Magic, Stage Illusions and Scientific Diversions, Including Trick Photography

by Albert A. Hopkins

The inscriptions under the bells are as follows: “Prompter,” “Stage,” “Office,” “Carpenter,” “Music-Room,” “Wardrobe,” “Engineer,” “Orchestra,” “Gas Table,” “Thunder,” “Trap,” “Fly,” “Property Artist,” “Box Office.” This means of communication for giving orders and “cues” is very useful; for instance, when the proper moment for thunder has arrived, the stage manager pushes the button and it thunders. Here is also a book upon which is inscribed the exact time of beginning and finishing the various acts. A door at the right of the desk gives access to the stage in front of the curtain; there is a corresponding door on the other side of the house. These doors are very useful, as they enable the artists to appear in response to encores, without raising the curtain, which means loss of time which is much needed in changing the scene. It is a wonderful sight to look through the little peep-hole in the door at the audience. Tier upon tier of splendidly clothed humanity rises up to the family circle at a dizzy height above. The whole is bright and gay, and is very different from the practical world behind the stage, where stand the stalwart stage hands ready for their duties; but, after all, the world behind the stage has a charm which even the casual visitor willingly admits.

The electric lighting of the Opera House is very interesting, the [switchboard] especially. It is believed to be the finest theater switchboard in the world, and cost a good-sized fortune. It is known as the Kelly-Cushing switchboard. From the switchboard every light in the house is controlled both in front of and behind the curtain. Of course, the necessity of arranging all the lights used upon the stage so that the colors may be changed, greatly complicates the switchboard. It is arranged so that the operator can move all the rheostats at once, if desired, thus producing a gradual brightening or dimming of the lights. This is done by the large lever at the right of the switchboard. Underneath will be seen the fuses. At the right will be noticed a number of small switches. These control the pilot lights which are fastened at the top of the switchboard. These pilot lights show the exact condition of every light both in the house and on the stage; and the electrician, who has absolute control over all the lights from the great switchboard, can see at a glance what lights he has on, whether red, blue, yellow, or white, and their brightness. The footlights, which are between the conductor and the curtain, are provided with fifty candle-power lamps. The drop scenes, and especially the borders, are lighted by means of what are called border lights. The border lights consist of a batten which runs clear across the stage and which is suspended from the gridiron by means of wire ropes. The batten is backed with a tin reflector. There are two hundred and thirty-four lamps in each of the border lights, which are eight in number. The electric lamps are of thirty-two candle-power, and are arranged alternately in colors of red, white, blue, and yellow. It is, of course, possible for two of the colors to be turned on at once if desired. Any degree of brightness may be obtained by manipulating the rheostats on the switchboard.

The cables for furnishing the electricity for the border lights are attached at the level of the first fly gallery on the right side, or the side opposite to the working fly gallery. The border lights are usually maintained at a height just above the first fly gallery. In case of any breakdown in the electrical system, gas is provided for the borders and the footlights, the burners being secured to the battens of the border lights the same as the electric lights. Rubber tubes which furnish the supply of gas are attached on the same side as the electric cable. At the sides of the proscenium opening are what are called “side lights.” They are one hundred in number, and are of sixteen candle-power. They are provided in the four colors already mentioned. Up in the first fly gallery, at the side of the border lights, are eighteen arc-light projectors, nine to the side, seven of which are what are called “open boxes,” that is, they have a ground-glass front, and two of them are provided with lenses and are called “lens boxes.” These arc lights take the place of the old calcium lights, and are better and more economical. The wings are lighted by what are called “bunch lights,” several incandescent lights being placed in front of a reflector. They are supported by a standard. The electric light can be obtained at nearly all parts of the stage from boxes which are provided with an iron cover. Gas may also be had for use in various effects. In some operas, as many as a thousand incandescent lights maybe going on the stage at one time, in addition to the arc-light projectors already referred to. There is little wonder that under this intense light the ordinary complexion is paled, and artifice is required to come to the aid of nature. There are about nine thousand incandescent lights in the entire house, although they are not all used at one time. Every part of the house is beautifully lighted, even to the cellars.

When the Opera House is used for balls, splendid chandeliers are used, which are stored in the cellar when not in use. The whole stage and orchestra are boarded over, making a superb ballroom. The Opera House does not have its own plant for generating electricity. It is all obtained from the street circuit. It is believed that there is less risk of a breakdown or from fire than if an isolated plant was provided. Electricity is used in many of the effects and for running the ventilating fans and the elevators.

When the house was rebuilt after the fire, the gas table made way for the switchboard. The complicated gas plot is not used at the present time at the Opera House, the electrician carrying the lighting in his mind, the effects being determined upon at the rehearsal. Much of the lighting depends on “cues;” thus, in the first act of “Siegfried,” when Wotan appears in the mouth of the cave, this is the signal for light being turned on him with a projector; and further on, when he strikes the stage with his spear, white light is thrown on him.

The electrical organ at the Metropolitan Opera House is interesting. The organ itself is fixed in the first fly gallery on the right, but it may be played from any part of the stage. At the extreme right of the stage is the organ trap. When it is wished to use the organ either for rehearsal or for a performance, the keyboard is raised by the trap and carried to any part of the stage, a large cable carrying the wire which runs up to the organ. This arrangement gives great satisfaction.

Every precaution is taken to guard against fire, which once played such havoc with the Opera House. Lines of hose are on every floor, and automatic sprinklers are in all of the rooms. Axes and fire-hooks are disposed at frequent intervals. A fireman is on the stage at all the performances, and the men are carefully trained in a fire drill. The asbestos curtain affords absolute protection to the audience, as even a fire of the most serious character in the “back of the house” would give the most ample time for all of the audience to get out comfortably. It may be dropped either from the flies or the stage. It is lowered at night as a precaution.

PAINTING SCENERY FROM THE PAINT BRIDGE.