Bridge Of Signs
go?"
Put 1t along WI Shylock's house and
the room in the tower on the second
load"
For two hours two dozen men kept
clearing these five cars of their strange
contents. The stuff looked dirty and
the men seemed to handle it carelessly,
but nothing was injured apparently,
and no complaints were made.
1t is a curious consideration that all
that dingy, formless mass of canvas,
wood, metal and papier-mache will take
form and color and meaning, and I'M
der the stage managers direction and
the artfulness of stage lighting reflect
gorgeous pictures Of castles and mead
ows, mansions and village streets, gar
rets, cottages and what-not, all works
Of art, full of atmosphere and historical
truth and delight to the eye.
In way the unloading Of Mansheld's
great lot Of scenery and paraphernalla
was as wonderful as a circus. for it is
revelation not only Of the vast in
vestments the man has in the pictorial
appurtenances of his art, but it is an
int = sting disclosure Of how much can
be expertly packed in so little space.
When the five cars had given up their
contents to the platform and the wait
ing trucks the stuff spread over an
extensive area and suggested vast sub