MODERN STAGE DRESSING.

Dominion, Volume 4, Issue 1061, 25 February 1911, Page 11

MODERN STAGE DRESSING.

TIIEX AND NOW.

I hose who sit in their scats at the theatre _to-day—whether Slu-Li'spearo or a p:\utomimo is being presented—and have tho eyo charmed by flic beauty of the dressing will hardly believe lion' poorly it was done even twenty years .130 (says an Australian writer). The wardrobe was then generally 11 "stock one"—that is, it belonged entirely to the management, and had to fit all comers—with a little alteration. Materials were common, most of them make-believe. Gowns jtlint to-day aro fashioned of exquisite brocade, satins, silks, lace, etc., did not exist. Chintzes, siitmottes, alpacas, linens, 011 which tho scene-painter stencilled a pattern, wero chiefly utilised. Their contemplation was generally a sourco of amusement, and moro ollnn than not detracted from tho performance by their ludicrous unsuitabilitv. To tho stage of to-day many of tho new fashions are largely due, and what aro now termed "emotional gowns" go some distance in contributing to tho success of a drama. Had not Miss Lily Brayton been an adept in tho art of stage-dressing, her lvatlierina, Desdemona, and Annie l'ago would have lost a good deal of their charm to women. Not very long ago Mr. Grundy wrote a comedy called "Frocks and Frills," tho pivot of tho plot being modern dressing, leaving, to tho actresses tho gowns they should wear, and tho number. The success was pronounced, as most of the frocks were imported from Taris, and cost n mint of money. Try and imagine for a moment all those exquisito and complete costumes in "Jack and tho Beanstalk," spread out in tho various dressing-rooms, waiting to be donnr<l in turn. Ono is nlmost afraid to say how many hundreds thero 1 are, each ono complete with head-piece, weapons, (lags, breast-nlntes, shoes, etc. Those for the Army of All Nations alone artf n beautiful sight, and, on close examination, ono marvels at tho richness of tho material, exquisito workmanship, and perfect, fit and cut. Tho finish of each is quite as good as if tho particular dress was for a real Prince at a Royal costumo ball, All this lingo 'wardrobe has. to bo continually overhauled, as fastenings; bo they never so good, will not last for over, and sometimes there aro accidents that occur through tho rush and -bustle of tho jierformance. Tho robing of tho various ballots is quito as much a drill its the marching afterwards on the stage, and if all the dressing, were not carried 011 with the utmost precision, confusion would ensue. Should only one unit not be nbla, to, toko lier ,placo at the exact, moment demanded, the cffcct of the whole would bo spoiled. Very often a popular actrcss i? associated with some particular form of dress ornament. It was Miss Lotty I.ind, tho famous dancer (sister of Miss Fanny Dango) who first wore tho accordionpleated dancing skirt; Miss' Jessio Milivard popularised tho lawn-embroidered collars and cuffs; Miss Irene Vanbrugh and her sister, Miss Violet Vunbrngh, as well as Miss Irvjing and Miss Dorothy Baird- (tho two latter coining to Australia very soon) interpret much that is fashionable in gowns on tho stage; while Mies Nellie Stewart invented'tho popular bangle'that bears her name. In looking back, of all tho comic operas that mado most impression, by reason of its novelty and charm of dressing, "Veroniquo" comes first. Tho. pretty liarmonies of e.hrysoprase, green, and white that ran through tho first act wero so wonderfully suggostivo of spring fashions. No loss beautiful wero tho gradations of pink, cerise, and palo lemon tonos that characterised the last act. Verbniquo herself, ! too, was n perfect picture in her little, quaint,.early-Victorian 'close- lacc cap,:thrc&ded with green ribbons and soft jlace sacquc ribbon trimmed, which she wore in the famous swing scene under tho shads of tho old apple tree; the last dress, of white muslin and'poke bonnet, bringing to mind tho youthful portraits of tho late Queen Victoria. As with most other things, there is a ciy that drpssing is now overdone—"run riot," Mr. Pinero calls it. 110 declares that plays of tho present day nro overburdened with clothe 3 altogether, and often inappropriately, and with 110 senso of artis'io '■ ness. In 0110 of his remedies (lie actresses all .appeared in new gowns 011 tho first night,V 11 secret thoy, had kept from him, and his production was spoiled in a measure, as most of their time was taken up with them instead, of with his dialogue. This made liini crfroful that his actresses in future should wear their dresses at least a week' beforo tho first performance. Probably stage dressing, from tho dramatist's and managerial point of view is overdone, but for us. who look 011, if good taste directs it, it is very interesting to contemplate. Moreover, one ,ciin always pet £o»io hints from it, especially when tho comDany for any particular, pieco has imnorted. Fashion pbifes arc all very well in tlieir way, lint thero is sueli a number of them that it is iinncsible- to realise any particular modn that is at tho moment dominating tho hour at home. Colour, too, is seldom given accuratelv, even in tho best illustration, and'only ono particular aspect is presonted. Probably stage. dressing. has been carried to extremes on tho London stage, but in Australia no such charge can be put forward. So far all requirements have been adequately and tastefully fulfilled, i