The Washington times., 1901-09-15
ILLUSIONS OF THE STAGE.
An Interesting Talk With an Old
Theatrical Property Man.
The Swan in "LohenGrin" and How
1t Is Made to Appear Lifeiike.
The Descent of the Dove-StGrt-
Ting Effects in German Operas.

There is one thing about German
operas. Wagner's in particular, said
an old property man at one of the
local theatres the other day, that does
not probably appeal even to lovers of
music, at least beforehand. This,
he continued, lis the scenic effect nee
essaly in many of this class of produc-
tions. Take Lohengrin, for instance,
The swan in that opera is a most in
teresting prop and is the result of
many experiments. To understand the
action of the Lohengrin swan it is
necessary to know all about the setting
of the stage.
AT the back is a river drop, next
come set water rows, graduating in
height TO the level of the bank, giving
the effect frcm in front of the water
rushes and reeds, and so set that the
| swan and boat, in passing through, are
enabled to describe a graceful curve.
The foreground is a built-up bank the
width of the scene. Between the river
drop and the first set water row there
is space. enough for the miniature
figures of Lohengrin and the swan to
| pass across the stage before the real
Lohengrin and the swan come into
view. The drop and the set water rows
everything. in fact-giye the idea of
the sluggish Scheldt wincng in
through the weedy meadows. In order
to produce the effect. two entirely dis
tinct trucks are used-one for the first
act, when Lohengrin and his swan
| wind their way among the reeds; and
one fer the last act, when The swan dis
appears, and the lost brother If Elsa
takes its place. The problem thai con-
! fronted the property master in de-
signing the first swan and ear, that is
to say, the one which was to bring Lo-
hengrin, was to devise method of pro-
pelling the truck which carried the
swan and the car SO that it could be
run in curved direction, adding
greatly to the naturalness of the illu-
sion, and rendering the truck capable
of being urned in a short space.
"A three wheeled truck is built, the
top of which is concealed by draper
| les painted 10 match the water rows
| themselves The truck is propelled by
two men seated within it, who shove
the truck along by shutting with their
feet on the floor. The first man steers
! by means of a handle bar which is Sc
cured to the vertical rod which carries
| the front wheel. The swan is fastened
to this vertical bar, so that when the
| direction of the steering wheel is
changed the swan also changes its di-
rection. The neck of the swan is built
| around a steel spring. and the wings
are actuated by levers and strings. The
second man has nothing to do with
steering the car and the swan. His du-
ties, besides propelling the car, consist
in inclinirg the head of the swan and
| operating the wings. This is accom-
plished by means of lines which are in
visible TO the audience. Lohengrin, on
reaching the steps at The bridge, in
front. gets out of the boat or car, and
sings his well-known farewell song
The swan then takes its departure,
drawing away the car.
Now in the last act an entirely diff
ferent mechanism is employed, al
though the change is not perceptible
to the audience. In this case it is not
Gus course, ard it proceeds in a
straight line across the stage. For
this occasion a truck is mounted on
four wheels. and is pushed by the
men; but in order to transform the
swan into Elsas brother, it is neces-
sary to resort to an entirely different
system. The swan, instead of being
supported by a couple of rods Is sup
ported on a parallel, which is hinged;
it is normally held in position by
means of cords, so that it shows above
the set rows and the bank of the river.
When the time has arrived for the
transforme tion to be made, a man at
the rear of the truck lets go of the cord
which holds the swan in position the
parallel Immediately drops, and is
drawn back into the truck, carrying
the swan with IL. At the same instant
Elsa's brother is raised by a trap
which places him in precisely the posi-
ton occupied by the swan a moment
before Then a clock-work dove de-
scends on a wire, and as the dove drops
behind the set piece it takes the place
of the swan. Lohengrin steps into the
boat, and the dove carries 1t from the
stage. The changes are SO remarkable
and effective that the Lohengrin swan
may, / think. properly be regarded as
one of the most successful effects OBJ
tanned in grand opera.
Another remarkable effect in con-
nection with Wagner's operas is that
of the floating Rhine daughters in
'Rheirgold.' You may remember that,
when the curtain rises on this opera,
the scene represents the bed of the
Rhine. In the centre rises high rock
which supports the 'Rheingold,' a great
summit of the rock. The three Rhine
daughters, Woglinda, Wellgunda.
Flosshilda. suddenly appear upon the
scene, floating with graceful move
ments about the rock which supports
the 'Rheingold.' 1t may not occur TO the
spectator how it is possible for the
Rhine daughters to float in space while
they sing. But the explanation is sim
pie.
Each of the singers IS supported
upon a cradle, which is secured to
four wheeled car by an upright post
strongly braced. Zach Of the cars is
pushed around by two attendants,
while a third sits in front and steers.
They are hidden from view by low
screens which effectually conceal them.
I'm Mozart's opera of Don juan
rather curious Illusion occurs. The