New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-11-25

Persons who see "Chu INN INV"
Of the Manhattan Opera House are
much struck by the novel devices OF
stage management in use. 1t is gener-
ally agreed that a large share OF i's
success is due primarily to the IN
cenious manner in which this big spec
;acle is presented.
The London original Of the produc-
ton. staged by Oscar Ascbe, has been
faithfully copied by f. Lyall Swete'
who was sent to America by Mr.. Asehe
under contract with the American man.
ayers. Elliott, Comstock and Gest'
Therefore the two chief new inven-
tions, which probably will have last
ing effect on stage management IN
America. must be credited as the In
ventions of Mr.. Asche. These inven-
tions. although entirely mechanical
have added largely to the artistic ell
fects.
The first idea, that of the small, or
Closeup" view of a scene, through
shutters that open and close small
aperture in the drop curtain, can pest
he described as a variation or an adap-
tation of the familiar closeup" OF the
moving picture. The camera itself Is
suggested by the shutters that open
and close, giving the effect OF what IS
known in movie parlance as fade
in" and a "fade away
The drop curtain of black velvet falls
and the stage is darkened. Then tiny
spot of light appears in the centre OF
the curtain. 1t grows larger and larger
as the shutters open, like the shutters
of a camera, until one sees Moorish
arch. about twelve feet wide and twelve
feet high, inclosing q small stage two
feet above the ordinary stage level. The
scenery and the lighting of this minia-
ture set seem to bring the audience
closer to the players, and the players
loom up bigger in the perspective.
These scenes, played in the arch on the
miniature stage, last five to SIX NM
utes, and then the shutters automatl-
cally close, the lights fade away and the
scene dissolves from view.
The other striking novelty of "Chu
Chin Chow" so far as the staging IS
concerned, is the mechanical means en-
ployed to make the changes of scene
Naturally, the public knows little OF
the interior mechanism of theatrical
stage, but theatrical people themselves
have marvelled at the rapidity with
which these scenes-big sets, too-have
been completely changed in less than
thirty seconds. Many people who have
seen "Chu" have expressed the opinion
that the Manhattan Opera House must
have revolving stage, but such is not
the case.
To be quite exact, the Manhattan
Opera House now has three stages,
instead of one. There is the ordinary
stage, on which the biggest sets are
shown, and there are two other stages,
each fifteen feet wide, twelve feet
deep and fifteen feet high. They are
mounted on rollers, operated by cleo
trio motors like the small baggage
trucks in a railroad station, and each
of them is completely equipped with
footlights, wings, a fly gallery. spot
lights, switchboard and all the other
paraphernalia necessary in showing &
scene. The platforms on which the
stages are mounted are two feet high,
These stages are kept in the wings
at right and left of the big stage.
When the black curtain falls at the
end of scene one of these smaller
stages is propelled By electricity to
its exact position in the centre of the
big stage, directly behind the opening
in the velvet curtain. The stage has
been set previously with the neces-
sary scenery, and even the actors en-
ployed in the scene are on the port
able stage when the motor draws it
into position behind the velvet cur
tain. The electric connections have
already been made, the lights are