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[rg]

the stage 'device' that effects this costume change is a 'hand hole' built into the stage boards; it amounts to an opening no bigger than necessary to accommodate the hand of the stagehand who, working beneath the stage, works his grasp to pull off the outer layer of the break-away costume thus leaving the dancer in the underlayer. for NAPOLI there are two: one with the nymph costume under the folk dress and another vice versa.
the Royal Theater's stage also has 'traps' or trap-doors for dancers to 'enter' and 'exit' full figure. these are little platforms big enough for the dancer to stand or kneel on as her or she 'disappears' or 'appears' as the stage direction warrants.