WHAT becomes of our bodies?" asks a soft eyed scientist, and we answer in stentorian tones, that they get inside of a red flannel undershirt as the maple turns to crimson and the sassafras to gold. Ask us something difficult, ethereal being, if you want to see us get up and claw for our library of public documents.
A MINING EXPERIMENT
A MILD-EYED youth, wearing a dessert-spoon hat and polka-dot socks, went into Middle Park the other day and claimed to be a mining expert. The boys inveigled him into driving a stick of giant powder into a drill-hole at the bottom of a shaft with an old axe, and now they are trying to get him out of the ground with ammonia and a tooth-brush.
A NEW INDUSTRY.
THE want column of the Chicago News for October 10th has the following: "Twelve frightful examples' wanted, to travel with Scott Marble's new drama and appear in the realistic bar-room scene of the 'Drunkard's Daughter.' Arthur G. Cambridge, dramatic agent, 75 South Clark street."
This throws open a field of usefulness to a class of men who hitherto have seen no prospect whatever for the future. It brings within the reach of such men a business which, requiring no capital, still gives the actor much time to do as he chooses. Beauty often wins for itself a place in the great theatrical world, but it is rare that the tomato nose and the watery eye secure a salary for their proprietors. Business must be picking up when the wiggly legs and danger-signal nose will bring so much per week and railroad fare. Perhaps prohibition has got the "frightful example" business down to where it commands the notice of the world because of its seldom condition.
THE MIMIC STAGE.
AT the performance of "The Phoenix" here, the other night, there was a very affecting place where the play is transferred very quickly from a street scene to the elegant apartments of Mr. Blackburn, the heavy villain. The street scene had to be raised out of the way, and the effect of the transition was somewhat marred by the reluctance of the scenery in rolling up out of the way. It got about half way up, and stopped there in an undecided manner, which annoyed the heavy villain a good deal. He started to make some blood-curdling remarks about Mr. Bludsoe, and had got pretty well warmed up when the scenery came down with a bang on the stage. The artist who pulls up the curtain and fills the hall lamps, then pulled the scene up so as to show the villain's feet for fifteen or twenty minutes, but he couldn't get it any farther. It seemed that the clothes line, by which the elaborate scenery is operated, got tangled up some way, and this caused the delay. After that another effort was made, and this time the street scene rolled up to about the third story of a brick hotel shown in the foreground, and stopped there, while the clarionet and first violin continued a kind of sad tremulo. Then a dark hand, with a wart on one finger and an oriental dollar store ring on another, came out from behind the wings and began to wind the clothes-line carefully around the pole at the foot of the scene. The villain then proceeded with his soliloquy, while the street scene hung by one corner in such a way as to make a large warehouse on the corner of the street stand at an angle of about forty-five degrees.