Macaroons
Boots and prompt-book for Cothurnus (large flat black book)
Also, if desired, mask of Tragedy for Cothurnus
Crepe or tissue streamers of different colors, including no red or blue, for wall.
COSTUMES:
PIERROT: Lavender or lilac satin, preferably a blue-lavender. Care should be taken that the lavender does not turn pink under the stage lights. Pierrot's costume is the conventional smock with wide trousers, with black crepe paper rosettes on the smock, wide white tarleton ruff. Black evening pumps with black rosettes may be worn. Black silk skull-cap.
COLUMBINE: Tight black satin bodice cut very low, with straps over the shoulders, quite like the modern evening gown; very full tarleton skirts of different shades of pink and cerise, reaching to the knees; ruffled bloomers of apple-green tarleton, the ruffles showing below the skirts; black silk stockings and black ballet slippers, laced with green. Hat of lavender crepe paper, with streamers of gay colors—including, however, no clear red or blue. Hat should be small and very smart—not a shepherdess hat. Columbine should be made up to suggest a doll. As originally interpreted she had short light hair, standing out bushily all over her head. Long hair should be rolled under to give a bobbed effect, or could be arranged in obvious caricature of some extreme modern style, but must look attractive, and must be blonde.
COTHURNUS: Plain toga of dull purple in some heavy, unreflecting material which will fall into large folds, lined with sombre flame-color; a garment with large purple sleeves, of which only the sleeves were visible, was worn under the toga,—but the effect should be classical; heavy boots should be worn, as nearly as possible like the tragic Roman buskin; one end of the great toga is tied into a rough hood which covers the actor's head; a mask may be worn, but it is often difficult to speak through, and, if desired, the actor's face may be made up to represent a mask of Tragedy.
THYRSIS and CORYDON: These costumes, in striking contrast to the elegance of those of Pierrot and Columbine, should be very simple, and very roughly made; short tunics of outing-flannel or some such material—fastened loosely over one shoulder,—one shoulder, as well as most of the back and breast, exposed. Legs bare, or swathed from the knee to the ankle in rough strips of the same material. Sandals. Cloaks of heavier, cheap material fastened to the tunics in such a way that they will appear to be simply flung over the shoulder, but actually fastened very cleverly in order to avoid tripping the shepherds, who are continually sitting down on the floor and getting up again.
Thyrsis wears a dark grey tunic and cloak of raw bright red,—but not a turkey-red, as this color will kill the blue of Corydon's cloak. Corydon wears tunic of light grey and cloak of brilliant blue. There must be no red or blue used anywhere in the entire play excepting in the blue and red of these two cloaks. The two shepherds must be so strong and vivid in every way that when Columbine comes in and says, "Is this my scene or not?" it will seem to the audience that it is she, not the shepherds, who is hopelessly out of the scene.