Chapter 9

This tableau is produced in the same manner as the Madonna. The gentleman who personates Prince Albert should, in general outline of features and form, resemble the original as much as possible. The costume consists of a crimson coat richly trimmed with gold lace, and heavy decorations in silver on the left breast, gold epaulets, a richly ornamented sword and belt, buff vest trimmed with gold lace, buff breeches, top boots trimmed at the top with gold binding, a red sash, and black chapeau. The position must be so that a partial front view can be had of the body; eyes directed straight forward. The light should be of medium quantity, and come from the front of the stage. Music of a national order.

THE RETURN OF THE PRODIGAL SON.

O! thou hast wander'd long From thy home without a guide; And thy native woodland song, In thine altered heart hath died.

Thou hast flung the wealth away, And the glory of thy Spring; And to thee the leaves' light play Is a long-forgotten thing.

Still at thy father's board There is kept a place for thee; And, by thy smile restored, Joy round the hearth shall be.

MRS. HEMANS.

Four Male Figures.

This scene, so familiar in Scripture history, represents the father standing on the step of his mansion, about to embrace his son, who stands near. The background of the picture should represent the portico of a house, and can be made in the following manner: Procure at a paper store four fresco pilasters, with caps and bases, and a wide cornice to match; also a roll of granite paper; paste the cornice and pilasters on cloth; fasten the cornice across the ceiling of the stage, five feet from the background, and suspend the pilasters from the lower edge, placing them at equal distances from each other; form the steps out of boxes and boards, and cover them with the granite paper. At each side of the steps place a large vase of flowers. Behind the pilasters, at the end of the upper step, are seen two servants. They are stooping down and looking at the group in the foreground. Their costume can be easily made up. Frock coats, trimmed on the bottom of the skirts, cuffs, and front with colored cloth, five inches wide; white pants, black hose, crossed with red binding; low shoes; knee and shoe buckles; low-crowned, black Kossuth hat, encircled with a band of gold, and ornamented in front with a large paste pin and showy plume. The gentleman who represents the father must be of good height and large figure. His costume consists of a purple velvet coat and breeches, white hose, crossed with black ribbons, low shoes, knee and shoe buckles; over the shoulders is thrown a long cloak, trimmed with ermine; hair and beard quite long, which can be imitated with flax, glued to cloth made to fit the head and face. If dresses cannot be procured at a costumer's, cheap material can be made up for the occasion, and will look quite pretty. A blue circular cloak, or a lady's velvet cape, trimmed with white cotton flannel, two inches wide, with small pieces of black-shag fastened on at intervals of five inches, will look well, and will resemble ermine. The breeches can be made of purple cambric, trimmed with gold paper. A blue dress coat, trimmed with gold paper, and covered with white lace, will answer for an under-coat. The father's position is, standing on the second step of the portico, with both hands extended, body bending forward slightly, eyes fixed on the son, countenance expressing joy and happiness. The son stands at the foot of the steps, leaning on a stout branch of a tree, which he has been using for a cane on his journey. He displays a side view of the body, and is costumed in a coarse brown frock, open in the neck, displaying his neck and bosom, and tied around the waist with a piece of rope; large rents should be made in the sleeves, showing the flesh within; knee breeches of coarse material, torn at the side; brown hose; and shoes, which are almost worn out, and are tied to the foot with strings; hair hanging over the forehead; skin colored light brown; his eyes cast down to the ground, and countenance melancholy. The light must be quite brilliant, and come from the side opposite to the servants. Music animating.

SINGLE BLESSEDNESS.

Close by his lonely hearth he sate, While shadows of a welcome dream Passed o'er his heart; disconsolate His home did seem; Comfort in vain was spread around, For something still was wanting found.

ANON.

One Male Figure.

This tableau is a representation of a young bachelor seated alone in his chamber. He has around him all the luxuries that wealth will purchase, and is reclining on a low sofa, quietly smoking his meerschaum. Rich furniture, soft carpets, fine pictures, and gorgeous curtains decorate the apartment. Books, statuary, boxing gloves, fencing swords, fowling pieces, pipes of various patterns, and a countless multitude of other articles, are scattered about the room. On the marble table at his side is a bunch of cigars, a paper of Ma'am Miller's fine-cut tobacco, a decanter of wine, and a pair of goblets, one of which is partially filled with wine. He holds in his left hand his meerschaum; his right hangs carelessly at his side, and grasps a novelette. The gentleman who personates the bachelor must be of good figure and features, and is costumed in the following manner: A rich dressing-gown should be worn, which is thrown back from the breast, showing a vest of bright colors, to which is attached a heavy gold chain and seals; light fancy pants, embroidered slippers, white hose, blue cravat, smoking cap, ruffled bosom and wristbands. Countenance sober, eyes raised to one of the engravings on the wall. Light of medium brightness, which may come from either side of the stage. Music of operatic style.

MARRIAGE BLISS.

It is most genial to a soul refined, When love can smile unblushing, unconcealed, When mutual thoughts, and words, and acts are kind, And inmost hopes and feelings are revealed, When interest, duty, trust, together bind, And the heart's deep affections are unsealed, When for each other live the kindred pair,-- Here is indeed a picture passing fair!

TUPPER.

One Male and Two Female Figures.

This tableau represents a home scene. A wife and husband, and a young child, are seated at a table in a snug little parlor. A solar lamp is burning on the table, by the light of which the wife is engaged in finishing a piece of embroidery. The husband is reclining in a spacious easy chair, busily occupied in perusing the evening paper. The little girl is at play with her tea sets and paper dolls. The wife is costumed in a blue silk dress, cut low at the top, a white apron, trimmed with pink ribbon, and hair arranged to suit the performer's taste. She should be quite pretty, and of small figure. She is seated at the right of the table, facing the audience, body bent forward, and eyes fixed on her work, the countenance expressing earnestness. The husband is costumed in light pants and vest, dressing gown and slippers. He is seated at the left of the table, showing a partial front view of the body; his feet rest on a small ottoman; paper held in such a position that it will not hide his body; eyes fixed on the paper, countenance placid. The child is costumed in white dress, trimmed with blue ribbon, and is seated at the back of the table, holding in her hands a paper doll, which she extends towards her mother, for her to look at. Her eyes are directed to her mother, her countenance beaming with smiles. The table should be covered with a crimson cloth. The furniture of the room of good quality, the floor carpeted, walls hung with curtains and pictures. Light of medium quantity, which may come from either side of the stage. Music soft and plaintive.

THE SLEEPING MAIDEN.

Witness this primrose bank whereon I lie; These forceless flowers like sturdy trees support me, Two strengthless doves will draw me through the sky, From morn to night, even where I list, to sport me.

SHAKSPEARE.

One Female Figure.

This exquisite tableau represents a magnificent garden, filled with beautiful flowers, trellised vines, vases, statuary, and sparkling fountains. On a grassy mound, in the centre of this lovely scene, reclines a beautiful maiden, wrapped in profound sleep. The right hand supports her head, the elbow resting on the grass; the left is thrown carelessly over the top of the head; the expression of the face calm and dreamy. Her costume consists of a long white dress, cut low at the top, open in front, displaying a pink under-skirt of silk. The edges of the dress on each side of the under-skirt should be trimmed with gold paper, covered with white lace. A belt of the same encircles the waist. The waist must be open in front, exposing a white lace under-robe, which is crossed with golden cords. Short sleeves, open below, and closed by little cords of gold, terminated by tassels of the same material, which fall down upon the arms. The hair arranged in heavy braids, done up low in the neck, and ornamented with a head dress, formed of silver gauze, adorned with slight bands of gold thread falling on the shoulder. Position is, facing the audience, the body extended on a line with the front and back corners of the stage. The floor of the stage must be formed to represent a number of terraced banks. There should be five, each being one foot in height. A few boxes and stout boards will be needed to form the banks, over which place green bocking. If a piece of scenery cannot be procured for the background, it can be covered with light-green cambric, and festooned with dark evergreens and bright flowers. At each of the inner corners of the stage place a white pedestal, two feet in height. A box of the above dimensions, covered with white cloth, will answer. On these place pieces of large statuary, and between the two place a large vase of flowers, and intersperse smaller vases, containing bouquets. Ornament the second terrace with pots of house plants, and at each end place a showy cage of birds. Decorate the third terrace with rich vases of artificial flowers, with a statue of the fisher boy at each end. In the centre of this terrace, the mound on which the maiden reclines is placed. It should be five feet in diameter, and one foot high. Cover the surface with light-green cambric, and decorate the outer edge with large sea shells. On the fourth terrace arrange small pots of house plants that are in bloom, and at each end place large vases of fruit. On the fifth and last terrace place a row of deep glass dishes, filled with flowers, with a plaster figure of Flora at the ends. Festoon the sides of the scenery and the ceiling with spruce and flowers. The scenery in the background, if it can be easily painted, should represent figures similar to those on the stage, interspersed with fountains. If there is sufficient room for the accommodation and preservation of large mirrors, they can be used to advantage by placing them at the background of the stage, which will give a fine effect to the scene. This tableau must be lighted from the left side of the stage; the light being very brilliant, both at the top and bottom. A green fire burned just as the curtain falls, will add much to the beauty of the picture. Music accompanying the piece, soft, and of a lively order.

NIGHT AND DAY.

Heaven opened wide Her ever-during gates--harmonious sound-- On golden hinges morning to let forth, The king of glory, in his powerful word And spirit, coming to create new worlds.

God saw the light was good, And light from darkness, by the hemisphere, Divided; light the day, and darkness night He named. Thus was the first day, even and morn.

MILTON.

Two Female Figures.

This simple tableau is represented by two females: one personates Day, and is costumed in a long white robe. The other represents Night, and is dressed in black. Two arches should be made in the centre of the stage, one covered with black cloth, the other with white. They must be five feet in height, three feet in width, and three feet deep; the back, sides, and top covered with cloth. They are to be placed on a platform one foot high and six feet square. The lady who personates Night should be of good figure and features, black hair, and dark complexion. She kneels under the arch covered with black cloth, and faces the audience; the right knee touches the platform, hands placed together and raised front of the breast, head slightly inclined back, eyes raised upward, the countenance in repose. Her costume consists of a black silk dress, low neck, and trimmed with wide black lace and bugles; a scarf of black crape, sprinkled with small silver stars, is draped across the breast, a black cross suspended from the neck by a velvet ribbon; black bracelets ornament the arms; and a wreath of black bugles and beads encircles the head, on the front of which is placed a small silver moon. The hair is arranged in wide, heavy bands, at the side and back of the head. The lady who personates Day should be of good figure and features, clear light complexion, and light hair. Her position is, kneeling under the white arch, hands crossed on her breast, eyes slightly cast upward, and a smile on the countenance. Costume consists of a pure white dress, cut low at the neck, short sleeves; waist and bottom of sleeves trimmed with wide lace and silver spangles; a scarf of white tarleton muslin draped across the breast; the waist encircled with a satin sash, and the head crowned with a wreath of pearls, in the front of which place a small gold sun. The hair can be arranged in ringlets, or brushed back from the forehead, and confined in a silk net. The light for this piece must come from the front of the stage, and should be of medium brilliancy. Music soft and plaintive.

THE FIREMEN IN REPOSE.

Ten Male Figures.

This tableau is a representation of the interior of a firemen's hall. The walls are hung with engravings in rich frames, most of them referring to the fireman's life. The name of the company, in large gilt letters, is placed at the end of the stage. Settees are arranged around the sides; a mahogany table is in the centre, on which is placed a large solar lamp. Seated at the table are half a dozen firemen, dressed in their uniform; these are engaged in reading the news of the day; others are reclining and sitting on the settees, engaged in conversation and smoking. The light for the piece should be of medium brightness, and come from either side of the stage. Music of a secular character.

THE ALARM.

"Prompt when duty calls."

Twelve Male Figures.

This tableau is a representation of an alarm of fire, which has aroused the firemen from their repose. The scene represents a view of the front of the engine house. The door is thrown open, and the enginemen are about to draw out their machine. The piece contains twelve figures, ten of which have hold of the engine rope. They are in the position of persons running, and are led on by their captain, who is giving out an order through his trumpet. His position is, facing the men at the ropes; one hand is pointed towards the fire, the light of which is seen in the distance. Near the door of the engine house stands the lantern bearer with his lantern, which is attached to a long pole, and is carried on the right shoulder. The front of the engine house can be formed of wood, covered with cloth, and painted in showy colors. This frame is to be placed at the right hand corner of the background; the name and number of the machine painted over the door. The front wheels and rope will be sufficient to represent the engine. The remaining part is presumed to be within the house. By placing the front of the house in the corner, more room will be had for the line of firemen. All should appear animated, while a few are pointing to the light in the distance. The alarm bells must be sounded while the curtain is raised, and a red fire burned at the left side of the stage, so as to throw a very little light on the extreme edge of the background, which should extend farther in on the scene while the tableau is exhibited.

AT THE FIRE.

"Fire was raging, above and below."

One Female and Thirteen Male Figures.

This tableau is a representation of a dwelling house on fire, with the heroic firemen engaged in their various duties in their attempts to extinguish the flames. A front view of the building is exhibited, from which smoke and flames are seen issuing. At the window of the second story, a fireman stands, with an infant in his arms. A ladder is placed against the outside of the window, and a fireman is ascending it. The engineer stands on the steps of the mansion, giving his orders. A fireman is breaking in one of the lower windows with an axe. At the left of the tableau is seen part of the engine. Space will not allow the showing of more than one third of the machine; but by manufacturing a temporary frame, on which the front wheels, brakes, bell, and buckets can be attached, and placing it at the edge of the stage, with the firemen at the brakes, the effect will be quite sufficient. The men on the front brakes should be in a stooping position, those behind standing erect. Two pipe-men are seen in the foreground, with pipes, which they point to the burning building; others are passing out articles of furniture from the windows. The men must be costumed in showy fire suits. Alarm bells should be sounded behind the scenes, and a representation of fire made by burning a red fire at the side of the stage, behind the scenery of the burning house. This scenery can be formed of light slats of wood, covered with cloth, and painted in imitation of a brick house, with mouldings, window frames, and doors. It must extend across the stage, and rise from the floor to the ceiling. The windows should be filled with sashes containing genuine glass, while smoke and flames can be painted on various parts of the building; and, if desirable, a small quantity of wet gunpowder, touched off at the proper moment, will add to the effect.

ETHAN ALLEN AT TICONDEROGA.

Nor com'st thou but by Heaven, nor com'st alone. Some god impels with courage not thy own. No human hand the weighty gates unbarred, Nor could the boldest of our youth have dared To pass our outworks, or elude the guard.

POPE'S HOMER.

One Female and Eleven Male Figures.

This historical tableau represents Ethan Allen at the entrance of Fort Ticonderoga, ordering De la Place, the commandant of the fort, to immediately surrender, in the name of the great Jehovah and the Continental Congress. Around the door are gathered the soldiers of Allen. De la Place and his wife stand upon the doorstep, partially dressed, and, with looks of astonishment, inquire by what authority he demands the surrender of the fort. The number of figures in this picture is twelve. Ten of them represent American soldiers, and are dressed in the continental uniform, which consists of a blue coat, faced with buff, and ornamented with large brass buttons, buff vest and breeches, white hose, low shoes, knee and shoe buckles, and black chapeau, and each furnished with military equipments. Allen's costume should be of finer material, with an addition of sash, epaulets, plume, and side arms. De la Place has on red breeches, with a gilt stripe, white silk hose, knee buckles, slippers, and wig, a red coat upon his arm, and a sword in his right hand, the handle of which is extended towards Allen. His wife is costumed in a white dress, a white cap on her head, and hair hanging loosely over her shoulders. The scenery of the piece consists of a frame covered with cloth, extending across the stage, and rising from the floor to the ceiling, with a door in the centre, and windows painted on either side, and placed across the stage in the background. Mrs. De la Place's position is on the door sill, her body inclined slightly forward, her left hand holding a candlestick, in which is a lighted candle, her right hand raised in front of her breast, eyes fixed on the face of Allen, while the countenance expresses surprise and fear. The commandant stands on the doorstep at the left of his wife, his left hand stretched out before him, the right holding his sword; his eyes are fixed on those of Allen, while his countenance expresses surprise and indignation. Allen stands in front of him a little at the left, grasping his sword in the right hand, which he raises over the head of the commandant, whilst his left points to his soldiers; his countenance expresses sternness and authority. The soldiers are standing on each side of the door leaning carelessly upon their muskets. The accompanying music should be that of the drum and fife. The light must be of medium brilliancy, and come from the right of the stage.

THE GYPSY FORTUNE TELLER.

Seek not to know the future; be happy while you may, Nor cloud with dark foreknowledge the sunshine of to-day. I see that you are hopeful, I read it in your eyes, And I can learn no more from the stars that gem the skies. Trust not the outward seeming of all who speak you fair; What has been, maiden, may be--be watchful and beware.

I will not cheat you, maiden; my gypsy skill you seek; This only of the future the gypsy girl can speak: When flippant worldlings flatter, let then your doubts begin; Take, maiden, for your counsel the "still small voice within." If weak the heart of woman, her stronghold too is there; Guard then the fortress, conscience! be watchful and beware.

CHARLES JEFFERY.

Two Female Figures.

This tableau is a representation of a gypsy fortune teller, in a rude tent, in front of which is burning a small fire. She is seated on the ground, and holds a pack of cards in her right hand; her left is pointed upward. Her head is turned towards a young and beautiful girl, who is stooping at her side, gazing with earnestness on the cards. The tent should be five feet high, four feet wide at the bottom, and terminating in a point at the top. It can be made of light strips of wood, covered over with cloth. An open space in front, two feet wide, will answer for the door. The fire can be placed in an iron furnace, around which arrange stones or brushwood. Ignite the fire just as the curtain rises. Fill up the background of the stage with scenery representing a forest, or place a few spruce trees behind the tent. The gypsy's costume consists of a bright crimson dress, velvet waist, laced across with pink ribbon in front, displaying a white robe beneath; rows of gilt buttons on each side of the opening and around the bottom of the sleeves. The hair, which should be long and black, is allowed to hang carelessly over the shoulders; the face and other exposed parts of the body stained a light brown. The young lady must be of small figure, good form and features, and attired in a white dress, cut low at the top, a red sash around the waist, and a small straw hat placed jantily on the side of the head. The scene should be illuminated by a red fire, burned in small quantities at the side of the stage, and made to reflect on the group. Music soft.

PEACE.

Beautiful vision, how bright it rose! Vision of peaceful and calm repose! Well might it brighten the rapt seer's eye, And waken his heart to an ecstasy; 'Twas earth, glad earth, when her strife was o'er, Her conflict ended, and war no more.

ANON.

Eight Male and Twelve Female Figures.