PRACTICAL INSTRUCTIONS
FOR
PRIVATE THEATRICALS
By W. D. EMERSON.
Author of "AiCountry Romance," "The Unknown Rival." "Hum¬
ble Pie," etc.
Price, 25 cents.
Here is a practical hand-book, describing in detail all the ao
cessories, properties, scenes and apparatus necessary for an ama¬
teur production. In addition to the descriptions in words, every¬
thing is clearly shown in the numerous pictures, more than one-
hundred being inserted in the book. No such useful book has
ever been offered to the amateur players of any country.
CONTENTS.
Chapter I. Introductory Remarks.
Chapter II. Stage, How to Make, etc. j.n drawing-rooms
or parlors, with sliding or hinged doors. In a single large room.
The Curtain; how to attach it, and raise it, etc.
Chapter III. Arrangement of Scenery. How to hang it:
Drapery, tormentors, wings, borders, drops.
Chapter IV. Box Scenes. Center door pieces, plain wings,
door wings, return pieces, etc.
Chapter V. How to Light the Stage. Oil, gas and electric
lights. Footlights, Sidelights, Reflectors. How to darken the
stage, etc.
«Chapter VI. Stage Effects. Wind, Rain, Thunder, Break¬
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades,
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots.
Chapter VII. Scene Painting.
Chapter "VIII. A Word to the Property Man.
Chapter IX. To the Stage Manager.
Chapter X. The Business Manager.
Address Orders to
THE DRAMATIC PUBLISHING COMPANY,
CHICAGO.
DON'T GET WEARY;
or,
JOHNNY, YOU'VE BEEN A BAD BOY.
/IDusfcal Sftetcb
IN ONE ACT.
Chicago ;
THE DRAMATIC PUBLISHING COMPANY.
Copyright, 1885, by A. T. B. DeWltt.
don't get weary.
CHARACTERS.
JOHNNY.
- SALLY.
TIME OF PLAYING—FIFTEEN MINUTBS.
SCENERY.
SCENE—A Plain Room, with table R. covered: chairs near table.
COSTUMES.
Characteristic Negro Rig.
PROPERTIES.
bishes on table; Iron and ironing-board for Sally; banjo for Johnny.
DON'T GET WEARY,
or,
Jchnny You've Been a Bad Boy.
SKETCH FOE TWO CHARACTERS, SALLY AND JOHNNY.—Black.
♦(Copyright, 1879, by Clinton T. De Witt.]
[Scene: a room. Table, with dishes, etc.]
Sally. -- [Ironing at table.] I aint going to fool wid dat Johnny any
more. He done gone come down here tother day and spile all my
washin'. How can he 'spect a young gal's gwine to git 'long in dis here
world if she wastes her time 'long o' sich trash. If he's gwine to marry
me, why don't he come to de point at once. Foolin', foolin' round like
dem stylish white folks. I aint gwine to stand it. Why he comes in here
and set wid me from seven o'clock in de ebbening till seven o'clock next
morning. My missus yell down de stairs dis blessed morning, "Say,
Sally!" I yells back, " What is it, missus ?" She says, " Aint you gwine
to give dat young man his breakfast!" I tell you taint right. Dis child
aint gwine to be fooled no more.
[Knocking outside.]
Sware to goodness, dat's my Johnny's knock ! I aint gwine to let him in
one bit. I locked de do' purpose.
[Knocking outside.]
Knock away, honey, 'taint no use 1 told yer.
[Banjo playing outside.]
I golly! dat's my Johnny's touch on de banjo!
[Sally listens awhile, and then begins to dance.]
Hi! can't stand dis no longer. [Opens door.] Come in, Johnny I
[Enter Johnny. ]
Johnny. I thought I hear dem sylph-like feet in de mazes ob be dance.
Sally. Oh! go way now ! I thought I tole you I had some work to
do, chile. What you come round foolin' here dis time o' day for, hum ?
Johnny. Sally. I come to see your sweet, smiling face. Whenever I'm
a way from you, I so bad.
Sally. Oh! go way now.
Johnny. It's de truth. Sally. I can't eat more than four meals a,
day when I'm out of your sight.
Sally. Well, now, if you're got anything to say, say it.
Johnny. I love you, Sally. (Tries to kiss her.)
Sally. Go 'way, now. 'Spose you stop dis actions. I'se got work to
do. I is, honey. Besides, de missus tole me not to let you in any mo'.
Johnny. Oh ! Sally, if you knew how I'm billn' ober wid love.
Sally. Oh! pshaw, man! Go'long! (Commences to iron.)
Johnny. (Sits in corner and plays. Sally listens, and throws down
ths iron and commences to dance.) I thought ye?'couldn't stand dat
orchestra long,
(9)
10
DON'T GET WEARY.—Continued.
{Voice.outside:) Sally! Sally!
Sally. Yes, Missis! {Aside.) Oh, golly! she's gwine to come down
and catch you here. Hide, I tole yer.
Johnny. Where will I go ? Quick!
Sally. Under de table, she wont see you dar. {Aside.) I'll fool him
now. {Johnny crawls under table.) Ise busy to work, missis. [Irons.]
Keep still now I tole yer, fear de missus comes down.
Johnny. How long you gwine to keep me hyer ?
Sally. (Touches him with hot iron, and he gets up, table arid all.)
Did I hurt you, honey ? 'Clare to goodness I didn't go for to do it.
Johnny. Oh 1 Oh! Golly! Oh!
Sally. Didn't mean to, Johnny.
Johnny. I don't care for myself, but on account ob dem bran new
pants.
Sally. Well, what you want foolin' round here anyhow. I didn't send
for you. Ise got my work to do.
Johnny. Oh, Sally, don't get mad.
Sally. I aint a bit mad, I'm discouraged, I ought to had all dat iron¬
ing done long 'go.
Johnny. I'll play you a tune, Sally.
Sally. No; I aint got time.
Johnny. Then I tell you what we'll do, Sally, we'll sing dat song we
used to sing down on de ole plantation. What do you say ?
Sally. No; I tole yer.
Johnny. Why, Sally!
Sally. No.
Johnny. Won't yer Sally ?
Sally. No !
Johnny. [Plays a few bars of the song.\ Dat's de one. Wont yer sing
it, Sally?
Sally. Well, now I tole yer, just dis once, honey, and dat is de last.
[Symphony of song is played. Sally sings the 1st verse, and Johnny
the 2d. Dance, and Curtain.]
DON'T GET WEARY;
Or, "Johnny You've Bsen a Bad Eoy."
Music by j. M. Turneb.
Copyright 1877, by Frederick Blume.
' Published by permission of Frederick Blume, owner of copyright.
DON'T GET WEARY".—Continued.
11
ZW-
-W-
-§—£»-
-N—S-
1. Oh Johnny,you've been a bad boy, For to
2. Yes, Sal-ly, I've been a bad boy, And I
—* K—s.
—r „-|
——
-m j # *
* £ u § ur
H—¥-f>-
0
-w—*—*—f-\
treat your true love so, And if you don't stop your
ajn't gwine to both-er you no more; If you will give your hand
l—*—•—«-»—
—gi K * K
—N- s N S—-a S~
- 'A * -nH
1 1 1 -■ ^
1—y y—'-+-r-
M—y L'
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non-sense, I'm gwine to let de old folks know; When de
to me, We'll float to the old Yir-gin - y shore;
—iv
-Jir
sunrise in de morn-in', Down by de yel-low corn, Dat's de
-N c—V N-
iE£§t:
time de larks take warnin', When Di - nah blows de horn! Oh,
Moderate.
:£
don't
get wea - ry, don't get wea - ry, chil - dren,
t I '
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—* '•——* * fcr1—r
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don't get wea - ry,
TEMPO I.
lit Voice.
Be - kase I'm gwine
DUJET.
home.
#■
•St
When I'm gone!
, Id Voice.
-N—N-
When I'm gone!
-N V-
Pen I will miss you!
Yes, den I'll
12
DON'T GET WEAHY.—Concluded,
5s N n_C±_c,^=2^3
s—s-
v—^
Den dere's one foiid heart will miss me When I'm gone! Yes, when I'm
-X——s-
-iy—K~fr
-N-r-H
-&-&-*-& ifr
miss you! And dere's one fond heart will miss you When you're gone! Yes,when
you're
!—#-
^__^L
gone, When I'm gone!
-y—i —
:y—1-—
>, N-
P—-+
—0—0 0 0
When I'm gone!
-N , v—V-
Den I will miss you!
Yes, den I'll
Lento.
I K—
Den dere's one fond heart will miss me,WhenI'm gone! Yes,
N "
--NZ±"
• TT
mis3 you! And dere'a one fond heart will miss you, When you're gone! Yes,
rr\
—*-
DANCE.
.—0-0-0 #_
Nt=S=fcfe:
when I'm gone! sf
/tn
-*■ TT
when I'm gone!
GREEN ROOM EDITION OF
NEW COPYRIGHTED PLAYS
ALABAMA
A DRAMA IN FOUR ACTS.
BY
AUGUSTUS THOMAS,
Member of thk American Dramatists' Club.
Author of " The Burglar " u In Missouri" " Tht Hoosier Doctor
" A Man of the World" ,l The Capitol" >lA Proper Impropriety"
** That Overcoat" " The Man Up Stairs" " Afterthoughts" Etc.
THE BEST AMERICAN PLAY.
Eight male, four female characters. Full directions and business for
Stage as originally produced by the Author at the Madison Square Theatre.
Time of Playing : Two and one-half hours.
)( Costumes : Modern.
I
l " Its character, its atmosphere, its sentiment, its humor, are all pecu¬
liarly-American. . . . The best English play of these times could not so
surely touch the hearts of American theatregoers. It will be as popular
in fhe South as in the North, and the Western people will like it too."
—New York Times.
"There is not one in the twelve characters of the play that is not
distinctly worth studying." —New York World.
" It is a good play, to begin with. Next, It is a play by an American;
and last, it is a play about Americans." —New York Herald.
Price, 50 Cents.
Sent postpaid to any address on receipt of price-
Complete descriptive catalogue of De Witt's Acting i'lays
and De Witfs Ethiopian and Comic Dramas
sent free on application.
JUST PUBLISHED
wiwWII
GREEN ROOM EDITION OF
NEW COPYRIGHTED PLAYS
TRELAWNY OF
THE WELLS
BY
ARTHUR W. PINERO
Author of "The Benefit of the Doubt," "The Profligate"
Etc., Etc.
The Great Success of the Past Theatrical Season
in New York
A comedy in four acts for ten male and eight female
characters. For many years Mr. Pinero has been ac¬
knowledged the first English-speaking dramatic author,
and he is one of the very few dramatists whose plays are
as valuable for their literary qualities as their dramatic
worth.
Costumes of the early sixties
Acting Time : Two and one-half hours
Price, 50 Cents
Sent postpaid to any address on receipt of price
Complete Descriptive Catalogue of De Witt's Acting Plays
and De Witt's Ethiopian and Comic Dra
sent free on application.
HAGEMAN'S MAKE-UP BOOK.
By MAURICE HAGEMAN.
Author of "What Became of Parker," "Prof. Robinson," "Hector," "Mm
Mulcahy," "The First Kiss," "By Telephone," "To Rent," etc.
Price, 25 cents.
The importance of an effective make-up is becoming ipore apparent to
the professional actor every year, but hitherto there has been no book on the
subject describing the modern methods and at the same time covering all
branches of the art. This want has now been filled. Mr. Hageman has had
an experience of twenty years as actor and stage-manager,and his well-known
liteiary ability has enabled him to put the knowledge so gained into shape
to be of use to others. The book is an encyclopaedia of the art of making up.
Every branch of the subject is exhaustively treated, and few questions can
be asked by professional or amateur that cannot be answered by this admira¬
ble hand-book. It is not only the best make-up book ever published, but it
is not likely to be superseded by any other. It is absolutely indispensable
to every ambitious actor.
CONTENTS.
Chapter I. General Remarks.
Chapter II. Grease-Paints, their origin, components and use.
Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face Powder and
Puff, Exora Cream, Rouge, Liquid Color, Grenadine, Blue for the Eyelids,
Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair,
Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for
Cold Cream.
Chapter IV. Preliminaries before Making up; the Straight Make-up
and how to remove it.
Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows,
Eyelashes, Character Roles, Jeweliy, Removing Make-up.
Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men,
Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists,
Cheeks, etc.
Chapter VII. Adults, Middle Aged, and Old Men. Ordinary Type of
Manhood, Lining Colors, Wrinkles, Rouge. Sickly and Healthy Old Ag^
Ruddy Complexions.
Chapter VIII. Comedy and Character Make-ups. Comedy Effects,
Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death.
Chapter IX. The Human Features. The Mouth and Lips, the Eyes and
Eyelids, the Nose, the Chin, the Ear, the Teeth.
Chapter X. Other Exposed Parts of the Human Anatomy.
Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs,
Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for
Tramps, Moustaches, Eyebrows.
Chapter XII. Disiinctive and Traditional Characteristics. North
American Indians, New England Farmers, Hoosiers, Southerners, Politicians.
Cowboys, Miners, Quakers, Tramps, Creoles, Mulatoes, Quadroons, Octo¬
roons, Negroes, Soldiers during War, Soldiers during Peace, Scouts, Path¬
finders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen,
Frenchmen Italians, Spaniards, Portuguese, South Americans, Scandina¬
vians, Germans, Hollanders, Hungarians, Gipsies, Russians, Turks, Arabs,
Moors Caffirs, Abyssinians, Hindoos, Malays, Chinese, Japanese, Clowns ana
Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues.
Address Orders to
th dramatic publishing company.
CHICAGO. ILLINOIS.
PLAYS.
BEING the largest theatrical booksellers in
the United States, we keep in stock the most
complete and best assorted lines of plays and
entertainment books to be found in this country.
We can supply any play or book pub¬
lished. We have issued a 144-page catalogue
of the best 1500 plays and entertainment books
published in the U. S. and England. It con¬
tains a full description of each play, giving
number of characters, time of playing, scenery,
costumes, etc. This catalogue will be sent free
on application.
The plays described are suitable for am¬
ateurs and professionals, and nearly all of them
may be performed free of royalty. Persons in¬
terested in dramatic books should examine our
catalogue before ordering elsewhere.
The Dramatic Publishing Company,
chicago.