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Page 13
The chancel may be lighted by a number of incandescent bulbs hidden at
the sides of the scene, with the light so shielded that it shines on the
altar and not into the hut. An especially effective place to put a
strong light is inside the box representing the altar, with a hole cut
in the top of the box so that the light shines up, giving a central
radiance to the appointments of the altar and throwing into prominence
the face and costume of each person who approaches it. If any of this
light seems glaring it can be softened and diffused by masking it with
amber or straw colored cheesecloth.
Some form of search light is practically a necessity for producing the
heavenly radiance that shines upon the angel. If procurable, a "baby
spot light" is the best appliance, but lacking this, an automobile lamp
and its battery can be used.
It is important that all light in the hut should go out when the vision
of the chancel appears so that the hut becomes merely an inner
proscenium or dark frame around the rich picture of the altar. This of
course does not mean that the lantern in the brazier need be
extinguished as the light given by that is negligible.
After the angel ceases speaking the tableau of the altar scene should be
held as the music grows louder and louder through the final crescendo;
then, when the final note has been sung, blot out the stage by
extinguishing all lights. Give a moment of darkness during which the
back wall of the hut is replaced, and the old woman slips out of the
nearest opening in the scenery. Then turn on the front lights which
illuminated the hut during the first part of the play.
MUSIC.
The three pieces of music required for this play are as follows:
"The Sleep of the Child Jesus" part song for mixed voices by F.A.
Gevaert.
Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee
Atherton.
These two pieces come published together in a special edition for use
with this play by The Boston Music Company. Price 15 cents per copy,
postpaid.
The bell movement (in five flats) (Postlude) by J. Guy Ropartz.
Published by The Boston Music Company. Price 30 cents per copy,
postpaid.
For all the music, address The Boston Music Company, 116 Boylston
Street, Boston, Mass.
The pieces by Ropartz and Gevaert were chosen for the Workshop
production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard
University, and are admirably fitted to the play. Mr. Atherton's
Alleluia is also just what is needed, both in length and in the
triumphant crescendo which carries the piece fittingly and dramatically
to its close. It would be difficult to replace this finale except by
other music written for the purpose.
The music is perhaps the most important single element in the play. In
the original version the scene in the chancel was carried by dialogue
but production showed the mistake. From the time that the music begins,
it, with the pantomimic action of the actors is all sufficient to
interpret the mood and meaning of the scene.
A small parlor organ is practically a necessity and can probably be
procured for the cost of the cartage.
A choir of men's and women's voices is best for the singing but a good
quartette will serve.
For the bells, the long tubular chimes which are suspended by one end
and struck with a wooden hammer are the most satisfactory. If they seem
too metallic, try covering the head of the hammer with folds of chamois
skin. If such a set of chimes is not to be had a substitute can be found
in the phonograph, for which there are a number of chimes records.--The
tune played on the phonograph must not be a modern one; Luther's Hymn
"Great God, what do I see and hear?" (A Columbia record) is the best.
The tune can be disguised by lifting the needle occasionally and setting
it down gently on another part of the record. As far as I know, no
phonograph record presents chimes pure and simple. It should be
remembered however that the phonograph record lacks the vitality of tone
and the note of jubilant triumph which a good musician can bring from
the bells themselves.
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