The machinations of the full-fledged quick-change artist afford the mind of his amazed spectator much speculation and curiosity as to how his marvels of dexterity and transformation are achieved. His velocity would put summer lightning to the blush. His mind and body are as pliable and elastic as his face; his very nature appears to undergo a swift metamorphosis of changes in the adoption of the various manners, idiosyncrasies, attitude, and gait of the character he portrays. Although agile and unerring, he possesses something of the stoic calm of the hedgehog, and is as natural in his art as when partaking of a beefsteak in privacy.

He flashes before the vision on stage or drawing-room platform in dress so immaculate that it would seem to the uninitiated that his toilet is the result of hours of care and deliberation. In the costume of an old-world dandy he struts about, swaying his long-laced sleeves with exquisite grace over his snuff-box, the while he patters his part. A moment after, like a shooting star, he has swung himself through a door, reappearing almost instantaneously by means of another entrance, transformed in wig and attire to a totally different individual in age and character.

Thus he continues playing his many parts so nimbly that one can scarcely believe he has not a bevy of actors hidden in the wings ready to fly through doors and windows as quickly as a cork pops from a bottle.

That his agility is grounded on a studied method, and his versatile acting the result of wheels within wheels, well-oiled, and precise as the mechanism of a clock, is difficult to believe until his secrets of manipulation are revealed.

“How is it done?” whispers the youth, palpitating with aspirations to do likewise. Well, in only one way—that way simplicity itself, when once practice has made it perfect.

I am dealing now with the man who produces a play in which each rÔle is played by himself, and will proceed to explain his proceedings from the start, so that the ambitious amateur may, at the next Christmas party or home gathering, try a humble imitation, and gradually achieve glory and greatness in the eyes of his family.

An Inexpensive “Stock in Trade”

Let us study the tools and qualities essential to the quick-change artist. His stock and properties are all inexpensive, save the wigs. It is not advisable to purchase cheap ones, as they soon show the signs of wear; while hair in good condition, and carefully kept, lasts for years.

His wardrobe contains garments of the cheapest material, and here the old clothes-bag of the house, in which articles doomed for a jumble sale are placed, is invaluable. A clever needle and a little ingenious manipulation result in splendid effects.

Every garment is made in one piece, and fastens at the back of the performer by means of clock springs, which may be purchased from any clockmaker (Figs. 1 and 1a). The springs are pliable bands of steel, cut and rounded, according to the size required, and punched with small holes, by means of which they are fixed with stitches to neck, waist, legs and wrists. These springs should be carefully concealed in the hem, with sufficient material over to hide the opening at the back.

There is no time for fastening of buttons, tying of strings, adjusting of pins, or plastering of gum. Even the mustaches used are fixed by means of small silver springs, which adhere to the interior of the nostrils as firmly as the springs of eyeglasses pinch the top of the nose (Fig. 2).

The scenery required is also easily manufactured at home by the amateur carpenter. Thick brown paper, light wooden frames, or, better still, samples of wallpaper, fixed with small brass hinges, will serve excellently as an interior.

Until the student is far advanced in dexterity, it is wisest to limit his production to one environment.

The first thing, of course, is to choose a suitable piece. If you are clever with your pen, you may compose a sketch to please yourself. This is a good plan, for you will be governed in your production by what is most suitable and easy to your limitations. If, however, no suitable idea presents itself to you, go to any good dramatic firm, and spend a morning in looking through plays until you alight on something answering to your purpose.

In choosing a play, avoid an elaborate cast, complicated plot, or speeches. Long monologues are wearisome and monotonous; while, on the other hand, conversations of too rapid a character will be impossible to manage satisfactorily, however skillful your manipulation.

The novice should begin with a curtain raiser, containing two or three persons, and the movement should be brisk and interesting. Having fixed on his play, he studies his scenery.

He must have sufficient entrances and exits. To use only one, so that the audience always knows through which door he is about to appear, spoils the effect of his cunning. It is far more dramatic to burst upon them from a direction least expected, and, to do this successfully, as many doors or windows are necessary, as in a production played by several persons; but these should not be so placed as to be aggressively prominent,—curtains, palms, screens, a sham cupboard or fireplace, by means of which sudden comings and goings lend a thrilling reality to every movement. Fig. 3 depicts a suggested plan.

The different costumes to be used should be numbered in the order required, and this is where a cool-headed and reliable dresser is absolutely essential.

To robe oneself by means of picking up garments and wigs from chair or different pegs is slow work, and leaves the stage empty for too long a time to keep the spectators interested in one’s movements. The swiftest manipulation will be too slow to those awaiting the re-appearance, and, unless the movement is kept jogging, there will be no semblance of reality in the performance.

The Dresser

The dresser plays a part no less important than the artist. Upon leaving the stage the latter immediately wrenches from his person the garment in which he has just appeared. The dresser is close to the exit with costume No. 2 held out widely. The performer walks straight into the clothes, of which the clock springs are widely expanded. In a flash they close round his person. Another dresser adjusts wig, beard, &c., as he passes to his next entrance (Fig. 4), with the result that he appears to answer the remark made by himself in the character No. 1 without any break being perceptible to the audience. Whilst speaking the words in the rÔle of No. 2, the dresser is awaiting him at the next exit with No. 3 or No. 1 clothes, (if No. 1 and 2 are having a conversation), which he has swiftly picked up from the floor when discarded.

It is obvious that in order to be of real service the dresser must be as familiar with the words of the play as the performer. It is not enough only to know the cues. He must, by his knowledge, calculate to a hairbreadth how long No. 2 takes to reply, and be prepared upon the instant of exit with the apparel of No. 1.

A plan of modes of entrances and exits should be arranged beforehand between actor and dresser, and never altered. Each sketch must be founded on a different plan, and in each the movements should be so carefully practiced that they become almost a habit. Any chance alteration or mistake leads to bungling and loss of time, for, if No. 1 disappears through the exit fixed upon for No. 2, naturally the dresser will not be there awaiting him, and this mischance will probably throw all the succeeding movements into confusion.

The quick-change artist is employed in a race with time, and, time being swift and fleet of foot, the human competitor cannot possibly afford to loiter or blunder.

In a play or sketch in which several characters are to be impersonated it does not make for speed to have installed as many dressers behind the scenes. One, or at the most, two reliable and experienced assistants are ample. A larger number will only hinder the artist’s and their own movements.

That there is a certain amount of nervous strain about this mode of performance cannot be denied, but, by constant practice and coolness, the artist greatly facilitates the mental effort that accompanies his portrayals.

A sketch should at most be of a half-hour’s duration. The actor needs some knowledge of acting, and must be able to change his voice to the different pitches required. It should range from the high-pitched falsetto of the aggressive female type of uncertain years to the gruff bass of the dogmatic father, while the cooing notes of the immaculate heroine should be carefully cultivated.

The artist must of necessity be clean-shaven, so that he can adapt beard, “mutton chops,” or mustache as required.

Figs. 5 and 6 show completed examples of one-piece transformations. Fig. 7 depicts coat and breeches combined.

Most important of all the quick-change artist must be self-reliant, self-confident, and absolute master of emotions engendered by nervousness, for these lead to loss of memory where words and modes of entrance and exit are concerned. While on the stage his mind must be concentrated on the part he is playing to the exclusion of everything else, his attention as completely focused upon the impersonation as though the other characters were being undertaken by different individuals.

For many of these practical suggestions the writer is indebted to a versatile quick-change artist, who willingly revealed some of the secrets connected with his favorite form of entertainment. He emphasized the fact that success is not achieved by means of numerous wigs and costumes—a performer may possess the most elaborate wardrobe, repertoire, and paraphernalia, and yet sadly fail to move the interest and sympathy of his spectators.

As this artist remarked, the true art lies in facial expression, gesture, attitude, and change of voice. These must be cultivated assiduously before any one-man play is produced, for it is only when the features are plastic as rubber, gesture and attitude the perfection of mimicry, the voice containing every note in the range in which language is expressed, that the steep ladder of success is scaled, and the timid novice becomes transformed into the popular resourceful artist.