Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-04-25
DION BOUCICAULT'S ART
HIS PLACE IN THE WORLD OF
STAGECRAFT.
He Accomplished Great Results With
Very Primitive Means-Latter-Da
Realistic Scenes.

Andrew Mack in Chicago Record Herald
The mere fact that the work of Dion Bou.
cicault, that leader of his period in every
branch of stagecraft. "Arrah-na-P ogue."
is to be presented here with a mounting
which We think fitted to the requirements
of modern taste suggests naturally a lit
tie delving into the history of the stage
for the facts concerning productions and
effects" 1 have talked much of late con-
corning the work of the present and the
curiosities of the past. with Joseph Physioc,
our scenic authority. and find that scenery,
properly speaking. was used for the first
time at the Globe Theater. London. when
Shakespeare produced his Henry VIII"
which was called -"All Is True" There
was one painted cloth used at the back
and the few properties were copies of the
real things in a crude way
Yet TO the confusion of the satirists who
date all stage realism to Crummles' pump
and lament the Importance given to scenic
environment nowadays, we find that in
Italy as early as 14SO intricate machinery
was regularly introduced into their re-
hgfouS plays for the stimulation of such
phenomena as thunderbolts, earthquakes
falling stars and descending angels Again
II, IN sauricai treatise on the opera. pub
iished at Venice in 1720. we find the noble
author recommending the ibrettist mot to
ask any questions about the ability of the
performers. but to inquire whether the the
thunder. lightning and earthquakes"
Real Steam and Water.
We may as we'll date however with our
censors from the pump made famous by
the humor of Dickens, for real progress
along the lines of stage effects is distinctly
of our time. We soon find the introduction
of the sea cloth for the production of
rolling billows:" then came the real loco
motive" a wooden fra mo covarad x,-;tb oo,
vas and neatly painted to initiate a railway
locomotive, with couple of stout stage
hands behind 1t to rush 1t across the stage
This served for years until a young engi-
neer with a penchant for theatrical effects
attached a steam whistle fed by fifty feet
of hose connected with the heating appa-
ratus OF the tEeater and created a sensa-
ton as the profile engine dashed across the
stage with the whistle wide open and full
head of steam blowing from 1T.
The same man introduced rain shower
| of real water for Edwin Adams in his pro-
duction of 'Enoch Arden This was ac-
complished by running a perforated pipe
across overhead in what is Electrically
known as the first entrance" and spread
ing a tarpaulin on the stage to catch the
water. The water was turned on just prior
to raising the curtain. and the audience
saw drizzling rain of real water falling
apparently on the actor who was, in real
ity. further up stage and perfectly dry.
The next mechanical effect created consid-
cradle comment among the Prevention of
Cruelty to Children" people, who made an
attempt to stop the exhibiting of several
little children who We're really romping in
| side glass tank, which was placed In a
larger tank. also of glass, and the space be-
tween them filed with water.
Then came the era of real horses and
horse plays, steamboat races and boiler ex-
plosions. entire railroad trains. telegraph
| keys, shipwrecks and huge tanks with
thousands of gallons of real water. upon
| which sailed real steam yachts, rowboats
and racing shells.
Then we had steam fire engines, with
trained horses, real circular saw. the po-
lice patrol wagon. then thrashing ma
chine; after that came the pile driver and
the quarry derrick, anything the villain
good folks of the play, until nearly every
thing imaginable in which there is any
semblance of danger has been utilized for
realistic effect upon the stage.
The striving for the thriller" continues.
But there is nobler competition In prog
ress-the effort to excel in symmetry OF
surroundings, in harmony of light and
color in exact truth to the period por-
trayed, and fidelity to the scenes of ma
ture presented: and I believe that in none
Of the kndred-the higher branches. IL you
please-of the arts has greater progress
been made in the last quarter of CEN
fury than in stage production The revival
of "Arrah-na-P ogue" may serve as a sub
ject of fair comparison. Each scene would
astound Dion Boucicault could he visit the
he undoubtedly was. Within the memory
of playgoers still young, when the stock
system was in vogue, scarcely any atten-
ton was paid to composition or arrange
ment. No matter what the scene. it was
shown with the stock scenery of the house
arranged by this plan:
Flats.
Arch