Home Pastimes; or Tableaux Vivants Part 9

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 mult.i.tude 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 unblus.h.i.+ng, 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 pa.s.sing 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 finis.h.i.+ng a piece of embroidery. The husband is reclining in a s.p.a.cious 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 ap.r.o.n, 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 quant.i.ty, 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 st.u.r.dy 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 gra.s.sy 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 gra.s.s; 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 ta.s.sels 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 sh.e.l.ls. 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 gla.s.s 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.

G.o.d 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 c.r.a.pe, 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. s.p.a.ce 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 pa.s.sing 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 gla.s.s, while smoke and flames can be painted on various parts of the building; and, if desirable, a small quant.i.ty 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 G.o.d impels with courage not thy own.