Main Street (Barnes & Noble Classics Ser - Sinclair Lewis [126]
Carol intended to be furiously modern in constructing the office-set, the drawing-room for Mr. Grimm, and the Humble Home near Kankakee. It was the first time that any one in Gopher Prairie had been so revolutionary as to use enclosed scenes with continuous sidewalls. The rooms in the op’ra house sets had separate wing-pieces for sides, which simplified dramaturgy, as the villain could always get out of the hero’s way by walking out through the wall.
The inhabitants of the Humble Home were supposed to be amiable and intelligent. Carol planned for them a simple set with warm color. She could see the beginning of the play: all dark save the high settles and the solid wooden table between them, which were to be illuminated by a ray from offstage. The high light was a polished copper pot filled with primroses. Less clearly she sketched the Grimm drawing-room as a series of cool high white arches.
As to how she was to produce these effects she had no notion.
She discovered that, despite the enthusiastic young writers, the drama was not half so native and close to the soil as motor cars and telephones. She discovered that simple arts require sophisticated training. She discovered that to produce one perfect stage-picture would be as difficult as to turn all of Gopher Prairie into a Georgian garden.
She read all she could find regarding staging; she bought paint and light wood; she borrowed furniture and drapes unscrupulously; she made Kennicott turn carpenter. She collided with the problem of lighting. Against the protest of Kennicott and Vida she mortgaged the association by sending to Minneapolis for a baby spotlight, a strip light, a dimming device, and blue and amber bulbs; and with the gloating rapture of a born painter first turned loose among colors, she spent absorbed evenings in grouping, dimming—painting with lights.
Only Kennicott, Guy, and Vida helped her. They speculated as to how flats could be lashed together to form a wall; they hung crocus-yellow curtains at the windows; they blacked the sheet-iron stove; they put on aprons and swept. The rest of the association dropped into the theater every evening, and were literary and superior. They had borrowed Carol’s manuals of play-production and had become extremely stagey in vocabulary.
Juanita Haydock, Rita Simons, and Raymie Wutherspoon sat on a sawhorse, watching Carol try to get the right position for a picture on the wall in the first scene.
“I don’t want to hand myself anything but I believe I’ll give a swell performance in this first act,” confided Juanita. “I wish Carol wasn’t so bossy though. She doesn’t understand clothes. I want to wear, oh, a dandy dress I have—all scarlet—and I said to her, ‘When I enter wouldn’t it knock their eyes out if I just stood there at the door in this straight scarlet thing?’ But she wouldn’t let me.”
Young Rita agreed, “She’s so much taken up with her old details and carpentering and everything that she can’t see the picture as a whole. Now I thought it would be lovely if we had an office-scene like the one in ‘Little, But Oh My!’ Because I saw that, in Duluth. But she simply wouldn’t listen at all.”
Juanita sighed, “I wanted to give one speech like Ethel Barrymore cv would, if she was in a play like this. (Harry and I heard her one time in Minneapolis—we had dandy seats, in the orchestra—I just know I could imitate her.) Carol didn’t pay any attention to my suggestion. I don’t want to criticize but I guess Ethel knows more about acting than Carol does!”
“Say, do you think Carol has the right dope about using a strip light behind the fireplace in the second act? I told her I thought we ought to use a bunch,” offered Raymie. “And I suggested it would be lovely if we used a cycloramacw outside the window in the first act, and what do you think she said? ‘Yes, and it would be lovely to have Eleanora Duse play the lead,’ she said,