This is the final excerpt from a magazine article in Belgravia, an Illustrated London Magazine, published in 1878. It describes the history of props in Western European theatrical traditions up to the late nineteenth century. I’ve split it into several sections because it is rather long and covers a multitude of subjects.
Stage Properties by Dutton Cook, 1878
When Macready produced ‘As You Like It,’ with great completeness, at Drury Lane in 1842, he was anxious to procure a real deer-skin for exhibition in the forest scenes, and by way of illustration of the song ‘ What shall he have that killed the deer?’ The Duke of Beaufort seems to have gathered that some difficulty had arisen in the matter. Macready enters in his Diary: ‘The Duke of Beaufort called and inquired of me about the deer-skin I wanted for “As You Like It.” He very courteously and kindly said he would send to Badminton, and if there was not one ready he would desire his keeper to send one express. It was extremely kind,’ concludes the tragedian, evidently deeply touched by the ducal interest in a stage property.
Only one word more about stage properties.
Mr. Three-stars, the eminent tragedian about to appear for the first time upon a provincial stage, made express inquiries concerning ‘the acoustic properties’ of the house. Thereupon the anxious property-man rushed into the presence of the manager. ‘We have not got all the properties yet, sir; Mr. Three-stars wants the acoustic properties.’ ‘Get them at once, then; let Mr. Three-stars have everything he wants!’ was the prompt reply of the energetic manager.
(Dutton Cook. “Stage Properties.â€Â Belgravia, vol. 35. 1878: pg. 293.)
