Part 10

Grand right and left. First couple turn and face outward. Then couple on the right take their place behind the first, then the couple on the left, the second couple behind all. All chassez across and back, gentlemen passing behind ladies. Promenade outside, ladies to the left. Gentlemen to right, meeting at the bottom, and coming up together. All eight forward and back, ladies on one side, gentlemen on the other. All forward and turn partners to places. This is danced through till each couple has taken turn in being the leaders.

GRAND SQUARE.

At the same time, the first lady and second gentleman, and the second lady and first gentleman join hands and turn to the sides, while the third lady and fourth gentleman and fourth lady and third gentleman passing on the outside of the first and second couples, join hands and take the latters’ place. Then they pass on the inside and the others on the outside, each taking his own partner to place. Then repeat, only reversing it, by the first and second couples going on the outside first, and the third and fourth inside.

LE PRINCE IMPERIAL QUADRILLE.

(A new change introduced by the Empress Eugenie.)

First Change.

LE CHAINE CONTINUE DES DAMES.

HEAD couples to sides. First and second couples lead to right hand couples, and all salute, (viz: first couple to third, second to fourth.) First and second gentlemen retaining partner’s hand, take with their left hands, the left hands of the side ladies. The two threes thus promenade to places of head couples, second to first couples’ place, first to second couples’ place, all facing the centre. Ladies grand chain; the four ladies, without the gentlemen, make a movement like the grand chain of the “Lancers,” by crossing over from head to head of sets, giving right hands; passing from side to side, giving left hands; again back from head to head of set, giving right hands, and across again to side, giving left hands, ending with each lady in front of her partner, lady facing outward. All chassez to right and left and turn partners. By repeating this figure the first and second couples return to places, after which the side couples dance the figure twice through.

Second Change.

LA NOUVELLE TRENIS.

First gentleman and second lady forward, and turn with both hands, both stopping in front and facing the lady who was left in her place. Cross over; the single lady passes between this couple and crosses to opposite gentleman, giving him her left hand, (that gentleman giving his left hand also,) and turn to lady’s place on right of that gentleman; at the same time the other two cross over to first couple’s place, and turn with left hands and face opposite couple. Forward four and back; half ladies’ chain, (the ladies thus return to partners.) All eight chassez across and turn at corners. All chassez back and turn partners.

Third Change.

LA CORBEILLE.

First gentleman leaves lady in the center, (the lady facing outward,) separating with salute. Second gentleman the same; third gentleman the same; fourth the same. Ladies hands around; the four ladies thus back to back take hands and round to right, stopping in front of partners. Gentlemen forward. The four gentlemen advance and give right hands to partners and left hands to next lady, and make a large circle. All balance in circle and turn partners to place.

Fourth Change.

LA DOUBLE PASTOURELLE.

Forward four. First and second couples forward and back; leave partners on sides; first gentleman leaves his lady on left of third gentleman, and returns to place; at the same time the second lady leaves her gentleman on right of fourth lady, and retires to place; forward six; the six on sides forward and back twice; two forward; the first gentleman and second lady forward and back. Forward again, salute, and pass to side where partners are. Four hands half around, with sides. Right and left to places.

Fifth Change.

LA TOURBILLON

Ladies to right. The four ladies pass to the gentleman next on their right, and turn with him, both giving right hands. They pass again to the right, and turn with next gentleman, (with same hands.) They pass again and turn, finally pass again to the right, which brings all to partners. First couple forward and back. Turn with right hands ending in centre, face to face. All four to right and left. Turn to places.

After the ladies repeat the first sixteen bars of this figure a fifth time, all the gentlemen place their partners in the centre, facing outward, each lady thus facing her own partner. Then the quadrille thus terminates by all saluting.

COMMON COTILLION.

First Change.

FIRST and second couples right and left. The same couples balance. Ladies chain. Same half promenade, half right and left back.

Second Change.

Forward two, first lady and second gentleman then cross over, chassez and return to places. Balance. Each couple the same.

Third Change.

Right hand across, first and second couples cross over giving right hands to opposites as they pass. Left hands back, which are retained, giving right hands to partners, thus forming a circle in the middle of the set. Balance in a circle, then cross to opposite sides; chassez. Two ladies forward and back; two gentlemen the same; four forward and back; right and left to places. Head couples repeat, then the sides the same.

Fourth Change.

Forward four and back; forward a second time, first gentleman leaving first lady on the left of opposite gentleman; three forward twice, second time first gentleman handing both ladies to opposite gentleman; three forward twice on opposite side, the second time stop in the centre; four hands half around to the right and cross over. Right and left to places. Head couples repeat, then the sides go through the same figure.

Fifth Change.

JIG DANCE.

Hands all around. All the ladies balance to and turn gentlemen on the right, pass to the next, balance, &c.; so on all around. Hands all around, or promenade all. Gentlemen then pass to the right, the same as the ladies. All promenade or hands all around.

BASKET DANCE.

FORWARD two; balance; ladies’ hands around in centre; left to right; gentlemen join hands outside the ladies and pass around, stopping on the left of partners; gentlemen pass their joined hands over the heads of ladies, (ladies standing still,) and form the basket; all balance and turn partners.

WHITE COCKADE.

FIRST couple balance to right; four hands around; first couple balance to left; four hands around; hands all around. This is repeated by the other couples.

THE WALTZ AND POLKA QUADRILLE.

THE changes in these quadrilles are the same as in the common cotillion, except that a waltz or polka is played, and all the changes are danced either with the waltz or polka step, and at the end of each change, all waltz or polka around.

SIR ROGER DE COVERLEY, OR VIRGINIA REEL.

DANCED with eight couples or more in two lines, the ladies on one side, gentlemen on the other, facing each other. The top lady and bottom gentleman execute each figure, and are immediately followed by the bottom lady and top gentleman, in the following order: forward and back; forward and turn with the right hand and back to places; turn with the left and back; then with both hands and back, forward and dos a dos and back; forward and back; (this is often danced by the two top ladies, and two bottom gentlemen, at once; it is prettier than in couples.) The lady then turns with the left hand, every gentleman down the line, while her partner turns every lady, turning his partner alternately with the right hand. When arrived at the bottom, chassez back to the head, separate from partner, lady passing down the line outside of the ladies, and the gentleman outside the gentlemen, all in each line following, meeting partners at the bottom and then chassez up the centre, when first couple chassez down the middle and take their positions below the last couple. The figure is continued by the new couple at the head, and so on, till all have danced the whole figure.

THE NINE-PIN DANCE.

EIGHT must form a cotillion; the ninth must stand at the side and call any changes he pleases, and lastly call grand right and left. When he claps his hands, they must all promenade. The one calling must then, if possible, secure a partner. If the attempt is successful, the one left out must call the changes of the dance; and so on.

CALEDONIAN QUADRILLES.

First Change.

FIRST and second couples cross right hands, left hands back; balance, and turn partners; ladies’ chain; half promenade and half right and left to places. Repeat twice.

Second Change.

Gentlemen forward and back twice; all balance to corners and turn each lady, passing into the next lady’s place; all promenade. This figure to be repeated four times.

Third Change.

First lady and opposite gentleman forward and back twice; first couples pass between opposite couples in crossing over, and return outside; balance to corners, and turn to places; all join hands in a circle and forward and back twice. Repeat four times.

Fourth Change.

First lady and opposite gentleman forward and stop; partners the same; turn partners to their places; four ladies change places to the right; gentlemen change places to the left; ladies change places again to the right; gentlemen change again to the left; all around to their places, and turn partners. Repeat four times.

Fifth Change.

First couple promenade around inside; ladies all forward to centre; give right hands and back to places; gentleman the same; balance to partners and turn; grand right and left half round; promenade to places and turn partners; all chassez across, giving right hands at corners and back to places. Repeat four times; then all promenade.

Dramatic Amusements.

PRIVATE theatricals and dramatic or Shakspeare reading clubs are among the fashionable amusements of the present day. Many, I know, disapprove of them; but I think they do far more good than harm. They certainly strengthen the lungs, memory, and improve the intellectual tastes. But I will not discuss the subject, as far abler pens than mine have already argued on both sides of the question. Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserves the thanks of the audience.

Even a simple farce requires much labor and frequent rehearsals, to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the foot-lights, stage, &c., must be prepared. A few directions, with a list of easy farces may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of towns and villages, I will give a short account of how such things can be managed.

Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors, or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor a gas-pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye) are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvass by being strained when wet over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.

Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers, are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced, with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows, and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, and under the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side, marks age or emaciation.

A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or gray colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.

Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the arm-holes in the sack must be fastened up on the inside), by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume, (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and a little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder by rattling sheet-iron, lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.

Dissolve crystals of nitrate of copper in spirits of wine, light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames, now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.

The following is a list of plays which are easily and often acted in private theatricals:

Comedies.

The Rivals. │ London Assurance. Fashion. │ Lady of Lyons.

Farces.

The Loan of a Lover. │ Bombastes Furioso. The Widow’s Victim. │ Lend Me Five Shillings. Perfection. │ Phantom Breakfast. Sketches in India. │ Rough Diamond. Morning Calls. │ A Pretty Piece of Business. Swiss Cottage. │ Old Guard. My New Wife and My Old Umbrella. │ A Game of Romps. Kill or Cure. │ Betsy Baker. Poor Pillecody. │

DRAMATIC READING CLUBS.

THESE clubs are far more agreeable to their members and less likely to cause unpleasant rivalries, which, it is to be regretted, are apt to arise among even private actors. Human nature, alas, is weak! Some clubs read Shakspeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakspeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays. I have known of very successful clubs, and I will give the general manner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies with a view of making home and winter evenings agreeable to their brothers; a committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the “librettos” of their plays. The following rules were signed by all the members:

1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.

2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.

3. The one who selects the play has a right to the best character.

4. The club shall meet once a week at the houses of members, in alphabetical rotation.

5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.

6. No new member can be admitted without the vote of the majority.

7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.

At first, they merely read the plays; but soon, they partially acted them, and found them increased in interest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them; or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.

There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they became familiar with the best plays, without wearying of them; and each member had an opportunity of consulting his own taste.

I sincerely recommend this as an amusement. Persons who read French and German will find this an admirable way of learning to converse with ease in either of those languages.

Sheridan Knowles’ plays and Shakspeare are among the best to select from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are excellent plays to be read in this way.

CHARADES.

THERE is no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.

A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teach them ease of manner; but let them only act before a home circle.

A few directions for acting certain words, and a short list of words easy to be acted may be of service to my readers. If a word or syllable can be represented by action, it should be seldom spoken, but syllables must be spoken in some cases to give an idea of the word:

PENITENT.—“Penny” sufficiently expresses the first division of the word. It can be represented by dressing in old clothes, torn hats, bonnets, &c., to appear as street hawkers, common in cities. One can sell “Lucifer matches—penny a bunch!” another, “Apples, fine red apples—penny apiece!” another, “Oranges, fine fresh oranges—penny apiece!” and so on. In this way a motley group can be contrived. A policeman, rushing in and dispersing the group, may close the scene. “Tent” can be represented by throwing a sheet or table-cloth over two chairs (high-backed chairs would be preferable), in the style of a gypsy tent. In front should be grouped some gypsies, in gay shawls, handkerchiefs, looped dresses, &c. A lady and gentleman can approach and ask to have their fortunes told, &c. Some one of the gypsies singing, “In the days when we went gypsying,” would close this act well. “Penitent” can be easily represented in a variety of ways. If it is not guessed, the charade could be repeated and acted differently.

BRIDEWELL.—“Bride” is usually represented by a wedding, which can be arranged to suit the tastes of the parties acting, and can be either simple or elaborate, as they may please. The common way is to have a dress ceremony; bride in full costume, with bridesmaids, but for a change, one might arrange a justice’s office, and have a couple come in to be married, the bride conspicuous in white bows and ends, and cheap finery. Let her be the chief speaker, the man appearing awkward and shy. After the ceremony, let her drive a sharp bargain in paying the fee. “Well:” Take a large tub and cover it with a gray shawl, so arranged as to look like stone, and if you have any green fleecy mats, arrange them to represent grass. A dark-complexioned gentleman, (any one can stain his face for the occasion,) with a turban, and dressed in shawls skillfully arranged, may represent an Eastern Emir. He should be seen seated Turkish-fashion by the well. A lady, dressed as Rebecca, with a crimson scarf about her waist, having her arms bare, and a handkerchief bound around her head, should come in, holding with one arm a pitcher on her head. Let her seem to fill her pitcher at the well. Then Eliezer must ask her to give him drink. After she has handed him her pitcher (which she must have placed on her head after having appeared to fill it), he must take from his bosom a casket of jewels, and exhibit bracelets and ear-rings. She can feign astonishment and admiration. He must kneel at her feet and present them. She should express surprise and delight. Then Eliezer must fasten on the bracelets, and the scene of Eliezer and Rebecca at the _well_ will be represented.

To act “Bridewell:” Arrange a prison cell; take screens or clothes-frames, and hang them with gray or black shawls, and cover the carpet. Put in a common wood table and a kitchen chair, and let a dim-lighted lantern be the only light. Some gentleman, meanly clad, with hair all on end; and clenched hands resting on his knees, must be seated in the chair, with eyes bent sullenly on the ground, and with a scowling brow. Let chains hang from his wrists and ankles, and as he moves clank together. Acted in this way, the word would be easily guessed.