Private Theatricals
A poor thing, my masters, not the real thing at all, a base imitation, but still a good enough mock-orange, if you cannot have the real thing.
Old Play.
Some of our opulent citizens in the West, particularly in that wondrous city Chicago, which is nearer to Aladdin’s Lamp than anything else I have seen, have built private theatres in their palaces. This is taking time by the forelock, and arranging for a whole family of coming histrionic geniuses.
When all the arrangements for private theatricals must be improvised,—and, indeed, it is a greater achievement to play in a barn than on the best stage,—the following hints may prove serviceable.
Wherever the amateur actor elects to play, he must consider the extraneous space behind the acting arena necessary for his exits and entrances, and his theatrical properties. In an ordinary house the back parlour, with two doors opening into the dining-room, makes an ideal theatre, for the exits can be masked and the space is especially useful. At least one door opening into another room is absolutely necessary, if no better arrangement can be made. The best stage, of course, is like that of a theatre, raised, with space at the back and sides, for the players to retire to, and issue from. But if nothing better can be managed, a pair of screens and a curtain will do.
It is hardly necessary to say that all these arrangements depend on the requirements of the play and its legitimate business, which may demand a table, a bureau, a piano, or a bed. That very funny piece “Box and Cox” needs nothing but a bed, a table, and a fireplace. And here we would say to the youthful actor, Select your play at first with a view to its requiring little change of scene, and not much furniture. A young actor needs space. He is embarrassed by too many chairs and tables. Then choose a play which has so much varied incident that it will play itself.
The first thing is to build the stage. Any carpenter will lay a few stout boards on end pieces, which are simply squared joists, and for very little money will take away the boards and joists afterwards, so that a satisfactory stage can be built for a few dollars. Sometimes, ingenious boys build their own stage with a few boxes, but this is apt to be dangerous. Very few families are without an old carpet which will serve for a stage covering; and if this is lacking, green baize is very cheap. A whole stage fitting, curtains and all, can be made of green baize.
Footlights may be made of tin, with bits of candle put in; or a row of old bottles of equal height, with candles stuck in the mouth, make a most admirable and cheap set of footlights.
The curtain is always difficult to arrange, especially in a parlour. A light wooden frame should be made by the carpenter,—firm at the joints, and as high as the room allows. Attached to the stage, at the foot, this frame forms three sides of a square. The curtain must be firmly nailed to the top piece. A stiff wire should be run along the lower edge of the curtain, and a number of rings attached to the back of it, in squares,—three rows, of four rings each, extending from top to bottom. Three cords are now fastened to the wire, and passing through the rings are run over three pulleys on the upper piece of the frame. It is well for all young managers of garret theatres to get up one of these curtains, even with the help of an upholsterer, as the other draw-curtain never works so securely, and often hurts the dénouement of the play. When the drop curtain above described is used, one person holds all the strings, and it pulls together.
Now for the stage properties. They are easily made. A boy who can paint a little will indicate a scene, with black paint, on a white ground; tinsel paper, red flannel, and old finery will supply the fancy dresses.
A stage manager who is a natural born leader is indispensable. Certain ambitious amateurs performed the opera of “Patience” in New York. It would have been a failure but for the musical talent of the two who took the title rôles, and the diligent six weeks’ training which the players received at the hand of the principal actor in the real operetta. This seems very dear for the whistle, when one can go and hear the real tune. It is in places where the real play cannot be heard, that amateur theatricals are of importance.
Young men at college get up the best of all amateur plays, because they are realistic, and stop at nothing to make strong outlines and deep shadows. They, too, buy many properties like wigs and dresses, and give study and observation to the make-up of the character.
If they need a comic face they have an artist from the theatre put it on with a camel’s-hair pencil. An old man’s face, or a brigand’s is only a bit of water-colour. A pretty girl can be made out of a heavy young man by rouge, chalk, and a blond wig. For a drunkard or a villain, a few purple spots are painted on chin, cheek, forehead and nose, judiciously.
Young girls are apt, in essaying private theatricals, to sacrifice too much to prettiness. This is a fatal mistake; one must even sacrifice native bloom if the part requires it, or put on rouge, if necessary.
As amusement is the object, the plays had better be comedy than tragedy; and no such delicate wordy duels as the “Scrap of Paper,” should be attempted, as that requires the highest skill of two great actors.
After reading the part and committing the lines to memory, young actors must submit to many and long rehearsals. After many of these and much study, they must not be discouraged if they grow worse instead of better. Perseverance conquers all things, and at last they reach the dress rehearsal. This is generally a disappointment, and time should be allowed for two dress rehearsals. It is a most excellent and advantageous discouragement, if it leads the actors to more study.
The stage manager has a difficult rôle to play, for he may discover that his actors must change parts. This nearly always excites a wounded self-love, and ill-feeling. But each one should bear in mind that he is only a part of a perfect whole, and be willing to sacrifice himself.
If, however, plays are not successful and cease to amuse, the amateur stage can be utilized for tableaux vivants, which are always pretty, and may be made very artistic. The principle of a picture, the pyramidal form, should be closely observed in a tableau.
There should be a square of black tarletan or gauze nailed before the picture, between the players and the footlights. The drop curtain must be outside of this, and go up and down very carefully, at a concerted signal.
Although the pure white light of candles, or lime light, is the best for such pictures, very pretty effects can be easily made by the introduction of coloured lights, such as are produced by the use of nitrate of strontia, chlorate of potash, sulphuret of antimony, sulphur, oxymuriate of potassa, metallic arsenic, and pulverized charcoal. Muriate of ammonia makes a bluish-green fire, and many colours can be obtained by a little study of chemistry.
To make a red fire, take five ounces of nitrate of strontia dry, and one and a half ounces finely powdered sulphur; also five drachms chlorate of potash, and four drachms sulphuret of antimony. Powder the last two separately in a mortar, then mix them on paper and having mixed the other ingredients, previously powdered, add these last and rub the whole together on paper. To use, mix a little spirits of wine with the powder, and burn in a flat iron plate or pan; the effect is excellent on the picture.
Sulphate of copper when dissolved in water turns it a beautiful blue. The common red cabbage gives three colours. Slice the cabbage and pour boiling water on it. When cold add a small quantity of alum, and you have purple. Potash dissolved in the water will give a brilliant green. A few drops of muriatic acid will turn the cabbage water into crimson. Put these various coloured waters in globes, and with candles behind them they will throw the light on the picture.
Again, if a ghastly look be required, and a ghost scene be in order, mix common salt with spirits of wine in a metal cup, and set it upon a wire frame over a spirit lamp. When the cup becomes heated, and the spirits of wine ignites, the other lights in the room should be extinguished, and that of the spirit lamp hidden from the observer. A light will be produced that will make the players seem like the witches in Macbeth, “that look not like the inhabitants of the earth, but yet are of it.”
The burning of common salt produces a very weird effect; for salt has properties other than the conservative, preserving, hospitable qualities which legend and the daily needs of mankind have ascribed to it.
A very pretty effect for Christmas Eve may be made by throwing these lights on the highly decorated tree. A set of Christmas tableaux can be arranged, giving groups of the early Christians going into the Catacombs as the Pagans are going out, with a white shaft of light making a cross between them. A picture representing the Christmas of each nationality can be made, as for instance the Russian, the Norwegian, the Dane, the Swede, the German, the English of three hundred years ago. These are all possible to a family in which are artistic boys and girls.
The grotesque is lost in a tableau where there seems to be an æsthetic need of the heroic, the refined, and the historic. A double action may be represented with good effect, and here can be used the coloured lights. Angels above, for instance, can well be in another colour than sleeping children below.
To return for a moment to the first use of the stage, the play. It is a curious thing to see the plays which amateurs act well. The “Rivals” is one of these, and so is “Everybody’s Friend.” “The Follies of a Night” plays itself, and “The Happy Pair” goes very well. “A Regular Fix,” one of Sothern’s plays, is exceptionally funny, as is “The Liar,” in which poor Lester Wallack was so very good. “Woodcock’s Little Game,” too, is excellent.
Cheap and unsophisticated theatricals, such as schoolboys and girls can get up in the garret or the basement, are those which give the most pleasure. But so strong is the underlying love of the drama that youth and maid will attempt the hard and sometimes discouraging work, even in cities where professional work is so very much better.
The private amateur player should study to be accurate as to costume. Pink-satin Marie Antoinette slippers must not be worn with a Greek dress; classic sandals are easily made.
It is an admirable practice to get up a play in French. It helps to conquer the délicatesse of the language. The French répertoire is very rich in easily acted plays, which any French teacher can recommend.
Imitation Negro minstrels are funny, and apt to be better than the original. A funny man, a mimic, one who can talk in various dialects, is a precious boon to an amateur company. Many of Dion Boucicault’s Irish characters can be admirably imitated.
In this connection, why not call in the transcendent attraction of music? Now that we have lady orchestras, why not have them on the stage, or let them be asked to play occasional music between the acts, or while the tableaux are on? It adds a great charm.
The family circle in which the brothers have learned the key bugle, cornet, trombone, and violoncello, and the sisters the piano and harp, and the family that can sing part songs are to be envied. What a blessing in the family is the man who can sing comic songs, and who does not sing them too often.
A small operetta is often very nicely done by amateurs. We need not refer to the lamented “Pinafore,” but that sort of thing. Would that Sir Arthur would write another “Pinafore!” but, alas! there was never but one.
A private theatre is a great addition to a large country house, and it can be made cheaply and well by a modern architect. It can be used as a ballroom on off evenings, as a dining-room, or for any other gathering.
Nothing can be more improving for young people than to study a play. Observe the expressions of the Oberammergau peasants, their intellectual and happy faces, “informed with thought,” and contrast them with the faces of the German and Bavarian peasants about them. Their old pastor, Deisenberg, by training them in poetry and declamation, by founding his well-written play on their old traditions, by giving them this highly improving recreation for their otherwise starved lives, made another set of human beings of them. They have a motive in life besides the mere gathering in of a livelihood.
So it would be in any country neighbourhood, however rustic and remote, if some bright woman would assemble the young people at her house and train them to read and recite, lifting their young souls above vulgar gossip, and helping them to understand the older dramatists, to even attempt Shakspeare. Funny plays might be thrown in to enliven the scene, but there should be a good deal of earnest work inculcated as well. Music, that most divine of all the arts, should be assiduously cultivated. All the Oberammergau school-masters must be musicians, and all the peasants learn how to sing. What a good thing it would be if our district school-teachers should learn how to teach their scholars part songs.
When the art of entertaining has reached its apotheosis, we feel certain that we can have this influence emanating from every opulent country house, and that there will be no more complaint of dulness.
HUNTING AND SHOOTING.
My love shall hear the music of my hounds:
Uncouple in the western valley; let them go,—
Dispatch, I say, and find the Forester.
We will, fair Queen, up to the mountain’s top.
Midsummer Night’s Dream.
Fashion is at her best when she makes men and women love horses, dogs, boating, swimming, and all out-of-door games,—when she preaches physical culture. It is a good thing to see a man play lawn-tennis under a hot sun for hours; you feel that such a man could storm a battery. Nothing is more encouraging to the lover of all physical culture than the hunting, shooting, boating, and driving mania in the United States.
“Hunting” and “shooting” are sometimes used as synonymous terms in America; in England they mean quite different things. Hunting is riding to hounds without firearms, letting the dogs kill the fox; while shooting is to tramp over field, mountain, and through forest with dogs and gun, to kill deer, grouse, or partridge. The 12th of August is the momentous day, the first of the grouse shooting. Every one who can afford it, or who has a friend who can afford it, is off for the moors on the 11th, hoping to fill his bag. The 1st of September, partridge, and the 1st of October, pheasant shooting, are gala days, and the man is little thought of who cannot handle a gun.
In August inveterate fox-hunters meet at four or five o’clock in the morning for cub-hunting, which amusement is over by eleven or twelve. As the winter comes on the real hunting begins, and lasts until late in March. In the midland counties it is the special sport. Melton, in Leicestershire, is a noted hunting rendezvous. People, many Americans among them, take boxes there for the season, with large stables, and beguile the evenings with dinners, dancing, and card-parties. It is a sort of winter watering-place without any water, where the wine flows in streams every night, and where the brandy flask is filled every morning, “in case of accidents” while out with the hounds. An enthusiast in riding can be in the saddle ten or twelve hours out of every day, except Sunday, which is a dull day at Melton.
All the houses within such a neighbourhood are successively made the rendezvous or meet of the hunt. People come from great distances and send their horses by rail; others drive or ride in, and send their valuable hunters by a groom, who walks them the whole way. The show of “pink” is generally good. “Pink” means the scarlet hunting-coat worn by the gentlemen, the whippers-in, etc. The weather fades these coats to a pale pink very much esteemed by the older men. They suggest the scars of a veteran warrior, hence the name. Some men hunt in black, but always in top boots. These boots are a cardinal point in a sportsman’s dandyism.
Once or twice during the season a hunt breakfast is given in the house where the meet takes place. This is a pretty scene. All sorts of neat broughams, dog-carts, and old family chariots bring the ladies, who wear as much scarlet as good taste will allow.
Ladies, with their children, come to these breakfasts, which are sumptuous affairs. Great rounds of cold beef, game patties, and salads are spread out. All sorts of drinks, from beer up to champagne, are offered. One of the ladies of the house sits at the head of the table, with a large antique silver urn before her, and with tea and coffee ready for those who wish these beverages.
Some girls come on horseback, and look very pretty in their habits. These Dianas cut slices of beef and make impromptu sandwiches for their friends outside who have not dismounted. The daughters of the house stand on the steps while liveried servants hand around cake and wine, and others carry foaming tankards of ale, and liberal slices of cheese, among the farmers and attendants of the kennel.
It is an in-door and an out-door feast. The hounds are gathered in a group, the huntsman standing in the centre cracking his whip, and calling each hound by his name. Two or three masters of neighbouring packs are talking to the master of the hounds, a prominent gentleman of the county, who holds fox-hunting as something sacred, and the killing of a fox otherwise than in a legitimate manner as one of the seven deadly sins.
Twelve o’clock strikes, and every one begins to move. Generally the throw off is at eleven, but in honour of this breakfast a delay has been allowed. The huntsman mounts his horse and blows his horn; the hounds gather around him, and the whole field starts out. They are going to draw the covers at some large plantation above the park. The earths, or fox-holes, have been stopped for miles around, so that the fox once started has no refuge to make for, and is compelled to give the horses a run. It is a fine, manly sport, for with all the odds against him, the fox often gets away.
It is a pretty sight. The hounds go first, with nose to the ground, searching for the scent. The hunters and whippers-in, professional sportsmen, in scarlet coats and velvet jockey caps, ride immediately next to them, followed by the field. In a little while a confusion of rumours and cries is heard in the wood, various calls are blown on the horn, and the frequent cracking of high whips, which sound is used to keep the hounds in order, has all the effect of a succession of pistol shots. Hark! the fox has broken cover, and a repeated cry of “Tally Ho!” bursts from the wood. Away go the hounds, full cry, and what sportsmen call their music, something between a bay and a yelp, is indeed a pleasant sound, heard as it always is under circumstances calculated to give it a romantic character. Many ladies and small boys are amongst the followers of the chase. As soon as a boy can sit on his pony he begins to follow the hounds. A fox has no tail and no feet in hunting parlance, he has only a brush and pads. The lady who is in at the death receives the brush, and the man the pads, as a rule.
The hunt is a privileged institution in England, and can make gaps in hedges and break down walls with impunity. The farmer never complains if his wheat and turnip fields are ruined by the sport, nor does a lady complain if her flower garden and ornamental arbour be laid in ruins. The wily fox who has made such a skilful run must be followed at any cost.
Shooting is, however, the favourite sport of all Englishmen. Both pheasants and partridges are first carefully reared; the eggs generally purchased in large quantities, hatched by hens, and the birds fed through the summer with meal and other appropriate food. The gamekeepers take the greatest pride in the rearing of these birds. The pheasant is to the Englishman what the ibis was to the Egyptian.
They are let loose in the woods only when nearly full-grown. When the covers are full, and a good bag is to be expected, the first of October is a regular feast-day; a large party is asked, and a variety of costumes makes the scene picturesque. Red or purple stockings, knickerbockers of stout cloth or velveteen, a shooting-jacket of rough heavy material, and stout shoes make up the costume. The ladies collect after breakfast to see the party start out, a rendezvous is agreed upon, and luncheon or tea brings them together at either two or five o’clock, under a sheltering hedge on the side of a wood. The materials for an ample meal are brought to the appointed place, and a gay picnic ensues.
Though shooting is a sport in which more real personal work is done by those who join in it, and in which skill is a real ingredient, still it is neither so characteristic nor so picturesque as fox-hunting. There, a firm seat in the saddle, a good horse, and a determination to ride straight across country, are all that is needed for the majority of the field. In shooting much patience is required, besides accuracy of aim, and a judicious knowledge of when and how to shoot.
When we consider that hunting is the fashion which Americans are trying to follow, in a country without foxes, we must concede that success must be the result of considerable hard study. The fox is an anise-seed bag, but stone walls and high rail fences often make a stiffer country to ride over than any to be found abroad. In England there are no fences.
As an addition to the art of entertaining, hunting is a very great boon, and a hunt breakfast at the Westchester Hunting Club is as pretty a sight as possible.
In America, the sport began in Virginia in the last century, and no doubt in our great West and South it will some day become as recognized an institution as in England. We have room enough for it, too much perhaps. Shooting should become, from the Adirondacks to the Mississippi, a recognized sport, as it was once a necessity. If Americans could devote five months of the year to sport, as the Englishmen do, they might rival Great Britain. Unfortunately, Americans are bringing down other kinds of game. We cannot help thinking, however, that shooting a buck in the Adirondacks is a more manly sport than shooting one in England.
No one who has ever had the privilege will forget his first drive through the delights of an English park. The herds of fallow deer that haunt the ferny glades beneath the old oaks and beeches, are kept both for show and for the table; for park-fed venison is a more delicious morsel than the flesh of the Scotch red deer, that runs wild on the moor. White, brown, and mottled, with branching antlers which serve admirably for offensive and defensive weapons, the deer browse in groups; the does and fawns generally keeping apart from the more lordly bucks. The park-keeper knows them all, and when one is shot, the hides, hoofs, and antlers become his perquisites.
The method of shooting a buck is, however, this: The keeper’s assistant drives the herd in a certain direction previously agreed upon. The sight is a very pretty one. The keeper stations himself, rifle in hand, in the fork of some convenient tree along the route. He takes aim at the intended victim, and at the ominous report the scared herd scampers away faster than ever, leaving their comrade to the knives of the keeper. It is very much like going out to shoot a cow. There is occasionally an attempt to renew the scenes of Robin Hood and Sherwood Forest, and the hounds are let out, but it is a sham after all, as they are trained not to kill the deer. The stag in this instance is given a start, being carried bound in a cart to a certain point, whence he is released and the chase commences. Thus the same stag may be hunted a number of times and be none the worse for it,—which is not the way they do it in the Adirondacks.
American venison is a higher flavoured meat than English, and should be only partly roasted before the fire, then cut in slices half-raw, placed on a chafing-dish with jelly and gravy, and warmed and cooked before the guest to ensure perfection.
A Polish officer of distinction has sent me the following account of hunting in his province:—
“We do not hunt the fox as in England. He is shot when met in a drive, or worried out of his subterranean castle by a special breed of dogs, the Dachshund, or Texel; or if young cubs are suspected to be in the hole the exits so far as known are closed, a shaft sunk to the centre, and the whole brood extinguished.
“We ride to hounds after hare, and the speed of a fox-hunt is nothing when compared with a cruise of the hare; for the greyhound, used for the latter, can beat any fox hound in racing. No one would ever think of water-killing deer as is done in the Adirondacks, and woe unto him who kills a doe!
“The old-fashioned way to kill the wild boar is to let him run at you, then kneel on one knee holding a hunting knife, or cutlass, double-edged. The boar infuriated by the dogs rushes at you. If well directed, the knife enters his breast and heart; if it does not, then look out. This is what is called pig-sticking in India. Old Emperor William hunted the boar in the Royal Forests near Berlin, and King Humbert does the same in the mountains near Rome.
“Bird hunting, that of snipe, woodcock, partridge, quail, and waterfowl, is done in the same way as here, excepting the use of duck batteries.
“There is very little big game to be found in Europe, that is, in the civilized parts of it, but in some forests belonging to royalty and that ilk, the elk, the stag, the bear, and the wild boar, present themselves as a target, and bison are to be found in Russia. The elk is purely royal game in Prussia.
“Southern or Upper Silesia is called the Prussian Ireland, and was famous for hunting-parties; ladies would join, and we would drive home with lighted torches attached to our sleighs.”
These accounts of hunting-parties are introduced into the Art of Entertaining as they each and all contain hints which may be of use to the future American entertainer.