Studio: international art (77.1919)

THE ART OF THE THEATRE

are fresh and gay with a pleasant positive
note. This simplicity of means is logically
carried out in the eminently successful
treatment of the costumes. All figures,
principal as wrell as subsidiary, are treated
as complements of the general design and
colour-scheme. Flaming scarlet, hues of
brilliant orange and bright yellow, are pre-
dominant, while sharp greens, judiciously
introduced in trimming or drapery of one
or two of the minor characters, complete
a colour-arrangement of great richness, 0
The costumes, designed by Randolph
Schwabe, are not realistically accurate,
although founded on designs of the period,
yet seem to be the only costumes consistent
with the individualities of their wearers.

An object-lesson in the skilful use of
black and its immense value, if sparingly
18

SKETCH DESIGN BY ED-
MUND DULAC FOR “ MAKE-
UP ” OF CADET IN “ CY-
RANO DE BERGERAC"

(DRURY LANE THEATRE)

employed, as an element to concentrate
the interest of the spectator, is afforded by
the ballroom scene at Capulet’s palazzo.
Here, against the gay and flippant crowd of
frolicsome merrymakers, flashing amorous
glances and exchanging “ nods and becks
and wreathed smiles,” stands the tragic
and solitary figure of Romeo enveloped in
the folds of his long black cloak. This
single spot of black in the whole scene sets
the seal of tragedy, 0000
The exquisitely delicate and filmy gowns
of wonderful hues of gold and silver give
to Juliet an extremely virginal and chaste
appearance. Their aesthetic value is per-
haps never better appreciated than in the
last act, where they are in complete
concord with the climax of the tragedy.

E. O. H.