MERRY-MAKES FOR THE COMING SEASON.

New Zealand Graphic, Volume VIII, Issue 26, 27 June 1891, Page 116

MERRY-MAKES FOR THE COMING SEASON.

A SERIES OF PRACTICAL PAPERS WITH SOME NEW IDEAS. NO. 11. EFORE returning to musical tableaux, a word LfS-'ySRj JL or two on the drill of the company is abso- ; lutely necessary. Bearing in mind the to the success of our most dramatic fr J efforts—namely, delays ! —let our arrangemerits be carried out on a definite principle, — j which will admit of neither argument nor alteration. First, a small yet effective trio of volunteers must be found to engage solely in the management of the scene. Discussion betwen scenic or performing artistes should not be permitted for a monrent. Each scene should be utilised for two tableaux at least, the face of one being deeorated for an interior, the back for an outdoor landscape, or rice versa. All scenes should be ranged along the side in the exact order in which they will be used, and numbered accordingly. The order of the tableaux should never be changed, but tire titles written down and headed 1,2, 3,4, 5,6, etc. The odd numbers should be taken by one set of actors, the even ones by another, so that while the first set perform, the second company may be dressing. In this way, but for a few montents allowed for scene-shifting, no delay need occur. The dressing rooms should be arranged with regimental precision, and divided by screens or tapes into partitions according to the number of performers. A chair, small table, and looking glass should be in each partition, and a toilet candlestick in addition to the gas, which is, of course, de rigueur. > Each ehair be labelled with the actor’s name, and on it, arranged in layers, the costumes in which he or she has to appear. For instance, if Miss Molyneux is performing in Nos. 4,6, 8, 10, her chair will contain four bundles, the lowest bundle labelled 10, the top bundle labelled 4. There should be only one attendant, if possible, to every room, whose business it is to remove the worn costumes from each partition, so that on the return of the actor nothing but a tidy space and the next numbered bundle present themselves to view. If these simple rules are adhered to there will be only time between the tableaux for a chat, a joke, a sandwich, and the symphony of the song that is about to be depicted. A charming scene could be made of Hope Temple’s ‘ My Lady’s Bower.’ On the furniture of the ‘Bower’ any amount of taste could be expended. The walls, however, must be covered with the nearest imitation of old tapestry that comes to hand. Quaint and old also should be the chair on which ‘ my lady ’ sits in her richly-flowered gown and costly laces, while her lover, in all the chivalric glories of the last century, supports himself on one knee. The beautiful accompaniment might be played before the opening of the scene, and followed by the tones of violin or harp in the verse : — Ami it touched the faded arras, And again we seemed to see The lovely lady sitting there, Her lover at her knee. And we saw him kiss her fair white hand. And oh! we heard him say, * I shall love thee, love, for ever, though The years may pass away.’

The rays of the moon above must be simulated by deft management of the magnesium light. Sullivan’s ‘Mother’s Dream’ is an excellent theme for utilising pretty children. These are seen as if filing past in procession with lamps alight and cherub wings of divers hues. The background to represent the gates of heaven should be as gorgeous as modern tinsellery will allow. The mother is upon the ground in a passion of tears, whilst her son, the last of the child angels, stands above, pointing to his rayless and extinguished lamp with a look of reproach. The use of the harp in the accompaniment of this picture would be most effective. While children are thus occupied, ‘grown-ups' could be preparing for the elaborate tragedy of the ‘ Death of Nelson,’ accompanied by the stirring song. To relieve this, a vein of comedy must be introduced later, and an amusing piece can be made of ‘ Over the garden wall.’ The wall, placed at an angle, is covered with ivy and roses to make it picturesque. On the right hand side the girl stands on a rustic chair. Her gown is of fancy cretonne, her Leghorn hat covered with gay ribbons is carelessly tossed back over Marguerite plaits. On the other side the lover devouring her ‘ with all his eyes,’ his back turned to the house, continues his courting, while—from an adjacent window the rubicund and nightcapped head of an irate parent is perceived. In his extended hand is a can of of water in act of being hurled at the unconscious suitor ! The young man should dress as picturesquely as possible in tennis clothes, a gay striped ‘ blazer,’and silk scarf round waist and neck. In his hand should be the ‘ bouquet of roses red ’ which he intends to present his sweetheart ! Many a young man in the audience will oblige with the song, ami the chorus will doubtless be merrily taken up ! Simon the Cellarer with his bowl, evading the advances of Old Margery, would make an excellent subject if started by a couple who would enter into the spirit—no joke is intended !—of the thing ; and Villikins and his Dinah lying -with a ‘ cup of cold poison ’ at the feet of a distracted father ’would certainly be most taking if accompanied by the oldfashioned strains on the piano. But these must not be started till the end, or the serious ones will not go down. ‘ Home they brought her wanior dead ’ is a dramatic picture —the warrior lying on a stretcher, his tearless wife gazing on vacancy the • nurse of ninety years ’ offering the infant child of her dead lord to her attention. The ‘ Hymn of the Moravian Nuns ’ would also play excellently, and the effect would be greatly enhanced if the refrain were performed by a choir of part-singers behind the scene. This subject and the previous one admit of great thought and study, ami would reflect immense credit on both the dramatic and musical per formers. There are many other pieces which could be mentioned, the • Lady of the Lea,’ for instance, but in the foregoing examples enterprising hostesses have the key to a perfect gallery of illustration, and to the intelligent mind further hints on this subject would be deemed unnecessary.

Daphne in The Gentlewoman.