These points being disposed of, costume and make-up will be the next consideration. As to the latter, the reader will find full instructions in the chapter devoted to private theatricals. With respect to costume, as the characters are seen for only a few moments, and in one position, this point may be dealt with in a much more rough-and-ready manner than would be advisable in the case of a regular dramatic performance. The royal crown need only be golden, the royal robe need only be trimmed with ermine-on the side toward the spectators; indeed, the proudest of sovereigns, from the audience point of view, may, as seen from the rear, be the humblest of citizens. Even on the side toward the spectators a great deal of "make believe" is admissible. Seen through the intervening gauze, the cheapest cotton velvet is equal to the richest silk; glazed calico takes the place of satin; and even the royal ermine may be admirably simulated by tails of black worsted stitched on a ground of flannel. Lace may be manufactured from cut paper, and a dollar's worth of tinsel will afford jewels for a congress of sovereigns. Of course, there is not the least objection to his wearing a crown of the purest gold, or diamonds of the finest possible water (if he can get them), but they will not look one whit more effective than the homely substitutes we have mentioned.
A "ghost effect" may, where necessary, be produced by the aid of a magic lantern; the other lights of the tableau being lowered in order to give sufficient distinctness to the reflection.
Dramatic tableaux may often be exhibited with advantage in two or more "scenes"; the curtain being lowered for a moment in order to enable the characters to assume a fresh position. Examples of this will be found among the tableaux which follow.
Having indicated the general arrangements of tableaux vivants, we append, for the reader's assistance, a selection of effective subjects, both simply pictorial and dramatic.
I. DIGNITY AND IMPUDENCE.
(With background of plain drapery, remaining unchanged.)
A magnificent flunkey, in a gorgeous suit of livery, standing, with left hand on hip, right hand in breast, side by side with a very small and saucy "boy in buttons," upon whom he looks down superciliously. Boy with both hands in trouser pockets and gazing up at his companion with an expression of impertinent familiarity.
II. THE FORTUNE-TELLER
A pretty girl, in simple outdoor costume, standing sideways to the spectators, with downcast eyes and a half-smiling, half-frightened expression. The fortune-teller faces her and holds the young lady's right hand in her left, while her own right hand holds a coin with which she is apparently tracing the lines of the young lady's palm, at the same time gazing with an arch expression into her face, as though to note the effect of her predictions. The fortune-teller should be in gipsy costume, a short, dark skirt and a hood of some brighter material thrown carelessly over her head. She should be of a swarthy complexion, with a good deal of color and jet-black hair.