The Providence news. (Providence [R.I.]) 1891-1906, 1899-05-24
PAPIMTKS DANCING.
Glass Traps and Other Appliances
Used Produce Effects.
Electric Lights, Steam and Power Fans
Employed at Kelth's Theatre

Most every one Is familiar with the
serpentine dance and has watched the
dancer as she dexteriously manipulated
her voluminous draperies. but few have
been able TO assume another viewpoint
and watch the dance from below. Glass
traps set i'm the stage are used to pro-
duce many OF the light effects and
through these traps the dance presents
an entirely different aspect.
Down under the stage at Keith's last
evening the writer was chaperoned by
William j. Holpin. who is at once the
manager and husband OF Papinta. He
was the first to Introduce the use OF the
glass trap I'm this country and has
worked out the effects TO a point Of
excellence not attained by others.
The trap room at Keith's is a large
concrete paved cellar, and in the CEN
tire OF this space is circular room
made by hanging tarpaulin. This
serves the double purpose OF excluding
the curious and the external light.
In the centre of the inclosure stands
a big unpainted box directly under the
rear traps. The traps themselves are
huge squares of plate glass, forming
rectangle some five feet by two, with
front trap perhaps two feet square. In
this latter Is let the pipe through which
the cinders are forced i'm the fire dance
and on either side are wooden traps for
the steam which Stimulates the smoke.
The room is dark, save for the light
admitted through the trays from the
dim lit stage above. but a stray ray
escapes from the big box. where two
powerful focus lights are glarng fierce
ly. These are practically extra large
oil afntss gl
straight tops. The box is covered by
hinged tops for the purpose OF wholly
shutting off the light. and the same re-
suit is secured temporarily by the use
of asbestos shields. for the heat would
ignite wood in an instant.
In front of this light box is a second
for the front trap used I'm the last two
dances and provided with fixed screens.
The color screens for the others lie i'm
a rack back OF the box. AT one side is
big steam chest and at the foot OF
the box the exhaust fan which forces
out the bits of paper. Everything is
arranged with an eye TO the greatest
simplicity and all through the dance
there is no hurry or confusion. though
there is not moment when either Hol-
pin or his assistants are not hard at
work.
Through the glass It is seen that the
stage lights have been shut off and the
piano is family heard 10 strike up the
introduction TO the first dance. The cal
ciums i'm the flies are turned on and
presently Holpn calls Here she
comes" though there Is nothing TO be
seen OF the dancer. who Is down stage.
The music gives him the cue. and just
as the lights are unmasked there is
flash Of white over the trap. a fleetng
glimpse of a black stocking, and as the
light is covered the traps shows only
the black drapery of the stage setting
and the gleam OF the top calciums.
Several times the lights flash out 10
meet the dancer. vari-colored screens
being held over the carbons. and pres
entity there is a fierce glare of white
light while Papinta stands over the
trap. and the first dance is over.
The color screens are rearranged, and.
as the music changes, "A black shadow
falls over the trap and all the lights are
thrown on the black Jeweled dress.
Nothing can be seen of the performer
only the dress which changes color
with the change Of screens. 1t looks
wholly unlike the dance seen from the
auditorium and suggests rather a mass
of jewels floating in the air unsupport-
ed and of everchanging color. Once
more the white light is thrown on the
dress at the close. and as the dancer
runs to change her costume the engin-
eer outside turns the steam into the
is turned on.
A moment later the trap is covered
by drapery and in another instant the
front light is opened an stains red the
skirts, which now begin to take on
movement. In the big box the light
changes from red to yellow and back
again, as experience at rehearsal has
dictated. over the trap the fabric
passes and repasses, with no suggestion
of the motion seen by the audience
and as from time to time Papinta
shifts the position OF her feet even the
stamp of the shoemaker is to be seen
on the instep of her slippers as they
move among the mass of silk.
Holpin turns a switch. there is a
roar from the box where the fan is
incased. and with one hand he feeds
into tube the bits of red paper. which
from the auditorium. seem TO glow like
living fire as they flutter in the light.
The skirts now are waving wildly IN
the strong air current. and even through
the trap. The applause browns the
turned and with n roar the steam rush
es out and obscures the glass. Another
moment il atftet, t,ttt+f steam and
fan are shut off. and, as Papinta falls
to the stage. only a little purple light
to simulate ashes is sent up through
the trap. The applause drawns the
sound of the piano and as the border
lights are turned up the stage hands
are seen putting back the steam traps
and clearing the glass for the last
dance.
This is much the same as the others
till the close, when HolDin leaves his
light. and picking from the corner a
clothes basket filled with cut paper
feeds Il into the fan, and the stage is
filed with this as the curtain falls
Not a single cue has been missed. not "A
wrong color shown. nor has there been
the slightest excitement. In point OF
interest, Papinta. upside down. has
even more novelty than the dance as
the audience sees 1t.