THE SCENERY COMMONLY FOUND IN VAUDEVILLE THEATRES
1. The Olio
In every vaudeville theatre there is an Olio and, although the
scene which it is designed to represent may be different in each
house, the street Olio is common enough to be counted as universally
used. Usually there are two drops in "One," either of which may
be the Olio, and one of them is likely to represent a street, while
the other is pretty sure to be a palace scene.
2. Open Sets
Usually in Four--and sometimes in Three--there are to be found in
nearly every vaudeville theatre two different drops, which with
their matching wings [1] form the two common "open sets"--or scenes
composed merely of a rear drop and side wings, and not boxed in.
[1] A _wing_ is a double frame of wood covered with painted canvas
and set to stand as this book will when its covers are opened at
right angles to each other.
_The Wood Set_ consists of a drop painted to represent the interior
of a wood or forest, with wings painted in the same style. It is
used for knock-about acts, clown acts, bicycle acts, animal turns
and other acts that require a deep stage and can play in this sort
of scene.
_The Palace Set_, with its drop and wings, is painted to represent
the interior of a palace. It is used for dancing acts, acrobats
and other acts that require a deep stage and can appropriately
play in a palace scene.
3. The Box Sets
A "box set" is, as the name implies, a set of scenery that is
box-shaped. It represents a room seen through the fourth wall,
which has been removed. Sometimes with a, ceiling-piece, but
almost invariably with "borders"--which are painted canvas strips
hanging in front of the "border-lights" to mask them and keep the
audience from seeing the ropes and pulleys hanging from the
gridiron--the box set more nearly mimics reality than the open
set, which calls upon the imagination of the audience to supply
the realities that are entirely lacking or only hinted at.
The painted canvas units which are assembled to make the box set
are called "flats." A flat is a wooden frame about six feet six
inches wide and from twelve to eighteen feet long, covered with
canvas and, of course, painted with any scene desired. It differs
from a wing in being only one-half the double frame; therefore it
cannot stand alone.
Upon the upper end of each flat along the unpainted outer edge
there is fastened a rope as long as the flat. Two-thirds of the
way up from the bottom of the corresponding edge of the matching
flat there is a "cleat," or metal strip, into which the rope, or
"lash-line" is snapped. The two flats are then drawn tight together
so that their edges match evenly and the lash-line is lashed through
the framework to hold the flats firmly together.
While one flat may be a painted wall, the next may contain a doorway
and door, another a part of an ornamental arch, and still another
a window, so, when the various flats are assembled and set, the
box set will have the appearance of a room containing doors and
windows and even ornamental arches. The most varied scenes can
thus be realistically set up.
In the rear of open doors there are usually wings, or perhaps
flats, [1] painted to represent the walls of hallways and adjoining
rooms and they are called "interior backings." Behind a door
supposed to open out into the street or behind windows overlooking
the country, there are hung, or set, short drops or wings painted
to show parts of a street, a garden, or a country-side, and these
are called "exterior backings."
[1] When flats are used as backings they are made stable by the
use of the _stage-brace_, a device made of wood and capable of
extension, after the manner of the legs of a camera tripod. It
is fitted with double metal hooks on one end to hook into the
wooden cross-bar on the back of the flat and with metal eyes on
the other end through which _stage-screws_ are inserted and screwed
into the floor of the stage.
_The Centre-door Fancy_ is the most common of the box sets. Called
"fancy," because it has an arch with portieres and a rich-looking
backing, and because it is supposed to lead into the other palatial
rooms of the house, this set can be used for a less pretentious
scene by the substitution of a matched door for the arch.
In this plainer form it is called simply _The Parlor Set_. Sometimes
a parlor set is equipped with a French window, but this should not
be counted on. But there are usually a grate and mantelpiece, and
three doors. The doors are designed to be set, one in the rear
wall, and one in each of the right and left walls. A ceiling-piece
is rarely found, but borders are always to be had, and a chandelier
is customary.
_The Kitchen Set_ is, as the name implies, less pretentious than
the changeable parlor set. It usually is equipped with three
doors, possesses matching borders, may have an ordinary window,
and often has a fireplace panel.
Slightly altered in appearance, by changing the positions of the
doors and the not very common substitution of a "half-glass door"
in the rear wall, the kitchen set does duty as _The Office Set_.
It is in these two box sets--changed in minor details to serve as
four sets--that the vaudeville playlet is played.
On the following pages will be found eight diagrams showing how
the stock or house box sets can be set in various forms. A study
of these will show how two different acts using the same house set
can be given surroundings that appear absolutely different. These
diagrams should prove of great help to the playlet writer who
wishes to know how many doors he may use, where they are placed
and how his act will fit and play in a regulation set of scenery.
INTRODUCTION TO DIAGRAMS
The following diagrams, showing the scenic equipment of the average
vaudeville theatre, have been specially drawn for this volume and
are used here by courtesy of the Lee Lash Studios, New York. As
they are drawn to a scale of one-eighth of an inch to the foot,
the precise size of the various scenes may be calculated.
The diagrams are based on the average vaudeville stage, which
allows thirty or thirty-two feet between tormentors. The proscenium
arch _may_ be much greater, but the average vaudeville stage will
set the tormentors about thirty feet apart. All vaudeville stage
settings are made back of the tormentor line.
At the tormentor line there will be, of course, a Grand Drapery
and Working Drapery which will mask the first entrance overhead.
There will be either a set of borders for each scene, or else the
borders will be painted to use with any scene, to mask the stage
rigging. The borders are usually hung from six to seven feet
apart, so that in planning a scene this should be considered. In
a few of the larger houses, a ceiling-piece is found, but, as has
been said, this is so rare it should not be counted on.
Most houses have a floor cloth, and medallion or carpet, in addition
to the properties hereafter described. Reference to the diagrams
will show that the tormentors have a "flipper," which runs to the
proscenium arch wall; in the flipper is usually a door or a curtained
opening for the entrances and exits of acts in One.
If you will combine with the diagrams shown these elements which
cannot be diagrammed, you will have a clear idea of the way in
which any scene is constructed. Then if you will imagine the scene
you have in mind as being set up on a stage like that of the Palace
Theatre, shown in the last chapter, you will have a working
understanding of the vaudeville stage.
WHAT THE DIAGRAMS INCLUDE
A well-ordered vaudeville stage, as has been described, possesses
Drops for use in One, one or more Fancy Interiors, a Kitchen Set,
and Exterior Sets. The Drops in One are omitted from these diagrams,
because they would be represented merely by a line drawn behind
the tormentors.
The Fancy Interiors may include a Light Fancy, a Dark Fancy, an
Oak Interior, and a Plain Chamber set. As the differences are
largely of painting, the usual Centre-door Fancy is taken as the
basis for the variations--five different ways of setting it are
shown.
Two out of the many different ways of setting the Kitchen Set are
given.
The Exterior Set allows little or no variation; the only thing
that can be done is to place balustrades, vases, etc., in different
positions on the stage; therefore but one diagram is supplied.
DIAGRAM I.--FANCY INTERIOR No. 1
Showing the usual method of setting a "Fancy." It may be made
shallower by omitting a wing on either side.
DIAGRAM II.--FANCY INTERIOR No. 2
The double arch is thrown from the centre to the side, the landscape
drop being used to back the scene--the drop may be seen through
the window on stage-left. The window of the Fancy Interior is
always of the French type, opening full to the floor.
DIAGRAM III.--FANCY INTERIOR No. 3
This is a deeper and narrower set, approximating more closely a
room in an ordinary house. The double arch at the rear may be
backed with an interior backing or a conservatory backing. If the
interior backing is used, the conservatory backing may be used to
back the single four-foot arch at stage-left.
DIAGRAM IV.--FANCY INTERIOR No. 4
This shows the double arch flanked by a single arch on each side,
making three large openings looking out on the conservatory drop.
DIAGRAM V.--FANCY INTERIOR No. 5
The fireplace is here brought into prominence by setting it in a
corner with two "jogs" on each side. The window is backed with a
landscape or garden drop as desired.
DIAGRAM VI.--KITCHEN SET No. 1
This arrangement of a Kitchen Set makes use of three doors,
emphasizing the double doors in the centre of rear wall, which
open out on an interior backing or a wood or garden drop. In this
and the following setting a small window can be fitted into the
upper half of either of the single doors.
DIAGRAM VII.--KITCHEN SET No. 2
Two doors only are used in this setting; the double doors, in the
same relative position as in the preceding arrangement, open out
on a wood or landscape backing. The fireplace is brought out on
stage-right. The single door on stage-left opens on an interior
backing.
DIAGRAM VIII.--WOOD OR GARDEN SET
Many theatres have two sets of Exterior wings--one of Wood Wings
and one of Garden Wings. In some houses the Wood Wings are used
with the Garden Drop, set vases and balustrades being used to
produce the garden effect, as shown here. Some theatres also have
a Set House and Set Cottage, which may be placed on either side
of the stage; each has a practical door and a practical window.
With the Set House and Set Tree slight variations of exterior
settings may be contrived.
4. Properties
In the argot of the stage the word "property" or "prop" means any
article--aside from scenery--necessary for the proper mounting or
presentation of a play. A property may be a set of furniture, a
rug, a pair of portieres, a picture for the wall, a telephone, a
kitchen range or a stew-pan--indeed, anything a tall that is not
scenery, although serving to complete the effect and illusion of
a scene.
_Furniture_ is usually of only two kinds in a vaudeville playhouse.
There is a set of parlor furniture to go with the parlor set and
a set of kitchen furniture to furnish the kitchen set. But, while
these are all that are at the immediate command of the property-man,
he is usually permitted to exchange tickets for the theatre with
any dealer willing to lend needed sets of furniture, such as a
desk or other office equipment specially required for the use of
an act.
In this way the sets of furniture in the property room may be
expanded with temporary additions into combinations of infinite
variety. But, it is wise not to ask for anything out of the
ordinary, for many theatre owners frown upon bills for hauling,
even though the rent of the furniture may be only a pair of seats.
For the same reason, it is unwise to specify in the property-list--
which is a printed list of the properties each act requires--anything
in the way of rugs that is unusual. Though some theatres have
more than two kinds of rugs, the white bear rug and the carpet rug
are the most common. It is also unwise to ask for pictures to
hang on the walls. If a picture is required, one is usually
supplied set upon an easel.
Of course, every theatre is equipped with prop telephones and sets
of dishes and silver for dinner scenes. But there are few vaudeville
houses in the country that have on hand a bed for the stage,
although the sofa is commonly found.
A buffet, or sideboard, fully equipped with pitchers and wine
glasses, is customary in every vaudeville property room. And
champagne is supplied in advertising bottles which "pop" and sparkle
none the less realistically because the content is merely ginger
ale.
While the foregoing is not an exhaustive list of what the property
room of a vaudeville theatre may contain, it gives the essential
properties that are commonly found. Thus every ordinary requirement
of the usual vaudeville act can be supplied.
The special properties that an act may require must be carried by
the act. For instance, if a playlet is laid in an artist's studio
there are all sorts of odds and ends that would lend a realistic
effect to the scene. A painter's easel, bowls of paint brushes,
a palette, half-finished pictures to hang on the walls, oriental
draperies, a model's throne, and half a dozen rugs to spread upon
the floor, would lend an atmosphere of charming bohemian realism.
_Special Sound-Effects_ fall under the same common-sense rule.
For, while all vaudeville theatres have glass crashes, wood crashes,
slap-sticks, thunder sheets, cocoanut shells for horses' hoof-beats,
and revolvers to be fired off-stage, they could not be expected
to supply such little-called-for effects as realistic battle sounds,
volcanic eruptions, and like effects.
If an act depends on illusions for its appeal, it will, of course,
be well supplied with the machinery to produce the required sounds.
And those that do not depend on exactness of illusion can usually
secure the effects required by calling on the drummer with his
very effective box-of-tricks to help out the property-man.
5. The Lighting of the Vaudeville Stage
At the electrical switchboard centre all the lights of the theatre,
as well as those of the stage itself. Presided over by the
electrician, the switchboard, so far as the stage and its light
effects are concerned, commands two classes of lights. The first
of these is the arc light and the second the electric bulb.
_The Spot-lights_ are the lamps that depend upon the arc for their
illumination. If you have ever sat in the gallery of any theatre,
and particularly of a vaudeville theatre, you certainly have noticed
the very busy young man whose sole purpose in life appears to be
to follow the heroine around the stage with the focused spot of
light that shines like a halo about her. The lamp with which he
accomplishes this difficult feat is appropriately called a
"spot-light." While there are often spot-lights on the electrician's
"bridge," as his balcony is called, the gallery out front is the
surest place to find the spot-light.
_The Footlights_ are electric bulbs dyed amber, blue, and red--
or any other special shade desired--beside the well-known white,
set in a tin trough sunk in the stage and masked to shine only
upon the stage. By causing only one group of colors to light,
the electrician can secure all sorts of variations, and with the
aid of "dimmers" permit the lights to shine brilliantly or merely
to glow with faint radiance.
_The Border-lights_ are electric bulbs of varying colors set in
tin troughs a little longer than the proscenium opening and are
suspended above the stage behind the scenery borders. They shine
only downward. There are border-lights just in front of the drops
in One, Two, Three and Four, and they take the names of "first
border-light," "second border-light," and so on from the drops
they illuminate.
_Strip-lights_ are electric bulbs set in short strips of tin
troughs, that are equipped with hooks by which they can be hung
behind doors and out-of-the-way dark places in sets to illuminate
the backings.
_A Bunch-light_ is a box of tin set on a standard, which can be
moved about the stage the length of its electric cord, and has ten
or twelve electric bulbs inside that cast a brilliant illumination
wherever it is especially desired. Squares of gelatine in metal
frames can be slipped into the grooves in front of the bunch-light
to make the light any color or shade desired. These boxes are
especially valuable in giving the effect of blazing sunlight just
outside the doors or windows of a set, or to shine through the
windows in the soft hue of moonlight.
_Grate Logs_ are found in nearly every vaudeville house and are
merely iron painted to represent logs of wood, inside of which are
concealed lamps that shine up through red gelatine, simulating the
glow of a wood fire shining in the fireplace under the mantelpiece
usually found in the centre-door-fancy set.
_Special Light-effects_ have advanced so remarkably with the science
of stage illumination that practically any effect of nature may
be secured. If the producer wishes to show the water rippling on
the river drop there is a "ripple-lamp" at his command, which is
a clock-actuated mechanism that slowly revolves a ripple glass in
front of a "spot-lamp" and casts a realistic effect of water
rippling in the moonlight.
By these mechanical means, as well as others, the moon or the sun
can be made to shine through a drop and give the effect of rising
or of setting, volcanos can be made to pour forth blazing lava and
a hundred other amazing effects can be obtained. In fact, the
modern vaudeville stage is honeycombed with trapdoors and overhung
with arching light-bridges, through which and from which all manner
of lights can be thrown upon the stage, either to illuminate the
faces of the actors with striking effect, or to cast strange and
beautiful effects upon the scenery. Indeed, there is nothing to
be seen in nature that the electrician cannot reproduce upon the
stage with marvellous fidelity and pleasing effect.
But the purpose here, as in explaining all the other physical
departments of the vaudeville stage, is not to tell what has been
done and what can be done, interesting and instructive as such a
discussion would be, but to describe what is usually to be found in
a vaudeville theatre. The effects that are at ready command are
the only effects that should interest anyone about to write for
vaudeville. As was emphasized in the discussion of scenery, the
writer should not depend for success on the unusual. His aim
should be to make use of the common stage-effects that are found on
every vaudeville stage--if, indeed, he depends on any effects at all.
Here, then, we have made the acquaintance of the physical proportions
and aspects of the vaudeville stage and have inquired into all the
departments that contribute to the successful presentation of a
vaudeville entertainment. We have examined the vaudeville writer's
tool-box and have learned to know the uses for which each tool of
space, scenery, property, and light is specially designed. And
by learning what these tools can do, we have also learned what
they cannot do.
Now let us turn to the plans and specifications--called manuscripts--
that go to make up the entertaining ten or forty minutes during which
a vaudeville act calls upon these physical aids to make it live
upon the mimic stage, as though it were a breathing reality of the
great stage of life.