BELLE HOWITT IN "BLACK CROOK."
In 1879 the Kiralfys brought out their spectacular burlesque entitled "A Trip to the Moon," and I had the pleasure, during its run, of dropping in behind the scenes of a Western theatre one night to have a peep at the pictures there presented. Now, the moon is something like two hundred and eighty thousand miles from here—that is the one reputed to be made of green cheese, and having phases as numerous as the occasions that ring the April skies with rainbows. But the Kiralfys' moon was in another firmament, shining out amid stars that, when they wink their twinkling eyes or shuffle their shining feet, as they do frequently, the celestial shiners have got to put on their cloud ulsters, and sit down while the lachrymose eyes of the heavens give up their tears. That is why it was raining torrents the night I went behind the scenes with Mr. Bolossy Kiralfy. As I went in the back door Prof. Microscope, one of the funny characters in the play, brushed by with a telescope under his arm that was large enough to put Lord Ross's famous spy-glass into its vest pocket, if it had one. The moon to which the trip was to be made was not so far as two hundred and eighty thousand miles by a half block or so, but it was a very funny world, full of gaslight and laughter, and with the most mirthful sports imaginable on its glowing surface. I was inclined somewhat to lunar ways, and thinking like a great many other credulous mortals, that the trans-atmospheric trip was really made in a cartridge-built coach that was fired out of a huge mortar at the rate of about eighteen thousand six hundred and sixty-six and two-thirds miles a minute, had fully made up my mind to ride on the roof or cow-catcher of the concern, at whatever risks to life and limb space might abound in. I expected to find something like a solid space-annihilating Columbiad behind the scenes, but I was somewhat mistaken.
Just before the curtain was rung up I found myself in the midst of the fairy world upon which the brilliancy of the foot-light falls. While the curtain was still down, and before the gasman had opened the floodgates of splendor, the place was dark; not pitch dark, but pretty dark, compared with the brilliancy that shown in, over, and around its space a few minutes later. And then its intricacies, pieces of scenery here, various properties there, and sections of everything and anything scattered anywhere and everywhere, made a fellow feel as if the place was darker than it really was. Glittering and glowing as the stage appears before the foot-lights; wonderfully romantic as are its shades and lights, its love and laughter; and astounding as are its scenic effects; its area and surroundings are terribly realistic when the foot-lights are left behind, and the "business" of a play is once laid bare. Here the sighs of love-sick maidens and the spooning of gilt-edged but uncourageous wooers, the tears of injured innocence and the self-gratulations of hard-hearted villains who still pursue the flying female, the prattle of young mouths and the mumblings of "old men" and "old women," are lost with the departed scenes of the play in the unceasing desire of the actors to get back into their proper social and friendly relations to each other, and, once the prompter's book is closed, stage talk and stage manner are under metaphoric lock and key, and romance is for a while at an end.
JNO. A. STEVENS.
On opera bouffe or burlesque nights, however, a great deal of the stage charm clings to the characters even when off the stage, and one is compelled to be interested in the grotesqueness of those to be met in the side scenes—the odd and often pretty creatures who stand, sit, lie or lean around in the "wings" at their own sweet leisure and pleasure. There is something so indescribably funny in the costumes, in the facial make-up, and all that, of the happy opera-bouffer or festive burlesquer, that the eye follows a quaint character through the scenes with the same inalienable interest as that with which the small boy hovers around the heels of an Italian with a hand-organ and a monkey. The eye, however, must not, cannot linger or languish long upon a single one of these walking wardrobes. There is a moving panorama constantly in front of the surprised vision, and before an electric flash could photograph one single individual in his droll toggery there would be a dozen or more "shassaying" before the camera.
There was leaning against one of the "wings" a naive and sprightly piece of feminine beauty, set off in the handsomest and most enticing manner in the world by a well-rounded, gracefully curved pair of pink tights, a white satin surtout and mantelet, plentifully besprent with glittering braid and flashing beads, dainty silk slippers that would have made a Chinese princess weep with envy, and a jaunty white hat to match. She was, of course, to figure as the charming little hero of the evening, if burlesques can be said to have such things as heroes. A doughty old chap, with bristling hair and a porcupine moustache, was standing by talking to little pink tights. He was gotten up like a circus poster in forty colors, with a plentiful array of red on his head and legs and a sort of sickly-looking, rainbow-sandwich built about his body. Red, blue and black streaks straying over his features made it appear as if he might have been assigned the role of an ogre and was accustomed to nightly look around for his fair companion to make a meal of her. I immediately made friends with the comic horror and the little lady in pink tights and learned who and what they were. The latter was (in the play, of course) a nobby young blood known as Prince Caprice, personated by Miss Alice Harrison; the red-legged comedian was King Pin, the young Prince's funny father and Mr. Louis Harrison was hidden under the remarkable royal disguise.
"Well, when are we going to start for the moon?" I asked, good-humoredly.
"In a few fleeting moments," was the regal dough-belly's reply.
"And are all these folks going into the projectile?" pointing to the crowd of curious characters passing and repassing us.
"Not if the court knows herself and she thinks she does," put in the Prince, pertly; "only the King, Prof. Microscope and myself ride in the cab."
Prof. Microscope was a long, scrawny fellow. He was twirling a shaggy moustache and buzzing a handsome and not at all bashful ballet girl at the same time, a short distance away. He was gotten up in a blue-striped, swallow-tail coat, long enough, if the Professor cared about lending or renting it out, to be used for a streamer on the City Hall flagstaff, and short enough in the back to have the waist-buttons constantly challenging the collar to a prize fight or wrestling match. Very tight black pants, a luxuriantly frilled shirt front, fluted cuffs, and white hair allowed to grow to the length worn by Buffalo Bill, completed his outfit. When I was introduced to him, the Professor swore by the bones of Copernicus's grandmother on a volume of patent office reports that he was the sole originator and engineer of the only direct moon line, and he'd bet his boots or eat his hat that it never took more than fifteen minutes to make the trip.
"You see," said King Pin, "that Microscope is a queer fellow—not a coney man, you mind."
"Although," said the Prince, "he now and then casts his lot on the turn of the die."
LILLIE WEST.
"Yes, his lot of last year's clothing," the jolly King remarked, "on the turn of the dyer."
This effort resulted in six of the supers, who were gotten up in voluminous dominoes with elaborate, but inexpensive, pasteboard trimmings, and who were within hearing distance, falling stiff and stark to the stage.
"Does this kind of thing occur often?" I inquired.
"Oh," growled the Professor, "that gag was stuffed and on exhibition at the Centennial. It was found in an Indian mound near Memphis, and is old."
And so the talk went on for a while, when up went the curtain and King Pin leaping on the stage amidst the laughter and plaudits of the house, told how the pretty Prince Caprice had tired of mundane things and was heavily sighing for the fountain-head of the lambent silvery moonlight. Microscope, who was at the head of the Royal College of Astronomers, was besought to do something to aid the Prince in accomplishing