Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-04-09

having succeeded in stretching ones neck
sufficiently to observe the bridge 1t was
but natural that the array OF scenes
which extended from the back Of the
stage to the front Of it, all hanging about
fifty feet up, should cause comment. Mr.
Thompson explained.
Borders representing sky, ceiling or
overhanging foliage and other scenes are
let down from the top. They are IN
charge of a man up in the fly gallery,
who stays on a platform stationed on one
side about midway between the ceiling
and floor The flies themselves are the
spaces abve the stage containing the
scenery. tackle and so forth. From the
.hv gallery run sets of lines. each line
being attached to a certain canvas, and
passing through a wooden sridron. There
are sometimes as many as nifty OK these
lines. Here it is not so necessary, but
in setting the scenes for a regular drama
the line man has the plot OF the play with
minute directions for every shift of scene.
His cue is a handicap Whereupon he
lets down the curtain he knows is to
come next. He does not let them down
from seeing the border itself, but from
marks which he has on the lines. OF
course, on his promptness and accuracy
the production of the scene depends.
Very often we have to paint stuff for
use after the act has been given here,
and that means different kind of work
to a certain extent. In order that scenery
it must be of certain size. To fill this
requirement large pieces Of scenery are
hinged at various points SO that they
can be folded up to meet the require
ments. This, of course. applies to that
part Of the scenery called set stuff or
those PORTIONS I'm which wooden frames
are used. All this means that the scene
painter must work In harmony with the
stage carpenter and property man.
"Onc variety of setting which necessi-
tates a vast amount of labor is the mus
lin drop representing foliage. This also
requires an enormous amount of floor
space. The drop is spread out on the
floor and then men seated on 1t follow
the outline with knives. cutting out hun
dreds Of little triangles and squares from
between the painted leaves. After all
these have been removed the drop Is
mounted on netting, and when put in
place presents the effect Of looking at
the back drop through a bower of
foliage.
''Oue thing which the majority of peo-
pie do not realize Is the versatility re-
CURED on the part Of a scene painter.
In the case Of other artists they usually
have one line in which they are experts,
and generally do no other class Of work.
A painter of flowers would be astounded
If asked to paint an ocean scene, and
the painter OF ocean scenes would show
equal surprise If suddenly requested to
show his ability as a painter of cathe-
drals. And yet we are called upon to do
any or all of these things, besides in
Vulnerable others. The author may come
to us and say: Il want a dungeon effect
with only one exit at the back, and a
small window at the side That means
we have got to paint that without any
hesitancy. With all the various devices
which are being used at the present time
on the stage the scene painter has to be
pretty quick at his work. and ready at
q moments notice to give whatever is
demanded.
yet even this is not all that is some
times demanded of us. 1 think it can be
safely said that scene painters have to
make more out of less than people of any
other profession There is a mantel !
made, Tor instance.
Mr. Thompson pointed to a large man
tie, apparently suited to either dining
room or parlor scene. From an anna
tours point of view, at least. it appeared
to be a thoroughly high class article.
That thing is made out of odds and
ends The two pillars at each end are
nothing but pieces of stovepipe. while
the holdings on it are only rope covered
with paper and then painted.
las the years have passed the duties