SHIP OF THE NEW BALLET, “THE TEMPEST.”
We now come to the details of the construction of the ship. Our [engraving] shows the boat while it was being built. The visible hull of the ship was placed upon a large and very strong wooden framework formed of twenty-six trusses. In the center there are two longitudinal trusses about three feet in height and twenty-five feet in length, upon which are assembled perpendicularly seven other trusses. In the interior there are six transverse pieces held by stirrup bolts, and at the end of each of these is fixed a thirteen-inch iron wheel. The entire structure rolls upon these twelve wheels. There are two bronze wheels which we have already referred to. In the rear there are two vertical trusses, sixteen feet in height, which are joined by ties and descend to the bottom of the frame, to which they are bolted. They constitute the skeleton of the immense stern of the vessel. The skeleton of the prow is formed of a vertical truss which is bolted to the frame. The rest of the construction of the ship will be readily understood by reference to the [engraving]. The large mast consists of a vertical tube, ten feet high, which is set into the center of the frame, and in the interior of which slides a wooden spar which is capable of being drawn out for the final apotheosis. The mast carries three foot-boards, and a platform for the reception of “supers.” It is actuated by a windlass placed upon the frame. Panels made of canvas, painted, represent the hull; there are nine on each side; above are placed those that cover the prow and the stern. The bowsprit is in two parts, one sliding into the other; the front portion is at first pulled back in order to hide the vessel entirely in the side scenes. It begins to make its appearance before the vessel itself gets under way. Silken cordage connects the mast, bowsprit, etc. On each side of the vessel there are bolted five iron frames covered with canvas which reach the level of the water line, as shown in the above [engraving]. Upon these stand the “supers” who represent the naiads that are supposed to draw the ship from the beach. At the bow there is fixed a frame which supports a danseuse representing the living prow of the vessel. The boat is drawn to the middle of the stage by a cable attached to its right side, passing around a windlass placed in the side scenes to the left. It is at the same time pushed by stage hands placed in the interior of the framework. The trucks or chariots which support the boat are entirely covered with painted canvas resembling water. As the vessel, freighted with harmoniously grouped spirits and naiads, with fairies and graceful genii apparently swimming about it, sails in upon the stage, puts about and advances, and is carried along by the waves to the front of the stage, the effect is really beautiful, and does great credit to the stage machinist’s art.
MISCELLANEOUS STAGE EFFECTS.
A rather curious illusion occurs in “Don Juan.” The monument of the Gubernator bears the inscription, “Here revenge awaits the murderer.” The moment that Don Juan appears in front of the monument, one of the stage hands removes a strip of some opaque substance from behind the transparent inscription, which now appears in brilliant letters on the base of the monument; the letters being lighted by lamps behind the statue.
THE GRAVEYARD SCENE IN THE OPERA “DON JUAN.”
In ballets the dancers are frequently represented as floating in the air. This movement may be produced by means of a common sea-saw. In aërial ballets and in the appearances of angels, etc., special devices are provided in up-to-date theatres, the mechanism usually being in the form of a trolley.