Evening star. [volume] (Washington, D.C.) 1854-1972, 1903-02-28
FOOD ON TIE STAGE.
Unpleasant Substitutes for the Real
Articles Used.


From the New York Times.
Say, It's a lucky thing that the star
don't have to do the eating and drinking
in this piece. Think of being commissary
department to a man the size OF him.
Whew."
The property man of the Herald Square
Theater perspired at the mere thought OF
having to supply sandwiches and drink suf-
fcient to fill the large, cavernous bread
basket of Mr.. Pickwick, as represented In
the person Of De Wolf Hopper His re-
mark was apropos Of the picnic scene in
the last act, where hamper of food and
numerous bottles of wine are consumed by
various characters prior to the arrival OF
the joyial Mr.. Pickwick on the scene.
1t Is not a case OF artificial food in this
production, If the property mans statement
is to be taken at full value, and the bever
ages consumed at each performance bear
weil-knewn labels that stamp them UNI
mistakably as the real thing"
Most actors are not exacting in the mat
ter of stage food and drink. The average
dinner ON the stage includes such succn-
lent and satisfying dishes as roast made OF
paper tinted red and papier-mache turkey,
so colored as to be very like the real bird
when viewed from the orchestra chairs.
The late James A. Herne was one Of those
who always insisted upon having the gen
uine articles served at his stage feasts. In
the supper scene IN ''Shore Acres a big
roasted turkey was used at each perform
ance, and Mr.. Herne insisted that the
actors engaged in the scene should each eat
. a little of the bird during the progress Of
the meal. Some actors who served during
long seasons with MIR. Herne got so sick
and tired OF the inevitable turkey that
even now the mere mention of Thanksgiv-
ing is too much for them.
Mr.. Herne's devotion to this sort OF real
ism was not confined to Shore Acres"
Years before In his play Hearts of Oak
he introduced q real old-fashioned New
England boiled dinner, with its accessories
of baked beans and boiled cabbage. The
food was brought on steaming hot, and
though its appearance delighted the audi
ence, 1t meant numerous well-developed
cases of indigestion for the actors who
were obliged to eat of it six nights week,
not to speak of the usual matinees.
Richard Mansfield has always been par
ticular about such details in his produc-
tons. In 1.-THE Partisan Romance" a
course supper and wine are always served.
1t is related that Sol Smith Russell de-
veloped repugnance for sliced boiled ham
as a result of the use Of that particular
dainty" In his frequent performances Of
"A Poor Relation"
The mere fact that the stage food comes
ON the scene smoking hot is not always
an indication that 1t is genuine In Glib
erty Hail." produced at the Empire some
seasons ago, May Robson had to bring on
a 'boiled haddock" The fish was made
Of plaster of paris, and the smoke was
produced by piece Of charred paper, which
the property man placed in the dish just
prior to the actress entrance.
Drink on the stage often brings suffering
to the actors. as in most cases a substitute
for the genuine article is used Who does
not recall the scenes on the village green
where the bustling innkeeper comes on
with his little pitcher, ready to fill the
M no f11 vii ia
wee pitcher he -pours endless stream Of
liquor without having to replenish his
stock at the cask. And in the meantime
the lads and lassies join IN the inevitable
drinking song, waving their cups about with
no attempt to prevent the audience from
seeing that all their inspiration comes from
nothing more substantial than thin air.
This sort of thing prevails in comic opera,
but in more pretentiouS drama the illusion
must be maintained.
In most theaters whisky Is barred, but
the red-nosed villain is allowed to partake
Of disagreeable concoction composed Of
play has long run, the actor gets to
looking forward to the drinking scene as
one of the penalties Of his profession.
When beer Is the article demanded, the
property man Is sometimes allowed to bring
In bottle or "can" of the real article
But where q great number of persons are
to drink, makeshift Is generally resorted
to. The tops Of the mugs are stuffed with
loose cotton batting to simulate foam.
Champagne Is represented by another
unpleasant concoction, and tea and coffee
are frequently merely imagined, for the
actor can place the spout Of the pot down
into the cup, SO that the audience Is unable
to tell whether a beverage is being poured
out or not.
Stage fruits are usually made Of cotton
nodded into the desired shapes, and then
glazed and painted In Jim Bludso" a
barrel apparently full OF apples Is intro
duced. The barrel is empty except for
single layer Of cotton apples on the top,
and the whole affair weighs only three or
four pounds. OF course, where fruit Is ao-
tually eaten on the stage the real article il
cheap enough to be used.