THE SUNDAY OJBEGONIAN. PORTLAND, OCTOBER 1, 3905.
BEHIND. THE SCENES WITH "BEN HUR"
Army of Meri Works Like Clockwork Under a Stage
Czar Amid a Chaos of Canvas and Machinery
NLESS ono has enjoyed the prlvl-
I I lege of spending a night behind
' tho scenes during the performance
of a big stage spectacle, no Idea can
be formed of what goes to make It up.
The world behind the scenes is so com
plicated and fascinating in every re
spect that the writer can easily under
stand, why the "Thespian bee" buzzes
In the head of the rising generation.
Everything In connection with the
stage carries interest for the greater
part of the public, and therefore a re
view of "A Night Behind the Scenes,"
with the Klaw & Erlanger Company
production of General Lew Wallace's ,
"Ben Hur," admittedly acknowledged
to be tho most stupendous production
ever made within the" four walls of the
playhouse in the history of the amuse
ment world will give an excellent in
sight on subjects often discussed, but
of which very little is really known.
"Wonder has been expressed how those
employed in tho enactment of a play
spend their leisure moments when not
actively engaged, how hard the master
stage carpenter and his assistants must
work in the manipulation of the strik
ing mechanical effects, the damage a
single error of halt would make, the
efforts of the electrical expert for brill
iancy 1n lighting, the handling of the
great horde of extra people, what tho
duties of the stage manager really are,
and the change In feeling one experi
ences when the realms of stageland
have been unfolded to his view.
"When "Ben Hur" was perviously
staged in Portland, the writer was In
vited by the management to spend an
evening behind the scenes and Inspect
the workings and the action of the
play and the people employed. With
this end in view, tho visit to tho the
ater was made at an, early hour in order
to see the arrival of tho actor folk and
how they prepared for the night's work.
Although it was only 6:30 P. M. when
the theater was reached, the lobby was
all brightness, bustle and activity. The
box office had its long line, and a large
throng were eagerly awaiting the
opening of the doors. I at once made
my way to the stage entrance to await
developments. Promptly at 7 o'clock
two men sauntered slowly towards tho
stage door through the gloomy pas
sageway at the side of the theater.
The smaller man seemed to have a
grievance, for his talk was emphasized
by many gestures. His big gray-haired
companion was replying in a low voice
that sounded like the rumble of an emp
barrel In a cellar. Later on I found
the smaller man was tho assistant stage
manager, while the larger was the sec
ond assistant stage manager. Passing
the door-tender with a cheery "Good
evening," they crossed the stage, which
had just enough light to show it was
perfectly bare. Returning from the
room they had entered with a long
printed list, the second assistant stage
manager settled himself comfortably
In a chair Just inside the stage door.
Company Begins to Arrive.
In a few moments tho company began
to arrive, the -ones who appear In the pre
lude and tho first set being in tho lead.
They all had a pleasant word of greeting
from the man at the door, and he care
fully checked their names on the long
printed slip. As time commenced to fly.
Instead of ones and twos the passage
way was filled with a whole throng of
people hurrying towards the mysterious
stage door. A man with a black mus
tache, severe and commanding in appear
ance, that would cause you to pick him
out from a lot of people, accompanied by
a short, stocky man "with a gray mustache
and & little auburn-haired chap about as
round as a "wire cable, and fully as strong,
saunters In. The three take a hurried
glance at their surroundings and then dis
appear into a dressing-room to come out
a moment later in their shirt sleeves. The
big man is William Ayres, the master
carpenter; the stocky man is Thomas
Gossman, the master of properties; and
the auburn-haired man Is H. D. Crock
ett, tho master electrician. There is a
sharp, quick step on the stage, and a
slender blond man walks quietly up to
the group. This Is A. L Rankin, tho
stage manager. His assistants Immedi
ately report to him those who are late or
absent, and he makes note of each.
Army of 3Jtan on the Staffe.
Suddenly there is a roar as of near-by
thunder, softened by the buzz and hum
of thousands of human voices. It is 7:30
P. M., the doors of the theater have been
opened, and the audience is coming in.
Tho next arrivals at the stage door are
the orchestra men. They seek their jnuslc
room underneath tho stage. Only a few
seconds elapse and an army of stage
hands, .property men and electricians be
gin active work in arranging the scenery
and effects. The great yclorama used in
the first act Is noiselessly, mado to enclrclo
the stage. Chairs, benches, rugs, pieces
of scenery, the top of a house here, a bit
of an arbor there, hugo calcium lights
with a man for each, and all the para
phernalia of the scenes are being carried
in seemingly endless confusion. Hardly a
word is spoken, and In a few moments
it is noticed that not a man makes either
a useless step or motion. Master Carpen
ter Ayres stands down close to the cur
tain line, giving quick orders here and
there, when, all at once, we have the
roof top of Ben Hur's house with the
magnificent panoramic view of Jerusalem
"almost at our feet. In answer to a sub
dued whistle, a great scene drop Is low
ered to the floor noiselessly, which is
to represent the Star of Bethlehem. Mr.
Ayres turns about and with a mlle sig
nals to Mr. Rankin that everything is
all right. The stage manager takes a
swift view of the scene and, missing noth
ing, he presses a button, the lights are
lowered, the wonderfully Impressive open
ing bars of the sacred music All the the
ater, the curtain rises slowly, and the
performance of "Ben Hur" begins.
To the man who Kits In froqt during he
performance, "Ben-Hur" Li a gigantic
spectacle, with perfect scenic Illusion,
with mighty pictures of sea and city, of
hills' clothed with multitudes, and of the
most sensational feature of all times, a
terrific chariot race In which eight horses
run with break-neck speed for two min
utes within view of the audience.
Chaos of Canvas.
Behind the scenes tho spectacle Is a
chaos of canvas and .machinery; the mul
titude, a horde of supernumeraries; the
sea, a roll of blucdcnlm; the city, mere I
slabs of papier-mache. Of course, this Is
so of every scene In this or any other
play, but there Is one time during each
performance of this spectacle when all
chaos assumes definite form, when every
belt and shaft has work to do, when every
Inch of canvas takes on life and moves,
when even tho dead floor of the stage
becomes a moving thing. This Is during
the chariot race, which, as seen from tho
front, has never been equaled as a stage
picture, and sen from behind the scenes
represents the mechanical dreams of half
a hundred Inventors. Besides this great
race, the illusion of the Star of Bethle
hem In the prelude to the play a picture
beautiful In Itself becomes a cheap trick
In lighting effects. In comparison, the
stage picture of the Roman galley in the
second act is the clap-trap of stage craft,
and the massing of the multitude on
Mount Olivet In the last act Is as simple
as child's play.
Although more than 350 persons are em
ployed In the presentation of this play,
very little confusion can be detected on
the stage. A surging mass of people
move about In order, garbed In the cos
tume of all tho ancient nations of the
East pretty figures on the stage are Just
human beings behind tho scenes. An In
dian Prince begs a chew of tobacco of a
Roman soldier. The stage manager com
pels an Arabian maiden to toss aside her
chewing gum. Everywhere, on tho salrs.
In the wings, down In the stage basement,
up in the files. Greek and Abyssinian,
Hindoo and Arab, all talk In the same lan
guage, which lends a hearty laugh to tho
onlooker. Ben-Hur and Messala, bitter
enemies before the audience, fraternize be
hind the scenes. The writer overheard a
dancing girl from Egypt ask Mcsiala for
a pin with which to fasten up the torn
hem of her gauzy skirt. Sho remarked:
"Some durncd Indian has stepped on my
dress." Messala supplied the pin request
ed. It was the one that held Ben-Hut's
badge of victory-
Stage Manager the Czar.
It takes a man with the patience of Job
to handle the great crowd employed, for
so many little things crop up that tend
to mar a performance unless detected.
That Is why a man of great force and dig
nity Is necessary for the handling of big
productions. The stage manager with
"Ben-Hur" Is a Czar in authority, for
whether right or wrong In Jssulng a com
mondvlt must be respected until tho final
curtain falls, for bo is held responsible
for tho production and Is answerable to
the firm of Klaw & Erlanger for Its
smooth working.
The master carpenter and his assist
ants, like the electrical experts,, have
their respective duties to perform in a
limited space, of time. They are obliged
to anticipate what Is wanted of them,
for should they make an error in shifting
or setting a scene or adjusting any of the
electrical effects and thereby cause a
stage wait, a heavy fine or Instant dis
missal Is likely Jo follow. So much of
Ben Hur depends upon spectacular effects
that the men employed havo very few
seconds for rest from the time they enter
tho theater until the exit.
The principals, when not actively tak
ing part in tho performance, generally
keep to their dressing-rooms. The men
omploy tholr time in reading or playing
a game of cards, while the women pass
their tlms sewing and reading. All keep
ing a sharp watch for their cues. The
large number of extra peoplo are confined
to several big dressing-rooms and only
permltt&l on the stage when their serv
ices are? required in scenes.
A spectator gets a new and curious
sensatloa by watching this wonderful
spectacle from behind the scenes. It is as
If one puts himself In the place of one
of the ralntcd Orientals leaning from the
panoramte'eanvas of the circus of Antloch
Itself. One can feel something llko Mal
luch, when he bent from his scat above
the Gate of Triumph to witness the re
vengo of Ben Hur the breaking of
Messala's chariot wheel and the tossing
l-of the Roman in the dust. The sacred
music of the Mount of Olives scene causes
a lump to come Into your throat, for the
expression on the faces of the vast multi
tude assembled on this mountain top
kneeling in adoration to the Nazarene,
chanting Hosannas and with uplifted and
outstretched arms and their faces turned
toward heaven appealing for cleansing of
leprosy with the powerful shaft of white
light symbolizing the presence of the
Nazarene, flooded across their faces.
causes ono to feel that ho is indeed In the
houso of tho Lord.
The scene which comes prior to th
Mount of Olives is a mixture of ancient
and modern the first and 24)th centu
ries. One Jostles elbows with Romans.
Jews, Arabs and Asiatics in trappings
of tho gorgoous Kast. Regiments of
stage hands Jab their elbows into your
side; the slren-liko Iras laughs at jo t
as she pats her horse's nose, under
the eye of the cool master merhars!?
In Immediate street garb. Everything?
Is excltemont for the thrilling chariot
race Is about to .be run and the extra
peoplo are all struggling to get a sat
isfactory viewpoint. A curious thing
about this race is that all the people on
the stage hunch for an accident to tho
maohlnery so that Messala will win:
they consider It tine fun to cheat Ben.
Hur of victory. The stago manager
shouts his commands. Ben Hur in his
white tunic clambers cautiously to n!s
place In the race car, while Messala
does likewise. The red garment of Mes
sala is the signal to the horses. Tho
Instant they see him their hoofs start
flying over the treadmills. Only a few
feet from the roaring machinery and
the plunging steeds one faels a sort
of uncanny sensation, even thouga It
be not dread, for he sees the thoroughly
aroused racers seemingly chargo.
straight at him with flying .leaps anl
nerves a-qulvor. Tho illusory dust
arises In clouds from their foet and tho
charioteers, with their cracking whips,
appear to dash upon all In front It
a thrilling scene In every sense t"
word implies and makes one who has
been able to secur the courtesy of a
trip behind the scenes feel fprtuna'o
Indeed.
"Musings for Tferee Minutes" $ By Marcus W. Robbins
Xoblc Vikings and Their "Ways as Compared With Degenerate Posterity of the Twentieth Century.
THE hero of ono age is the criminal
of the next. Will not some of
our heroes turn out the. same
way?
Take the noble Vikings. Now, these
fellows were tho forbears or the Oie
Olsons and Peter Petersons of Minne
apolis, Minn. To look at Knute Nel
son, United States Senator, one can
hardly reallzo that he had such a wild
lot of ancestors, but then it Is not safe
for any of us to brag about our fam
ily tree.
These .Vikings In their day were re
garded as belonging to the better class
of society and were looked on by the
goneral public in much the same man
ner as the small, boy oftoday looks on
the captains, say of the Bailey Gatzert
or the Chas. R. Spencer. They were
able to throw out their chests and say
"We're It." But If these same Vik
ings could come on deck today, they
would be in danger of being classed as
river pirates. Thus do the Ideals of
a world change.
Just imagine a bunch of them being
brought to life and paddling up the
Willamette In one of their warships,
each man dressed In trousers cut on
the latest golf style, peekaboo shirts
and forty-nlnth-degrea aprons. Then
let them commence to whet their bat
tleaxeg and take a few swigs of their
steam beer, drunk standing from
Texas steer horns. Why, the Oregon
National Guard would be patrolling tho
banks inside of 24 hours. That Js, un
less some enterprising Yankee did not
get 1 ahead and corrali the wholo
bunch, organizing a troupe to tour the
States the general public being ad
mitted to see the sights at the rate of
50 cent a head. Just think what a
magn.flcent exhibit they would ha,yo
mado for the Trail.
When Springtime came, the Vikings
were accustomed to make their trips
south as regularly as a Chicago drum
mer for a millinery houso. Mr. Olaf
would got his family and friends to
gethar, caulk up his warship, look over
his 'sails and oars, and then some sun
ny .Spring morning would pull away
fory tho coast of Franco or Britain.
Having chosen a particular spot on. tho
coart. they would land and proceed to
relieve the inhabitants of all their port
abls property.
These were strenuous times. For the
anslcat Britons were no slouches
when Jt came to a free-for-all fight,
and. .Mr. Norseman often got all that
wa. coming to him. Blood had to flow
before they could gather up the brass
pots and gold bracelets.
Te Viking that could bring homo as
his season's catch the largest amount
of plunder was the hero of his fjord.
He was feted and" made much of; ba
bies were named after him, and all the
young boys dreamed dreams of how,
when they were grown up, they would
Tjo like Mr. Olaf and be able to split a
'man In twain with one .strojce of the
'battleaxc.
Mr. Olaf was usually a discreet per
son, and at the end of each season al
ways made n offering to the village
gods. This was undoubtedly the great
grandfather of our present "tainted
money.'"
These were the heroes, and by tho
superiority of thoir muscular develop
ment domineered over their fellows.
No fault was ever found with their ac
tions, so they never needed a commit
tee of their neighbors to whitewash
them. But now they would run up
against something that would end
thusly: "Against the peaco and dig
nity of the State of Oregon as in such
cases made and provided." They were
magnificent pirates.
Names change, but men never, and
so today wo call them Frenzied Finan
ciers. They have their regular fields
of plunder. Sometimes it Is copper,
sometimes wheat and sometimes oil.
The man who can rake in the biggest
pile gets his picture in the papers. And
the young boy3 dream of the time
when they can own a railroad and go
to the United States Senate, or, better
still, send someone there.
After a particularly successful deal,
a donation Is always made to charity.
Like the Vikings of old. It I3 the re
sourceful men that come out on top
but with this difference: The VIklngA
superiority was manly, physical sa
porlorlty, while with the men who
take their place today It is a superior
ity of trickery and scheming.
While we do not need to worry about
any bare-legged Vikings with tawny
hair turning up and swiping our waf
fle irons. it will do no harm to keep
your eyes on an occasional street rail
way president and never try to buck
the stock market.
MARCUS W. ROBBINS.
Grant's Pass, Or.
Bo Patient and Be Wise.
Be patient and be wise! The eyes of death
Look on us with a smite; her soft cartas.
That still the anguish and that, "stops th
breath.
Is nature's ordination, meant to bless
Our mortal woes with peaceful nothingness.
Be not afraid! The power, tnat made the
light
In your kind eyes and set the stars on high
And gave us love meant sot that alt should
die
Like a brief day dream, queneh'd in sudden
night.
Think that to die is but to fall asleep
And wake refreshed where the new morning
breaks.
And golden day her rosy vigor takes
From winds that fan eternity's far height
And the white crests of God's perpetual deep.
"Ills time is spent, our pilgrimage must
be ' "
So .the wise poet wisest of mankind
In admonition that should make us see
Though half distraught, and in our misery
blind
That our sole refuge Is the constant mind.
The steadfast purpose, brave and strong and
free.
To bear affliction and to be reslgn'd;
Knowing that ruthless time will ono day
rend
The veil that hides the deep that, al! must
cross.
And that th eternity to which we tend.
Made precious with the soul of many a
friend
Is richer, lovelier, holler, far our Joss;
Where crown'd with peace, as with a
diadem.
Our Iovd ones long for us even as we long
for them.
. WHHain Winder,