NOTES ON COSTUME, MUSIC, AND SETTING
Adult parts in this play taken by boys and girls of fifteen or sixteen. In contrast to these, the smaller the children playing Rafe, Cicely, and Allison, the better—Rafe not over eight, Cicely and Allison six and five years.
Costumes follow the Van Dyke pictures of Charles I and those of his children. Very helpful illustrations may also be found in "Merrylips," by Beulah Marie Dix. (The Macmillan Company.)
Sir Gilbert and Rufus wear sleeveless jerkins made of tan-colored canton flannel to represent leather. Rufus wears boots and a broad-brimmed hat with plumes, and long cloak of the same color as his suit. These suits should be of rich colors in contrast to the sober colors of the Puritan soldiers, who also wear leather-colored jerkins and boots.
Cavaliers wear broad lace collars and cuffs, while the Puritan Soldiers wear square linen collars and cuffs, and under-sleeves with stripes running around them of black and orange, the colors of the Parliament. Orange baldric over right shoulder. If possible, metal helmets, or firemen's helmets silvered to represent the steel caps of the time; otherwise, broad-brimmed felt hats with band or scarf of orange and black. They carry swords, cross-bows, or other arms.
Lady Katherine and Phyllis. Full, quilted petticoats, broad, deep-pointed lace collars and cuffs. Dressed in rich colors. Lady Katherine wears a small lace cap upon her hair.
Rafe. Suit like the picture of Prince Charles. May wear a broad fringed sash, and fringed bows at his knees. Lace collar and cuffs. Sleeves may be slashed.
Cicely and Allison. Little short-waisted, quilted dresses, with flowered panels set in. Lace at the square necks and the elbow sleeves.
Gillian. Plainly made dress of flowered material. Skirt full, but not quilted. Short caps to the sleeves. White kerchief, apron, and plain white cap.
Diccon. Plain suit, like the Puritans, but less sober in color, and without the leather jerkin. Square linen collar and cuffs.
The Portraits. Costumes of an earlier century.
Sir Philip. Slashed doublet and trunks of rich color, and long stockings to match. Ruff, and plumed cap or hat of same material as doublet. Wears a dagger.
Lady Geraldine. Dress of rich color to harmonize with Sir Philip's. Puffed and slashed sleeves, figured panel in front of skirt and waist, and panniers on hips. Ruff, and small beaded cap.
To stand in absolute stillness for so long a time is a difficult matter. Therefore the portraits must be careful to take poses which they can hold without too great a strain throughout the act.
Music
Choose songs which, through their quaintness, may be in keeping with the atmosphere of the whole.
For the children:
"Waken, Christian children,"[28]
"The first Nowell the angel did say,"
or some other simple old carol.
For the Waits:
"From far away we come to you."
These three carols are all to be found in "Christmas Carols New and Old," Novello & Company. The last has been modernized and set to new music more suitable for children's voices by Mr. W.W. Gilchrist, and is to be found in a book containing many good carols for children ("The First Nowell" among them), "The New Hosanna."[29] Mr. Gilchrist's version omits the quaint refrains of the original—"The snow in the street, and the wind on the door," and "Minstrels and maids stand forth on the floor," and substitutes "Sing 'Glory to God' again and again," and "Peace upon earth, good will to men." These last words are necessary to the sense in two places, in the text of the play. When the play was first given, the Waits used the old refrains, and Mr. Gilchrist's, for alternate verses, thus gaining in quaintness of effect and at the same time avoiding monotony. For the midnight dance, use the Minuet from Mozart's "Don Giovanni."[30]
Setting
If the first scene, which requires little furniture,—the table, a chair for Gillian, and low stools for the children,—can be set in front of the second, much time will be saved in the changing. One scene will serve for both acts, if the frames of the portraits can be covered with hangings during the first act. Mission furniture may be used, but if it is possible to obtain a carved chair and table, and appropriate objects to hang upon the wall,—one or two pieces of armor, a pair of antlers, etc.,—the effect can be much enhanced.
The secret door in the second act must be planned in accordance with the possibilities of one's stage. If scenery is used, one section may be opened wide enough for Rufus to pass through. Otherwise, arrange hangings so that he may appear to go through a door behind them.
[THE BABUSHKA]
A RUSSIAN LEGEND, IN ONE SCENE