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10 Mins.; Full Stage. E. Rousby in his production, “The Edge of the World,” gives a convincing demonstration of the evolution of light and colour projection. In place of the stereotyped stationary views accompanied by a study in near-nude femininity, Rousby offers a combination of moving colors before which a gyrating danseuse cavorts in spring-like garments, her cavorting running a lengthy second to the scenic portion of the piece. The opening shows what is supposed to be the edge of the world where the passion of color lies exhausted after the day’s labor (from the program argument). Soon the ocean, or what looks very much like it, floats into view with a rhythmic movement to be later replaced by the action of the many colors, blending together into a picturesque scenic effect. Meanwhile the danseuse (Violet Hope) keeps busy, skipping here and there to the soft strains of specially composed orchestration. The turn comprises novelty in ever sense of the world, the color scheme being especially well worked out. It’s a big improvement over the former brand of scenic art and since it held a capacity audience to the finish in closing spot at the Colonial it looks like a promising possibility.
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Variety, Volume XXXVI, no.7, October 17, 1914