In Paris, a complaint was recently made that, in a scene
representing an entertainment in modern fashionable society, the
champagne supplied was only of a second-rate quality. Through powerful
opera-glasses the bottle labels could be read, and the management's
sacrifice of truthfulness to economy was severely criticised. The
audience resented the introduction of the cheaper liquor as though
they had themselves been constrained to drink it.
As part also of the modern regard for realism may be noted the
"cooking scenes" which have frequently figured in recent plays. The
old conjuring trick of making a pudding in a hat never won more
admiration than is now obtained by such simple expedients as frying
bacon or sausages, or broiling chops or steaks, upon the stage in
sight of the audience. The manufacture of paste for puddings or pies
by one of the _dramatis personae_ has also been very favourably
received, and the first glimpse of the real rolling-pin and the real
flour to be thus employed has always been attended with applause. In a
late production, the opening of a soda-water bottle by one of the
characters was generally regarded as quite the most impressive effect
of the representation.
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