The stage scenery must be arranged in the following order: A large arm chair, with a shaft running up from the back, to which is attached a canopy, will answer for the throne chair; cover it with green cambric, and decorate with garlands and bouquets. This chair should rest on the platform, which is six feet long, three feet wide, and covered with French patch. A large gilt vase, containing a bouquet, must be placed at each corner. The queen's costume consists of a white robe, decorated with flowers, a garland about the head, the right hand grasping a wand trimmed with silver and gold paper, the body inclined forward slightly, the left hand extended, in the act of taking a bouquet from one of the fairies, whom she is looking at; her countenance is lighted up with smiles. Care should be taken that the fairies who are grouped around the throne do not take the view from the queen. The fairies' costume consists of a short white dress, flesh-colored hose, white slippers, and hair done up in ringlets. The sleeves of the dress made quite short, waist and skirt ornamented with gold bands and spangles, a wreath of pure white flowers, intermingled with myrtle, on the head, and a portion of them wearing gauze wings, studded with spangles. Four of the fairies are to be grouped around the foot of the throne, on the top step. They stand or kneel, so that a partial side view is had of the body; hands extended, and holding bouquets or garlands; eyes fixed on the queen; countenance pleasant. The rest of the misses must be placed on each side of the steps, assuming a variety of positions, and each have fruits or flowers. Those at the lower part of the steps can stand near the sides of the stage, which will allow those above to be seen. The scene should be illuminated by a trio of fires, consisting of green, purple, and red, burned at the side of the stage. For directions, see [Pyramid of Beauty]. Music soft and animating.
BELSHAZZAR'S FEAST.
|
Joy holds her courts in great Belshazzar's hall, Where his proud lords attend their monarch's call; The rarest dainties of the teeming East Provoke the revel and adorn the feast. But why, O king, Why dost thou start, with livid cheek?—why fling The untasted goblet from thy trembling hand? Why shake thy joints? thy feet forget to stand? Why roams thine eye, which seems in wild amaze To shun some object, yet returns to gaze, Then shrinks again, appalled, as if the tomb Had sent a spirit from its inmost gloom? Awful the horror, when Belshazzar raised His arm, and pointed where the vision blazed; For see! enrobed in flame, a mystic shade, As of a hand, a red right hand displayed, And, slowly moving o'er the wall, appear Letters of fate and characters of fear. In death-like silence grouped the revellers all, Fixed their glazed eyeballs on the illumined wall. T.S. Hughes. |
Seven Female and Eight Male Figures.
This sacred tableau is represented as follows: At the left of the stage, Belshazzar is seated on his throne. At his side stands his wife. Consternation and affright are depicted on their countenances. At the opposite side of the stage stand three wise men. In the centre of the stage is the feast table, covered with silver dishes, candlesticks, and refreshments. Around it are gathered the guests. In the background, on a platform, are seen a group of servants. The handwriting is placed on the back scenery, opposite to the group of servants. The number of figures in the piece is fifteen—eight gentlemen and seven ladies. The scenery in the piece consists of a table six feet long, two and a half feet high, and three feet wide, covered with a green cloth, fringed with gold paper, on this are placed a silver tea set, cake baskets, candlesticks, and refreshments. The throne chairs should be placed on a platform at the left of the stage, near the front; the platform can be formed of boxes, and must be four feet square and two feet high, covered with crimson cloth, trimmed with gold paper; two large chairs, with a canopy over the top, will answer for the throne; one occupied by Belshazzar, the other by his wife. Low seats around the table will be needed for the guests; the seats can be covered with white cloth; showy pictures, in rich frames, adorn the walls, and pedestals and statuary fill the corners of the room. The writing on the wall can be produced by means of a transparency, the words made large, and the letters in German text, with a halo around the whole sentence. Belshazzar's costume consists of a purple velvet coat trimmed with gold, a large cloak trimmed with ermine, velvet breeches, white hose crossed with red tape, sandals on the feet, and a velvet and gold crown on the head. His wife should be dressed in a showy brocade, cut low at the top, short sleeves, a band of black velvet ornamented with gold placed on the head, and a narrow mantle worn over the shoulder. The dress must be ornamented with rich jewelry, gold bands, and a wide belt of red velvet, decorated with paste pins, around the waist. The three wise men's costume consists of long, loose coats, reaching six inches below the knee, and gathered in at the waist with a wide belt. Each coat should vary in color from the others. They can be made of cambric. Colors, red, purple, and blue, with the edges trimmed with cloth of some other color. Black hose, crossed with red, reach to the knees, low shoes, covered with red Turkey cloth, on the feet, and a turban of bright colors on the head, the face covered with a long white beard—this can be made of flax. The ladies at the table must be costumed in silk or satin dresses, ornamented with spangles, and any kind of jewelry that will look showy; hair decorated with spar beads, hair pins, and plumes. The gentlemen's costume consists of rich velvet suits; long beards. Servants in short white coats, with border on the bottom, red breeches, white hose, and light felt hats with gold bands. Belshazzar's position is in the chair near the footlights; body inclined back, arms thrown up, eyes fixed on the writing, countenance expressing affright. His wife is seated in the second chair, one arm resting on the shoulder of her husband, the other raised in front of the face, eyes directed to the writing. The wise men stand opposite to the throne, at the extreme end of the stage, near the footlights; their backs are to the audience; the heads of two are turned to the king, giving a side view of their faces. One of them points to the writing. The party at the table must assume a variety of natural positions; a few look with astonishment, and point at the writing; others are engaged in eating and drinking. The servants stand in the background, and are all looking at the writing. A few lean forward and point to the wall; others take position as if about to flee from the room; the countenances of all express terror. The scene should be lighted by a brilliant red fire burned at the side of the stage opposite Belshazzar. Music, operatic style.
THE VALENTINE.
|
"I smile at Love and all his arts," The charming Cynthia cried; "Take heed, for Love has piercing darts," A wounded swain replied. "Once free and blessed, as you are now, I trifled with his charms, I pointed at his little bow, And sported with his arms; Till, urged too far, 'Revenge!' he cries; A fatal shaft he drew; It took its passage through your eyes, And to my heart it flew." J. Vanburgh. |