The Washington times., 1902-02-24
" BEN HUR" AS VIEWED
BEHIND THE SCENES
How Marvellous Realism IS
Given to Performance.
Grcnt Chariot Race in Itself Has
Made the Most Stnrcndous
Production Famous.

1t would be difficult 20 find 4 single
person who would not have liked to go
behind the scenes of the National Thea
! tire last week and witnessed how the
| marvellous realism is given to the per
| formance of Ben Hur."
| Below the stage is deep cellar, from
which the various traps are manipulated,
and where the massive electrical ma
chinery is located which operates the huge
| chariot race scene.
aenviness OF Hanging Scenery.
So heavy !s the hanging scenery in the
production that twenty-one men are en-
ployed in the flies alone to raise and lower
the scenes Nine and a half miles Of
rope are required to hang the scenery.
The canvas in the latter would be more
than ample to construct ten OF the largest
tents used in a circus. The battens
braces, cleats, and other woodwork at
tached to the hanging scenery alone would
be sufficient to construct the framework
Of an ordinary frame house
Two Complete Productions Used.
Two complete productions. so far as
mechanical effects. machinery, and the
heavier accessories are concerned. are
necessary to enable the performance to
move from town to town in the brief in
terval between Saturday night and Mon
day morning While the attraction is be-
ing produ ed in one town, the accessories
of another production are being moved
to the next town, and placed III working
order on the stage. In every case the
stage has to be specially prepared for
the production, and many times it has to
be entirely rebuilt.
Eight of the largest sixty-foot cars are
required to carry the scenery, properties,
and animals. The enormous cycloramas
and the electrical machinery which oper-
ates them occupy ore car, while the a.
cessories of the famous chariot race scene
fill another.
Designer Travels With Production.
Mr.. Claude L. Hagen, of New York,
who designed and patented nearly all of
the mechanical effects in the production,
travels with the company and lends his
personal supervision to the presentation
of the play. 1t is upon the stage manager,
Mr.. Frank Weston, that the burden OF
the production rests.
The play, of course, depends almost en-
tirely upon its scenic environment and
mechanical effects for its wonderful pres
tige. These are so elaborate, and in
some cases bulky, that an enormous force
OF stage hands is required to handle them.
But it is the great chariot race that
has made Ben Hur" famous. While the
entire production charms the spectators
with its realism. there is an unmistakable
movement and settling down OF the
audience when 1t is about to appear.
The race itself is Immediately preced-
ed by a short scene at the exterior and
main entrance Of the great circus at
Antioch. The throng of spectators pass
and enter the arena. Presently Ben Hur
passes on his way to the race, and finally
Messiah rushes into the arena.
a moment later the lights are ex-
tinguished, leaving the house in total
darkness. Cheering and great roar are
heard, and the clanking of the horses'
hoofs as they dash off. The roar and
pounding grows louder. until it deafens
the cries of the multitude.
Chariots in the Arena.
Suddenly the lights fare up and the
race is visible. The two charlots, each
drawn by FOUR horses, are in the arena,
their wheels spinning around. Messiah
is leading by an entire length. Ths
drivers tug at the reins and lash their
madly galloping horses. Their hoofs
strike fire, and dash up clouds of dust
that at times almost envelop the chariots
And in the background is the vast arena
with its throngs of people, flying by.
In a few minutes BeE Hur redoubles
his exertions and his horses slowly over
take those of his opponent. The crowd
roars its delight. Slowly but surely Mes
salas chariot is passed and left behind
With last vain effort to regain his lead
Messala reels in his chariot and falls in
the arena. Then all is darkness mo-
ment later the scene Is resumed in an
other part of the circus, and Ben Hur
drives his chariot out to receive his re
ward
The cyclOTamas in the race scene 90
not wind on of one drum and onto an
other, as is commonly supposed. but are
in the form OF an endless belt and work
around the drums.
"supersr I'm the Production.
The "supers" in the production are
mostly young men and women who are
stage struck and desire to tread the
boards, no matter how humble the posi-
tion The majority of the male "supers
are college students and high school boys
They are shut up in the cellar. however
when not appearing in a scene and see
very little OF the play.