[III.]
PRIVATE THEATRICALS; ACTING PROVERBS AND CHARADES.
Wherever the amateur actor pitches his tent or erects his stage, he must consider wisely the extraneous space behind the acting arena necessary for his exits and entrances, and his theatrical properties. In an ordinary house the back parlor, with two doors opening into the dining-room, makes an ideal theatre; for the exits can be masked, and the space is specially useful. One door opening into a large hall is absolutely necessary, if no better arrangement can be made. The best stage is, of course, like that of a theatre, with areas all around and behind it, so that the actors have a space to retire into. This is difficult in a parlor, unless it be a very large one. The difficulty, however, has been and will be solved by the ingenious. Drawing up the big sofa in front of the footlights, and arranging a pair of screens and a curtain, has often served well for a parlor play.
It is hardly necessary to say that all these arrangements for a play depend, in the first place, on the requirements of the play itself and its legitimate business, which may demand a table, a bureau, a piano, a fireplace, etc. And here we would say to the youthful actor, Select your play at first with a view to its requiring little change of scene, and not much furniture. A young actor needs space; he is embarrassed by too many chairs and tables. Then, again, choose a play which has so much varied incident in it that it will, as it is said, “play itself.” Of this branch of our subject we will treat later.
The first thing to be built is the stage. Any carpenter will lay a few stout boards on end-pieces, which are simply squared joists, and for very little money will take away the boards and joists afterward; or a permanent stage can be built for a few dollars. Sometimes ingenious boys build their own stage with old boxes; but this is apt to be dangerous. Very few families are without an old carpet, which will serve for a stage-covering; and, if this is lacking, green baize is very cheap. A whole stage-fitting—curtains and all—can be made of green cambric; but it is better to have all the stuffs of woolen, for the danger from fire is otherwise great. Footlights may be made of tin, with pieces of candle put in; or a row of old bottles of equal height, with candles stuck in the mouth, make a most admirable and very cheap set of footlights. The mother, an elder brother, or some one with judgment, should see to all these things, or the play may be spoiled by an accident.
The curtain is always a trouble. A light wooden frame should be made by the carpenter; firm at the joints, and as high as the stage, to the front part of which it should be attached. This frame forms three sides of a square, and the curtain must be firmly nailed to the top-piece. A stiff wire should be run along the lower edge of the curtain, and a number of rings be attached to the back of it in squares—three rows of four rings each, extending from top to bottom. Three cords are now fastened to the wire, and, passing through the rings, are run over three pulleys on the upper piece of the frame. It is well for all young managers of garret theatres to get up one of these curtains, even if they have to hire an upholsterer to help them. The draw-curtain never works surely, and often hurts the dénoûment of the play. In the case of the drop-curtain which we have described, one person holds all the ends of the cords, tied together; and, on pulling this, the curtain goes up and down as if by magic, and rarely gets out of order, which is a great gain.
Now as for stage properties. Almost any household, or any self-respecting garret, will hold enough of “things.” If it does not, let the young actors exercise their ingenuity in making up, with tinsel-paper and other cheap material, all that they will want. Turnips, properly treated with a jackknife, have heretofore served for Yorick’s skull in the great play of “Hamlet.” A boy who knows how to paint can, on a white cotton background, with a pot of common black paint, indicate a scene. If he be so fortunate as to know a kindly theatrical manager who will let him for once go behind the scenes, he will find that the most splendid effects are gained by a very small outlay.
As for the theatrical wardrobe, that is a very easy matter, if the children have an indulgent and tasteful mother, who will help a little and lend her old finery.
A brigand’s costume (and brigands are very convenient theatrical friends) is easily arranged. Procure a black felt hat, fastened up with a shoe-buckle; a bow and a long feather; a jacket, on which Fanny will sew some brass buttons; one of mamma’s or sister’s gay scarfs, tied round the waist several times; an old pair of pantaloons, cut off at the knee, and long stockings, tied up with scarlet ribbons; a pair of pumps, with another pair of buckles, and any old pair of pistols, dirks, or even carving-knives, stuck in the belt, and you have, at very small expense, a fierce brigand of the Abruzzi.