The age-herald., 1901-12-22

was given from the stage under the title of The Only Way" When Sydney Carton was led to the guillotine in the same cart with an innocent young girl, also committed to the slaughter, the effect of this sad climax was vastly heightened by the actions of a mad crowd of people. whose only cry was "Blood!' The play contained many strong scenes, but none as strong as this one, when Carton, in absolute quietness and resignation. was the central figure and his background the screaming, moving mass of humanity that waited to see him die.
 Richard Mansheid's big plays have frequently been strengthened in special scenes by the work of his finely-trained company of extras. Sardou's plays of fered splendid opportunities for the em- bellishment of stage mobs. In fact, the French master of stagecraft depended much upon the effects he was able to produce and create by the use of such scenes. In "Thermidor." one of the most thrilling pieces he ever wrote there is a mob scene that almost out rivals the one in "Robespierre." and was master stroke on Sardou's part when he conceived it.
 One of the most peculiar incidents in COnneCuOn with the acton OI btdBe mob is that related of the men and women who were massed in one of the scenes of "The Adventures of Francois, '" which was produced in Philadelphia, with Henry E. Dixey in the title role and which never saw the light of day outside its native city. As was necessary, long and tedious stretch of time was taken up with the training of the extras and at certain time 8 number of the males | a..- 1Ac ( E.~a- -..1 strike terror in all directions. They did 80, but the terror spread farther than they thought, for they dropped their own guns and fled panic stricken from the stage demoralizing their companions and breaking the scene, so to speak, into a thousand ridiculous pieces.
 The penchant of the college student to participate in a mob scene on the stage Is well known, and he Is the greatest source of annoyance to the mob man. agers. Grand opera, for some reason or other. is the college mans weakness. In productions like Aida and some of the spectacular operas of Meyerbeer the college super" fairly revels
 New York, Boston, Chicago and Phila- delphia are particularly the cities where the grand opera seasons find scores of the college men acting as extra on some opera nights. Their work, however, is more like fun. A two hours rehearsal under the eye of the stage manager and an idea of marching time is all the knowledge required. A glimpse at the prima donna or few shreds of conver- sation with the ballet girls Is what most of the college boys desire. and they have often been known to turn over to the "super' captain their nights salary for the privilege of working
 In the opera of La Boheme," how ever, there ocoures a massed scene that is worthy of rank with the best mob scenes in some of the strong dramas. The picture represented Is fete night in the Latin Quartier of Paris Every thing is joyous and happy, and the scene plot requires that the stage shall be crowded with people. This was about the most effective bit of grouping seen in grand opera for years, and to make 1t more effective William Parry, who produced the opera, and who is the stage manager of the Metropolitan Opera House, himself dressed in the garb of one of the roysterers and mingled among his mob, giving them instructions and keeping the picture full of motion.
 Some of the modern society dramas re- quiring a stage full of men and women dressed in the height of modern fashion require an entirely different class of extra people from that described aoove. Here Is the chance for the ambitious young debutante who has been burning for months to show her talents on the stage. She knows how to wear good clothes, and as part of the brilliant picture she gets her opportunity. The same with young men of good breeding and manners.
 Probably one of the most effective pictures of this kind was made in the ball scene in "The Sporting Duchess" an English society drama that had a tremendous vogue some years ago. The scene was a brilliant one in an English ball room, and called for nearly 200 peo- pie on the dancing floor. The value of the dresses worn represented a small for tune and, in addition to requiring beau- tiful young women and handsome young men to figure in this representation, the mob producer was compelled to pick out people of good repute in order to safely entrust them with the valuable clothes necessary in the picture.
 As the seasons go by and each year calls for something more ambitious and effective in the groupings of large num- bers of people on the stage, the man who picks out and handles and trains the mob is growing to be an important ho