THE FIREMAN'S RESCUE.
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And the flames in thick wreaths mounted higher and higher; O God! it is fearful to perish by fire. |
Two Female and Eight Male Figures.
This tableau represents a dwelling-house, the interior of which is enveloped in flames. The front door stands open, displaying a flight of steps, on which is a heroic fireman descending from the burning chamber, with a beautiful child clasped in his arms, which he has rescued from the raging element. Kneeling on the step outside of the door are the parents of the child; their hands are clasped and raised upward, their eyes fixed on the doorway, countenance expressing intense excitement. Two firemen in the foreground are seen holding a hose pipe and hose; two others, at the extreme end of the stage, are screwing the other end of the hose to a hydrant; another stands ready with an axe to break in the windows. The captain's position is on the step of the house; he holds a trumpet in his hand, and is giving orders to his men. The firemen should be dressed in full uniform, the mother in white, and hair hanging loose over the shoulders; the father's costume should be dark, and the child dressed in a long white robe. The scenery of this piece consists of a frame the width of the stage, and rising from the floor to the ceiling, painted to represent brick, with mouldings, frame, cornice, &c. A door may be placed in the centre, and a window on each side. The stairs should be as wide as the door, and run up five feet, and covered with carpeting; fire and smoke must be painted as coming from the windows. A red fire burned behind the back scene will light it up with fine effect. The light for the front of the picture should be of medium brightness, and come from the side of the stage. Fire bells can be imitated in the ante-rooms.
CATHARINE DOUGLASS BARRING THE DOOR WITH HER ARM.
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Though perils did Abound, as thick as thought could make 'em, and Appear in forms more horrid; yet my duty, As doth a rock against the chiding flood, Should the approach of this wild river break, And stand unshaken yours. Shakspeare. |
One Female and Six Male Figures.
Unattended even by a body guard, and confiding in the love of his subjects, James I. of Scotland was residing within the walls of the Carthusian monastery at Scone. Graham of Stratham seized the occasion, and brought down a party by night to the neighborhood. Seconded by traitors within, he gained possession of the gates and interior passages. The king's first intimation was from his cup-bearer, who, on leaving the king's chamber, found the passage crowded by armed men, who answered his cry of alarm by striking him dead. The noise reached the royal chamber; a rush of the assassins followed; and Catharine Douglass, one of the queen's maids of honor, springing forward to bolt the door, found the bar had been clandestinely removed. With resolute self-devotion she supplied the place with her naked arm.—To present a view of the interior of the room, and the passage outside, it will be necessary to place a partition from the front of the stage, near the footlights, to the left hand corner in the background. In the smallest apartment stands Catharine Douglass. The partition running in this manner will give to the audience a view of the door and iron fastenings through which the arm of the heroine passes, and also the passage where the assassins stand. The partition should be made of light strips of wood, covered with cheap cloth, and painted to imitate the interior of a room. The door must be quite near the front, of Gothic form, studded with large nails; two iron sockets, four inches square, should be placed on the door and frame; a mahogany table, globe lamp, chairs, carpets, and engravings may be placed in the inner room; the outer apartment should be empty. The lady who personates the heroine must be of good figure, tall and stout, fine features, and have long black hair. Costume consists of a blue silk dress, pink waist, sleeves five inches long, bordered on the edge with black crape, under sleeves of white tarleton muslin reaching to the wrist, a yellow scarf tied loosely around the waist, hair flowing loosely over the shoulders, a plaid scarf fringed on the ends with gold, bound around the head, the ends hanging in the neck. Position, facing the audience, the right arm bare, and thrust through the first socket, the hand grasping the second; the left is pressed against the door above the fastening; the head inclined towards the door, body perfectly upright, eyes looking straight forward with intensity, countenance expressing firmness. The assassins, to the number of six, stand around the outside of the door; each is costumed in a black coat trimmed around the edge and collar with green, and ornamented with large gilt buttons; colored vests, cut very long and trimmed with black binding, knee breeches of light color, black hose, and a band of bright-colored cloth around the top, low shoes, shoe and knee buckles, black felt hat turned up at one side and ornamented with a colored plume and gilt band, belt around the waist, side arms and pistols; the face covered with a shaggy beard. Each one grasps a sword, and is in the act of running towards the door, the left hand extended, the right with the sword raised on high, eyes directed to the door, countenance expressing excitement. The light should come from both sides of the stage, the room in which the heroine stands being the lightest. Music wild and animating.