DRESS IN "EVERYWOMAN."

Dominion, Volume 5, Issue 1329, 5 January 1912, Page 9

DRESS IN "EVERYWOMAN."

Amidst the follies, varieties, deceits, and vices that find their counterparts in tho remarkablo play at the Theatre Royal, writes "Queen Bee" in the "Australasian, there are dress notions and staging that help much by their brilliancy. On the one hand are some of the typical characteristic figures of far-oil' classic days, and on tho other luxurious ideas of tho present time. To carry through the several acts devised by the' imagination of the writer, • this peculiar mingling is absolutely necessary, and adds considerably to the effect of the living figures, accentuating their weaknesses and their strength.

In . some respects "Everywoman" (a ■play that will shortly appear in Now Zealand) reminds one of a fairy story— the Variation being that among the most innocent and even mirthful situations thero are moments when the cruelty of life's satire strikes homo. Always in the shadow of the play, but nevertheless there, is tho figure Nobody, that .person wo love to pass over with -the customary jest. 3lr. Eardley Turner is of fine height for the character, and he impresses its significance in a cloak and cowl o£ greenish woollen. At no time is the natural colouring of his features visible, foi; tho reason that a green white light is always cast: on the face. Tho play begins with his plea for indulgence, in an almost pitch-dark theatre, that gives place to a charming sotting that reminds one of an Alma Tadeina painting, wherein are classic dancing figures, entwined with ro?es, and where Youth, Beauty, and Modesty, introduce themselves and confer with Kvcryworniin, as regards the advisability of her going into the world in quest of love. Miss Hilda Spong looks to advantage in her classic white gown, with Grecian coiffure, finished with a pearl cap. Incidental to the scene is the picture' of Flattery, -in the mirror, represented by a richly-costumed marquise, and the warnings of Truth (Miss Emma Temple), who the author has chosen should take, the shape of an ugly old witch, with bent crutch and a nine-tailed lash.'

The subsequent scenes picture Everywoman's difficulties, and the obstacles that lie in her path. Everywoman becomes a .theatrical star, with wealth to pay for all, and a youthful earl to carry her poodle. In consequence. Miss Spqng blossoms out into most gorgeous attire, wearing a gown of 'gold tissue, encrusted with green and gold paillettes, whose weighty "swish" can be distinctly heard us she moves about the stage. Tho dress is rather curious in its construction, but none the less effective, for tho reason that one half of tho dress and the entire train are of apricot yellow brocade, deeply . bordered with tho embroidery. Such a gown is beiny worn in Ihc open, and is in the first instance covered with a mantlo of emerald-green velvet, enriched with a shawl-sliaped applique of ecru Venetian guipure, a large patch of the lacs being placed at the foot on the back of the coat, that matches tho picture hat, with feathers for ornamentation.

When well on the road to perdition, Modesty bids farewell to Everywoman. and in the supper scene Beauty dies on the sofa, while the orjfie is in full progress. This scene is richly staged. The half-circle table is covered with a cloth of white and palo blue striped moire, and delicately festooned with pink and white roses. The quests sit round on blue brocade chairs, mirrors, flowers, and hand-somely-appareled footincnt completing tho luxuries that abound. Wealth and Evorywoman take the central positions, and Miss Spong conveys tho idea of a woman loaded with riches to perfection, wearing a tiara of diamonds that must ho eight inches high, und a costly gown of embroidered silver tissue, over Egyptian blue brocade, the quaint train, although lengthy, being not more than half a yard wide, and quite separate from the dress. Towards the end of tho feast Youth begins to show signs of fading, and, in her frantic endeavour to find out what the mirror is planning now, Everywoman rushes to it, to see tho ugly faco of Truth reflected in its surface, and she

promptly smashes tho glass into fragments with n champagne buttle. Tho subsequent scones show Kverywomitu forsaken by Voulli, Ueiiuty, nnd Mcdesty, and she is at the stage when a grey gown «nd a black scarf are a. consolation. The setting depicting Broadway, New York, is most striking, with its brilliantly-lit sky-scrapers as a background, and in (lie foreground the gny scene of a cafe, whence emerges Wealth, who escorts home Vice, richly dressed in Muck velvet and ermine, with n glistniinj silver serpent twined round her neck and figure. Truth, seeking Charity, rescues Kvorywoinan, and, taking her under her wing, lights her on her way home, where, nn the hearth, is waiting True Love, and on the morrow she finds the snow-white raiment that she scorned for worldly trappings.