Chapter 14

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.

Two Female and Two Male Figures.

This tableau is represented by four persons--two young ladies, and two small lads. One of the young ladies is seated on a sofa, which is placed in the centre of the stage. She holds a valentine in the left hand, and points at it with her right. Her head is turned around to a young lady who stands behind the sofa. The countenance expresses mirth. The lady standing behind the sofa rests her right arm on the shoulder of her friend, and is looking to the valentine, her body inclined forward slightly, face beaming with smiles. Costume consists of a white dress, pink apron trimmed with green, hair done up in wide braids at the side of the head, and ornamented with a few flowers. The costume of the lady seated, consists of a white dress, buff apron trimmed with purple, hair hanging in ringlets, and ornamented with blue ribbon. On each side of the stage, within one foot of the curtain, place pedestals; they should be three feet high, two feet square, with cap and base, and covered with white marble paper or cloth, and decorated with a wreath of flowers on the front. On those stand the young lads, dressed to represent Cupids. Position is, facing the group in the centre of the stage, attitude of one running; one of them holds on high a large sealed letter. The other holds a small tablet in one hand, and a quill in the right; these must be extended towards the centre of the stage. Their costume consists of a short gauze dress, cut low at the top and decorated with spangles, pants of flesh-colored cloth, reaching to the ankles and fitting tightly to the legs, flesh-colored hose, white slippers, gauze wings fastened to the back of the body, and decorated with spangles and silver stars. A small quiver, formed of card-board, covered with blue and gold paper, filled with arrows and bow, suspended from the neck; a low-crowned hat, with a wide brim, covered with pink cambric, and decorated with a wreath of flowers, covers the head; the eyes directed to the group on the sofa, countenance expressing pleasure. The background may be ornamented with pictures and statuary. The light for this piece must be of medium brilliancy, and come from the right side of the stage. Music soft.

THE FAIRIES' RAINBOW BRIDGE.

Love and Hope and Youth, together Travelling once in stormy weather, Met a deep and gloomy tide, Flowing swift, and dark, and wide. 'Twas named the River of Despair,-- And many a wreck was floating there. The urchins paused, with faces grave, Debating how to cross the wave, When, lo! the curtain of the storm Was severed, and the rainbow's form Stood against the parting cloud, Emblem of peace on trouble's shroud. Hope pointed to the signal flying, And the three, their shoulders plying, O'er the stream the light arch threw-- A rainbow bridge of loveliest hue! Now, laughing as they tripped it o'er, They gayly sought the other shore.

ANON.

Three Male Figures.

This brilliant tableau represents a rippling stream of water, with luxuriant banks on either side, spanned by a beautiful rainbow. A party of fairies, wishing to pass the stream, have made use of the rainbow as a bridge. One of them is seen in the centre of the bridge, holding a golden wand, with which he endeavors to balance himself in his passage over the water. Standing on the right bank, near the end of the bridge, is a fairy who has safely passed over, and is encouraging his friend on the opposite side to make the trial, who is seated on the grass arranging a bunch of flowers. The scenery of the piece can be adjusted in the following manner: Boxes two feet wide and three feet high placed on each side of the stage, from the front to the background, and covered with green bocking, will answer for the banks of the river. A few branches of spruce, intermingled with flowers, should be fastened to the side scenes, and a few spruce trees arranged in the background. At the front end of the banks place showy vases of flowers; and at the other end, on pedestals two feet high, place larger vases, containing bouquets. To make the river show to advantage, it will be necessary to arrange it in the form of an inclined plane. Strips of wood placed across the stage at a distance of one foot from each other, on a rise of two inches to a foot, and covered with blue cambric, will answer for the river. Let the cloth festoon between the strips, paint the ridges of the miniature waves with white paint, and sprinkle them with small particles of isinglass. On the foreground of the scene place two swans, and around the edges of the banks fasten pieces of spruce and grasses. The bridge should be made slightly oval, and placed in the centre of the stage. Three stringers, sawed out of inch board, and covered with lathes two feet long, will answer for the flooring. This can be entirely hid from view by a railing on the front side, and is made as follows: Manufacture a frame to correspond with the curve and length of the flooring, and twelve inches in width; cover it with white cloth, and paint it to represent a rainbow; the colors may be purple, crimson, yellow, green, and white; lights placed behind it, will give a fine effect. The fairies' costume consists of a short muslin dress, with a border three inches wide, of pink muslin, decorated with gold stars--the white muslin ornamented with silver spangles and stars; flesh-colored hose, white slippers, a band of silver, ornamented with paste pins, about the head, and small wings attached to the back of the dress,--the wings formed of wire, covered with gauze, and ornamented with endless bands of blue tarleton muslin, ornamented with silver spangles. Each holds a gold wand three feet long. The position of the fairy on the bridge is such that a side view is had of the form, while the face is turned towards the front of the stage. The wand is grasped in the centre, and held across the bosom. The countenance expresses pleasure. The fairy who has passed over is standing at the end of the bridge, partly facing the audience, with both hands extended towards his friend, his countenance expressing mirth. The fairy on the other bank is seated on the ground arranging flowers. He faces the audience, and is looking at a large rose which he holds in his right hand. This scene must be illuminated by green, red, and yellow fire, which is described in the tableau of the "Pyramid of Beauty." Music, light and animating.

LITTLE EVA AND UNCLE TOM.

Dry thy tears for holy Eva, With the blessed angels leave her; Of the form so sweet and fair Give to earth the tender care.

For the golden locks of Eva Let the sunny south land give her Flowery pillows of repose, Orange bloom and budding rose.

J.G. WHITTIER.

One Female and One Male Figure.

This tableau is one that can be easily produced, and will not be expensive. It represents little Eva seated in an arbor by the side of Uncle Tom. She has a large Bible before her, which she is reading and explaining to her friend. A rustic arbor can be made of strips of wood, covered with white cloth, and painted to resemble slats and running vines; the dimensions of which are six feet high, four feet wide, and three feet deep. A rough seat at the back part is occupied by Eva and Uncle Tom. A festoon of artificial flowers and spruce should be arranged in front, and a large spruce tree placed on either side. The person who personates Uncle Tom must be one of large figure and pleasant countenance. Costume consists of a coat of coarse material, white pants, light vest, colored handkerchief tied about the neck, striped hose, low shoes, a wig of black, curly hair, and a wide-brimmed straw hat, which lies on the ground by his side. The wig can be formed of curled horse-hair, fastened to a covering made to fit the crown of the head. Color the exposed parts of the body black, the lips red. Little Eva should be quite small, pretty, and have long light curls. Her costume consists of a white dress, trimmed at the top and around the sleeves with pink ribbon; a straw hat, trimmed with wild flowers, which hangs by the strings on her arm, and dark shoes. Uncle Tom is seated on one side of the seat, his legs crossed, body bent forward slightly, hands placed on his knees, his head turned towards Eva, and eyes fixed on the Bible with an expression of pleasure and earnestness. Eva is seated at his side, with her feet resting on a small stool, one hand placed on Uncle Tom's arm, while with the other she points to the pages of the Bible. Her face is turned towards her friend. The countenance expresses sadness. A small quantity of light is required for the piece, which should come from the left side. Music, soft and plaintive.

LOVE TRIUMPHANT.

In peace, Love tunes the shepherd's reed; In war, he mounts the warrior's steed; In halls, in gay attire is seen, In hamlets, dances on the green. Love rules the court, the camp, the grove, And men below, and saints above; For love is heaven, and heaven is love.

SIR WALTER SCOTT.

One Female and Two Male Figures.

This beautiful classic tableau represents two figures, a youth and a maiden, supporting Cupid on their shoulders. The two persons who take these parts should be of good figure and of equal height. The maiden's costume consists of a white dress, cut low at the top, sleeves short; a gauze scarf draped across the breast, tied at the side, and allowed to trail on the floor; white shoes, hair hanging loosely over the shoulders, the head encircled with a wreath of spar beads and white flowers. The right hand grasps a garland of white flowers, while the left helps to support the boy Cupid. The youth's costume consists of a white coat, vest, breeches, hose, cravat, and shoes. Across the left arm hangs a white mantle; the hand grasping a shepherd's crook, which is four feet long, and painted white. The boy Cupid must be quite small, and costumed in a short gauze dress, white hose, and shoes; a white quiver, bow and arrows, must be suspended from the neck by a satin ribbon, and small gauze wings fastened to the back of the dress. The right hand grasps a torch, which is held above the head. This can be made of card board, the flame imitated by gold paper. His head is turned towards the maiden, into whose eyes he is looking, countenance expressing mirth. The two figures stand on a pedestal two feet high and four feet in diameter, covered with black marble paper, and placed in the centre of the stage, the right arm of the gentleman and the left arm of the maiden crossed so as to make a seat for the boy; both assume attitudes of persons in the act of walking, and look up with delight into the face of the boy. The front of the stage, if covered with white gauze, will add to the beauty of the scene, which is intended to represent statuary. Light should come from the side of the stage, and of medium brilliancy. Music, soft and plaintive.

THE BANDITTI.

But wilder sounds were there; th' imploring cry That woke the forest's echo in reply, But not the heart's! Unmoved, the wizard train Stood round their human victim, and in vain His prayer for mercy rose; in vain his glance Look'd up, appealing to the blue expanse, Where, in their calm, immortal beauty, shone Heaven's cloudless orbs. With faint and fainter moan, Bound on the shrine of sacrifice he lay, Till, drop by drop, life's current ebb'd away; Till rock and turf grew deeply, darkly red, And the pale moon gleam'd paler on the dead.

Two Female and Eight Male Figures.

This tableau represents a travelling party attacked on the mountains of Italy by a company of outlaws. It is one which can be easily formed, and contains ten figures, five of which are men dressed to represent banditti; the other personations are an old gentleman, his daughter, a young officer and wife, and coachman. The floor of the stage should rise gradually from the fore to the background. This can be accomplished with boxes and boards covered with green bocking. The bandit's costume consists of a dark coat, open in front, showing a colored shirt, breeches of bright-colored cloth, white hose, knee and shoe buckles, low shoes, red scarf about the waist, in which are pistols and short sword, black felt hat, slouched, with a red band and colored plume; heavy beard, face and neck slightly stained light-brown; the coats can be trimmed with gaudy binding, if desirable. The old gentleman's costume consists of black coat, light pants and vest, light cravat, white wig, light hat, face painted to imitate age. The officer's dress can be quite showy or very plain. If a full military costume cannot be procured, the following will answer: Dark frock coat, buttoned to the neck, and ornamented with large gilt buttons and shoulder straps, black pants with buff stripe, flat cap with gilt band, side arms and sash. The officer's wife is dressed in a showy silk robe; hair arranged to suit the performer's taste. The old man's daughter is costumed in a white dress, pink silk apron, small straw hat trimmed with green ribbon. Coachman's costume is, a long, dark coat, buttoned to the chin, light pants, long boots, black silk hat, with a leather strap and a number in gold in front, black belt around the waist, the right hand grasping a long whip. A representation of the side of a coach, covered with cloth painted in proper style, and placed in the background, will add much to the effect. In the centre of the stage place a large trunk filled with clothing, the cover thrown back so as to display the contents. Watches, jewelry, and other articles of value should be strown promiscuously about, while one of the bandits is seen kneeling over it with a heavy watch and chain in his hand. Back of the trunk stand the officer and a brigand. The officer has a large wound across the temple, and attempts to rescue his wife, who is being dragged away by one of the brigands in the background; he stretches out his arms towards, and looks upon her, but is kept from her by the strong arm of the ruffian at his side, who grasps him by the collar, and holds a bloody sword above his head; the brigand partially faces the audience; the officer stands in a side position; the wife is seen kneeling in the background, with hands clasped and eyes raised to a brigand, who grasps her by the hair of the head with the left hand, and presents a pistol at her with the right. At the left of the trunk is seen the old gentleman. One of the ruffians grasps him by the throat, as if in the act of strangling him. The old man holds a watch in the left hand; the right is thrown upward. His position is, facing the audience; countenance expressing terror and excitement. At the right of the trunk kneels the coachman, with hands tied behind his back, which is turned to the audience, head thrown backward so that a partial side view is had of the features. A few paces in front of him, and facing the audience, is seated a brigand, on the top of a portmanteau; he is smoking a short pipe, and with the right hand points a pistol to the face of the figure kneeling in front of him. Between him and the wife lies the young girl, who has fainted from affright. She lies with her head to the back of the stage, arms stretched out on the grass, and eyes closed. The stage should be illuminated by brilliant lights placed at the left side of the stage. The sound of rain and thunder may be produced in the ante-rooms with good effect.

PORTRAIT OF LOUIS NAPOLEON.

One Male Figure.

This portrait-tableau is produced in the same manner as that of "Gabrielle." The gentleman who personates Louis Napoleon should in form and features resemble him. The costume consists of a blue velvet coat, decorated with silver and gold lace, vest of the same material, buff breeches, white hose, low shoes, knee and shoe buckles, gold epaulets and side arms, a decoration on the left breast composed of brilliant stones and spangles, a red and blue silk sash across the breast. Louis Napoleon wears a long beard and heavy mustache. Position is such as to display a partial front view of the body, right hand placed on the hilt of his sword, eyes directed forward, countenance calm. Light should come from the front of the stage, and be of medium brilliancy. Music, Marseillaise Hymn.

THE RETURN FROM THE VINTAGE.

It is the Rhine! our mountain vineyards laving; I see the bright flood shine; Sing on the march, with every banner waving, Sing, brothers; 'tis the Rhine!

Home, home! thy glad wave hath a tone of greeting, Thy path is by my home; Even now my children count the hours, till meeting; O, ransomed ones, I come.

MRS. HEMANS.

One Female and Four Male Figures.

This picture represents four laborers returning from the vintage, bearing on their shoulders a large tub of grapes, seated on the top of which is a young girl, and by her side a small child. As they near the shores of the imperial river, they sing one of their national songs, the girl accompanying with a tambourine, and the child with a flute. The costume of the four vintagers consists of colored or check shirts, breeches, long hose, low shoes, knee and shoe buckles, single-breasted vest of bright colors, left open, handkerchief tied carelessly about the neck, and low felt hat with a sprig of grape leaves in front, the face colored slightly with red. The lady's costume consists of a red dress, blue waist, open in front, and laced across with pink ribbon, and a small straw hat trimmed with green ribbon on the head. The boy's costume consists of a velvet jacket, white pants, and small fancy cap. The four vintagers stand in a circle, on a round or square pedestal four feet in diameter, covered with green bocking; they face outward, and support the tub on their shoulders; one hand is raised, and grasps the top of the tub, while the other hangs carelessly at the side. A tall box should be placed under the tub, which will relieve the laborers from the weight. The vintagers look up to the lady, the countenance expressing pleasure. The young lady who is seated on the tub holds the tambourine in her left hand, which is raised above her head; the right hand is raised as high as the face, the head thrown back slightly, eyes lifted, body facing the audience. The boy has the end of the flute or trumpet placed in his mouth; both hands grasp the flute; eyes directed forward. The tub should be three feet wide, and the outside and rim painted in imitation of grapes and leaves. Light will be needed in front and at the left side. Music of an inspiring order.

LOVERS GOING TO THE WELL.

How dear to my heart are the scenes of my childhood, When fond recollection presents them to view; The orchard, the meadow, the deep-tangled wildwood, And every loved spot which my infancy knew; The wide-spreading pond, and the mill that stood by it, The bridge, and the rock where the cataract fell, The cot of my fathers, the dairy house nigh it, And e'en the rude bucket which hung in the well; The old oaken bucket, the iron-bound bucket, The moss-covered bucket, which hung in the well.

One Male and One Female Figure.