Year: 1868

What queer old place il Is, TO be sure,
behind the scenes Of a theater How the
actors ever can take the illusion and sentiment
of the play in the midst of such diseDchant-
ing material, often wonder. In private
study they may soar to the ideal conceptions
of the poet, but on the bare, dreary, dingy
stage, where everything is false and unreal,
| should think every fancy would fly from
them. On every side are stacks of scenes to
be used in the play some painted on both
sides and representing a fairy grotto aud a
demons cavern with strange inconsistency
They are grimy with the prints of the scene
shifler's hands They are torn in some
places and patched in others. There stands
"golden throne" made of rough planks,
and, like many other things in this world,
with its best side turned out Here are
heaps of stage properties, of such names aud
appearance, it is impossible for an outsider
to tell for what purpose they are used. There
are dragons tails, heads of fishes, drinking
cups, wreaths of gay, impossible flowers, gilt
crosses, badges for knights, trappings soiled
and faded, dishes Of fruit which require un>
bounded Imagination to decide what they are
meant for, red hot pokers for the funny man,
which lie quite harmless now, and don't even
scorch the laces by their side-all stage de-
ceptions, which the audience will take as
real as the play goes on. There are some
messy banks" upon which bright, sunny
beings will recline; they are rude boards
covered with painted cloth, and are hard as
a brick to the touch How l pity the poor
girls in thin dresses who will do the reclin>
ing ! Talking in groups are fairies aud NOR
tals-princes King Ding-Dong, an evil
looking monster with great, glariDg eyes
the wicked godmother of the Princess, and
the angelic daughter of the King with her
carpenters in work dress, with beings clad 10
rich armor and splendid suits my Lord
Chamberlain is taking bite of ham sand
wich aud glass of lager, and casting soft
glances at pretty ballet girl coming down
the stage in delicate pink muslin dress
the stage manager is flying here and there,
giving his orders in a decided tone all is
ready at last; the orchestra has struck into
the air for the curtain the prompter's bell
rings; "Clear the stage, ladies and gentle-
men )" the din Of the bells commences the
green curtain slowly rises the house is
quiet, and White Fawn begins.


1hE EffECI SPOlLED


1t takes away all pleasure to see piece of
this kind from behind. Some Of the finest
effects seen from the audience are tame and
insipid seen SO close. Some of the finest
women are really ugly. Can that bold, uu-
calmly, hard-faced, pitted, frowOing woman,
who is exercising her limbs SO freely at the
fats, and getting herself into trim before she
appears before the house, be the sylph.like
beauty whom we were wont to applaud with
enthusiasm? She don't smile now, and her
maid hasn't touched her face yet with Email
dc Paris, and put on the beauty spots. By
and By she will glide down the stage to sweet
music, wearing fascinating smile and have
flowers thrown to her. She will captivate
somebody then with her elegant face and
form.


Are the gorgeous scenes which we thought
such paragon Of art these dirty daubs, COW
cred with Dutch metal and floss, coarse and
wretched and shabby? The waterfall which
looked so real, and sparkled so prettily, this
muslin thing that stout man in shirt sleeves
is turning up and down. while overhead
gas man is directing his light upon it? These
dresses, these armors, the gay professions
and pageants, are they nothing but such
cheap displays as this All fancy goes in
seeing art laid out so naked.


THE ACTORS


Everything goes by rule. The prompter
touches his bells, and the machinery does its
work Traps open and close, men are pull.
ing at ropes, and other men are fastening
scenes and putting up supports. The actors
on the stage are whispering jokes to each
other, or talking 10 low tones about the
house," the money there is in it, during
the time they are not engaged in the dias
logue or, off the stage, drinking beer, read>
ing in the green room, or playing quiet
game of poker or whist, until the call boy
summons them again to duty. They have
gone over their roles so many times it has
ceased to interest them As one or two get
through their paris they hastily change their
stage dress, wash of the rouge, and dash out
into the street as if relieved. All the ladies.
costumed in character, are parading before
great mirrors, getting up elegant attitudes, or
bringing their dresses to a proper and grace,
ful swing They are studying expression,
too, in the glass-how to look at such por>
tions of the play that'may call for some par
ticular etfect-how to put on those head
turning airs that captivate an audience and
send many youth in front home to dream
in wild, feverish delirinm.


Here is a constant hustle and change as
act by act goes by. The ballet change their
dresses a half dozen times. After fatiguing
ballet some of the great stars will come
painting and heated from the stage and sink
dowE into seat almost exhausted But the
encore will sound, and maid will brush a
little powder on their face, smooth their dress,
and gathering up her strength the premiere
danseuse will bound on to the stage again,
smiling and bewitching. have known these
women to come from nights work SO pale
aud weary that they would lie for an hour in
their dressing. rooms, too tired to change their
stage clothes. And yet they go through the
toll long mouths with wonderful spirit. 1t
is not strange that one by one they drop into
early graves. The principal artists are paid
Ioroa euma huf the labor Ia axkramelv hard.