Those red and green lights which lend such a glory to the final tableaux
of fairy pieces on the public stage, can easily be introduced into
private parlor performances. There is no danger in using them; they are
quite inexpensive, and very easily managed. Warning, however, should be
given to all asthmatic persons to vacate the ranch before firing off, as
their fumes are apt to produce unpleasant results. When we first
performed the play of _Bullywingle the Beloved_, the red light was
calculated on as a startling feature of the performance. At the proper
moment the match was applied, the combustibles behaved handsomely,
everybody was entranced, all save one unfortunate gentleman, subject to
asthma, who created quite a sensation by rushing out of the house in a
choking condition, and remaining speechless in the snow for over twenty
minutes.
The mode of working these lights is to place one of the powders, for
which we shall presently give you prescriptions, in an iron shovel, and
apply a lighted match. The powder will begin to burn slowly, emitting a
bright red or green light, accompanied by volumes of smoke. Before
exhibiting these lights, all others in the room, gas or lamps, should be
turned down as low as possible.
If the operator stands behind the scenes, so as to be out of sight
during the performance, the effect is what Artemus Ward would call
_Trooly Grand_.
In order to procure the lights, go to some druggist and give him the
following prescriptions. He will procure the necessary materials and mix
them for you.
RED FIRE.
Forty parts of dry nitrate of strontian, thirteen parts of finely
powdered sulphur, five parts of chlorate of potash, and four parts of
sulphuret of antimony. The chlorate of potash and sulphuret of antimony
should be powdered separately in a mortar, and then mixed together on
paper; after which they may be added to the other ingredients,
previously powdered and mixed.
GREEN FIRE.
Green fire, when burned in a reflector, sheds a beautiful light on all
surrounding objects. Take of flour of sulphur thirteen parts, of nitrate
of baryta seventy-seven, of oxymuriate of potassa five, of metallic
arsenic two, of charcoal three. The nitrate of baryta should be well
dried and powdered; it should then be mixed with the other ingredients,
all finely pulverized, and the whole triturated until perfectly blended
together. A little calamine may be occasionally added, in order to make
the compound slower of combustion; and it is above all things requisite
that the rubbing together of the materials should be continued until
they are completely mixed.
It may so happen that in some of your parlor theatricals you may wish to
introduce a storm, so we will tell you how to manage it.
There are several elements in a storm which can be counterfeited.
Thunder.
Snow.
The sound of rain or hail.
Lightning.
Wind.
The noise of thunder is produced by shaking a sheet of iron behind the
scenes. The sheet should be about three feet square, and can be procured
at any stove store.
Snow can be represented by throwing handfuls of small scraps of paper
from above.
It is best to mount on a chair or step-ladder behind the scenes, and
strew them down in the proper direction. The scraps of paper should be
of course white and _torn_, not cut, of the requisite size.
The sound of rain or hail is produced thus: Get the carpenter to make
for you a box, from eight to twelve feet in length, and of about four
inches inside diameter; put in a couple of handfuls of dried peas, and
then fasten up the box; when you wish to make rain, tilt up one end of
the box and let the peas run down to the other end, then reverse the box
and let them run back again. As long as you continue to do this you will
have an excellent imitation of rain, at least as far as the sound is
concerned.
Lightning is imitated by having a lamp in a box; whenever you want to
produce a flash, open the lid suddenly and close it again. Of course all
the other lights in the room must have been previously lowered.
Wind. Sufficient wind to blow about the flakes of snow can be produced
with a very large fan, a wooden frame with calico stretched over it
being as good as anything. But to simulate the effects of a gale, some
other means must be adopted.
[Illustration]
We will assume that the curtain rises on a storm scene; thunder and hail
are heard, and fitful flashes of lightning illumine the landscape. Enter
a wandering female, a little girl, we will presume, in search of
shelter; as she walks on to the stage leaning forward as though
struggling against the blast, her shawl and dress are violently agitated
by the wind. To produce this effect attach two or three strong threads
to the garments named, and at the proper time jerk and pull them with a
tremulous motion, to impart the natural action. The preceding diagram
will illustrate our meaning.
These instructions may be found useful to amateur players, and will
certainly heighten the effect of the performance when they can be
introduced.
There is another point in connection with _make-up_ to which we may as
well call the reader's attention before closing this chapter. All
persons, no matter how ruddy their complexions may be, look pale or
sallow under the influence of the bright light necessary to illuminate a
stage; to counteract this effect it is absolutely necessary to rouge, or
in other words, paint the cheeks pink; a little carmine from your
paint-box will serve for this purpose, if you have not the regular rouge
powder on hand.