class TW a/trr Book J3 £*__ Copyright^ COPYRIGHT DEPOSIT; DE WITT'S HOW TO MANAGE] AMATEUR THEATRICALS, SHOWING THE EASIEST WAY FOR ARRAXGIXG DRAWING ROOM PERFORMANCES; AND GIVING PLAIN DIRECTIONS FOR MAKING SCENERY, GETTING UP DRESSES, GIVING OUT PARTS, ATTENDING REHEARSALS, MAKING UP THE FACE, AND PROPERLY ADAPTING WIGS, MUS- TACHES, AND BEARDS. NEW YORK : DE WITT, PUBLISHER, No. 33 Rose Street. Copyright, 1880, by De Witt. CONTENTS OF HOW TO MANAGE AMATEUR THEATRICALS. PAGE Prefatory Remarks 3 What Pieces to Select 3 How to Choose a Company 4 Scenery, and How to Make It 4 Scenic Effects and Illusions 12 Manager and his Duties 17 Dresses and Dressing ......... 19 Prompter and his Duties 20 Elocution 21 Memoranda of Things Worth Remem- bering , . 22 List of Plays for 2 Performers 24 " 3 " 24 " 4 " 24 " 5 " 25 " 6 " 26 " «« 7 « 27 " 8 " 27 " 12 " 27 " 13 " 28 DeWitt's Musical Plays 28 " Temperance Dramas 29 " Ethiopian Plays for Ama- teurs : 30 The Make-up Book 33 List of Articles Needed 34 Youth (Plate) 35 Manhood (Plate) 36 Maturity (Plate) 37 Elderly Ladies (Plate) 39 PAGE Old Age (Plate) 41 Death (Plate) 43 Eccentric and Low Comedy Charac- ters (Plate) 44 Drunkards (Plate) 45 Hebrews (Plate) 46 Indian and Mulatto (Plate) 46 German (Plate) 47 French (Plate) 48 Negro (Plate) 48 Scotch (Plate) 49 Spanish (Plate) 49 Irish (Plate) 50 American (Plate). . .' , . . . . 51 Sickly Complexions 51 Countrymen, Sailors, etc 52 Clowns 52 To Make Limbs Appear Meagre 53 Teeth' and Mouth 54 Whiskers, Mustache, and Eyebrows. 54 Valuable Suggestions 55 Hamlet's Advice to Players 59 Advice of the Poet Goethe 60 Attitude and Movements 61 Hand and Arms (The) 62 Gesticulations 63 Rehearsals 63 Lucius Junius Booth on the Study of Elocution • 64 Explanation of Terms 64 DE WITT'S HOW 10 MIME MTEH THUTHUU. PREFATORY REMARKS. Almost every little group of families — (mutual acquaint- ances) — have a desire to get up " Drawing Room " Plays, but often are deterred because they think there are so many almost insurmountable difficulties in the way. But these difficulties are found to be easily surmounted, once they are properly understood as w^e hope to make them under- stood. It is our intention in this- book to fully explain all the nec- essary steps requisite to be taken in order to properly and effectively produce a performance in Drawing Rooms of even moderate dimensions. Drawing Room Dramatic Performances are not only ex- ceedingly entertaining ; but they have a very decided effect in promoting a graceful and easy manner, both in the per- formers and in the audience. All the advice given in this work will be the result of actual experience. No visionary theoretical ideas will be aired. WHAT PIECES TO SELECT. Short one or two act Comedies or Farces, containing about half-a-do^en characters, are the best plays to select. Such pieces afford a variety of styles of acting, and give several members of the company a chance to display their different abilities. 4 HOW TO MANAGE AMATEUR THEATRICALS. Five act Comedies and Tragedies should rarely, if ever be attempted. They require so many good performers, accustomed to act together; the costumes are mostly expensive; and the scenic effects (of the present time) are often cumbrous and costly. While one part being ineffectively played will turn the whole piece into an involuntary burlesque. There are a few little Comedies, full of sparkling wit, pure in conception and expression, which only require two or three persons to perform them. They will be found excel- lent pieces to precede or follow the more extensive play of the evening. HOW TO CHOOSE A COMPANY. Almost every individual has more or less dramatic facul- ties ; perhaps lying dormant ; but which will be readily dis- covered by an observant and intelligent manager. The greatest trouble in giving out parts arises from the fact that few persons " know themselves." The youth who fancies that he would make a splendid Claude Melnotte would very likely spoil that romantic personage, and fill an audience with disgust; yet he might make a capital Mawworm or Toodles, and bring down the house by his grimaces. The chosen son of Momus — the elder Matthews — fancied that he was an ad- mirable tragedian ; while the great Booth — a tragedian par excellence — would sometimes insist on playing a low comedy character, that any clown could have done as well. If, as Shakespeare has it, " All the world's a stage, and all the men and women merely actors," it follows logically that where a dozen or so of young people are brought to- gether, from among them can probably be selected the_ making of a fair dramatic company. The principal difficulty rests in the fitting of each person with a character suited to his or her natural or acquired abilities. SCENERY, AISTD HOW TO MAKE IT. It is truly said by the Amateur Theatrical Journal that the need of appropriate Scenery for the proper performance of a play, cannot be too strongly urged upon every one con- HOW TO MANAGE AMATEUR THEATRICALS. 5 templating any dramatic exhibition. From the columns of that excellent print we transfer the appended remarks, with some slight alterations : It is rather too much to force your audience to imagine the bare walls of a hall, or the nicely papered and well up- holstered apartments of a private house, to be a street scene or a prison cell. "While it is far preferable to obtain the services of a pro- fessional scene painter, many clubs, especially those at some distance from large cities may prefer to prepare their own scenery ; and if there are any members of these clubs artis- tically inclined, it is more economical, and oftentimes more satisfactory to have a scenic artist connected with the club, always ready to prepare any scene or effect required for the proper representation of the play produced. Scenes are of three kinds, the drops, flats, and box-scenes. Of these, the first are the most desirable for amateurs. They are more readily transported, or packed up, and are more easily managed than the others. They are simply of canvas attached to a roller, and lowered and raised from above the stage. When, however, the play requires a scene with prac- ticable doors and windows, flats are necessary. These con- sist of a light frame- work of deal, upon which cotton or can- vas is tightly stretched. Both of these require side scenes, or wings, which are similar to flats except in size, which for a stage of 15 feet opening need not be over 24 or 30 inches wide. A box-scene is simply three flats placed so as to enclose the stage, the wings being replaced by flats running from front to back of the stage. This gives the most perfect rep- resentation of an interior, but is also the most difficult for amateurs to handle, and properly arrange in the short time often allowable between the acts. There are however many plays now obtainable w T hich require only one scene for their whole production, and, when it is possible, the box-scene is by far the most satisfactory in such a case. Besides the various kinds of scenes there are required borders or short curtains painted in imitation of sky or 6 HOW TO MANAGE AMATEUR THEATRICALS. ceiling, as the case requires ; and sometimes a long, narrow strip similar to a side scene placed horizontally at the back of the stage is necessary to represent a wall, a beach, or the surface of water. The frame- work for flats is generally made of boards one inch thick and three or four inches in width. This size is strong and is the most substantial when required for constant use. Lighter frames can however be used, and are easier to handle. The frames are usually mortised, that there may be no extra thickness at the corners of joints. If large, they are usually braced at the corners, or if narrow, by a brace in the middle. The flats are usually made in two pieces, each representing one-half of the entire scene. The doors and windows having been planned, the frame-work is made in accordance with them. They should be made quite small, much less in height and width than those in actual use in our houses. By this means the scene looks larger if the proportions are pre- served. Windows are usually made to open on hinges like doors, this being more easily kept in order than sliding up and down. The frame-work, of the scene is never cut at the bottom of a door, as this would greatly weaken the frame. Actors en- tering, therefore, must step over the threshold, which is usually from 3 to 4 inches high. Glass in windows is represented by thin light blue muslin, if required to be transparent, and are painted if designed to be opaque. The former is the most convenient, as a small painted curtain may be placed behind it in case it is required to be other than transparent. Having prepared the frame-work, the next thing is to cover it. The cheapest material is substantial brown wrapping paper. This is sufficiently strong for one or two perform- ances, but is not recommended, as it is very easily broken through, and great care is required to prevent accident. Common unbleached cotton sheeting is a little more ex- HOW TO MANAGE AMATEUR THEATRICALS. 7 pensive and requires some preparation to receive the colors, bat will be much more satisfactory in the long run. Brown paper is wetted and cut about two inches larger on each side of the frame. This is thoroughly dampened, and laid upon the frame and pasted at the edges with strong flour paste. The paper will . appear very flabby and loose, but will dry so as to be as smooth and tight as a drum-head. As soon as it is thoroughly dry, it is ready for the scenic artist. With cotton, more time is required. The cloth be- ing cut the proper size, dampened, and laid upon the frame, cover one side of the frame with glue, place the cloth upon it, and fasten w T ith small tacks. Proceed in the same manner with the ends, stretching the cloth as tightly as it will bear. Then fasten the remaining side. This method will be found much more satisfactory than either tacks or glue used sepa- rately. In order to prepare this for the painter, one or more coats of "filling'' or u priming " are necessary. This is simply whiting mixed witb " size ; " and size is a thin solution of glue in water. The priming should be about the consistency of milk, or slightly thicker, and should be plentifully laid on with a white-wash brush. Two coats will make a nice foun- dation for the scene, and after drying, the work is ready for the artist. The designing and painting of the scenery rests in a great degree with the artist, and much freedom may be allowed in this matter. There are thousands of landscapes and pictures of interiors in the illustrated papers and magazines of the present day, which may be studied and copied for stage scenery. There are a series of colored lithographic models for use by artists, which can be obtained in any large city, which are specially adapted for this purpose. The play-book being carefully studied, and the require- ments being fully learned, the scenic artist must adapt his model to these requirements. Professionals usually paint a model scene, two or three feet square, first, to judge the ef- fect, before beginning on the canvas. The best way for the amateur to begin is to divide the model, be it engraving, 8 HOW TO MANAGE AMATEUR THEATRICALS. landscape or lithograph, ixito a number of squares, each of which is to correspond with a square foot of scene. Thus if the scene is to be nine by twelve feet, divide the model into twelve equal parts in width, making the divisions in height of the same length, thereby forming perfect squares all over the model. It may be desirable not to injure the model by drawing lines across it. This may be obviated by fastening it to a board, and stretching threads across. Let each square in the model represent one square foot of the scene. Mark out squares on the canvas a foot each way and then mark out with charcoal or crayon, the outlines of the picture as represented in the model. Each square of the canvas must contain the same as the corresponding square in the model. Having now the outline, all is in readiness for laying on the colors. These may be of the cheapest grades, and can be obtained at any painter's supply store. They should be obtained in powder, and mixed when required for use. Fruit cans make excellent buckets for holding the mixed colors. They are mixed with u size " and thickened with Flake White to render them opaque. The medium tints are applied first and the lights and deep shades worked in after- wards. It must be remembered that all these colors dry lighter than when first put on, and care must be taken to blend the tints to each other. The painter usually finishes as he goes along, putting in the full effect at once, and mere- ly touching up afterwards where it may be needed. The above is the proper way to paint all scenery, whether drops or flats. In case drops are decided on> the cloth should be stretched upon a frame by tacks (not gluing, as in the previous case), and so remain until the painting is entirely finished. It is then taken from the frame and a round pole about two inches in diameter is fastened to the bottom, and a narrow board to the top. These should project a foot or more beyond the scene on each side, in order to properly work them. In making wings representing trees, foliage or rocks, pro- file work, as it is technically termed, is necessary. For this HOW TO MANAGE AMATEUR THEATRICALS. 9 purpose, professional stage carpenters use thin boards which are cut to the proper shape. For amateurs' use, or where lightness and economy is aimed at, good thick pasteboard, or straw board, may answer. The frame having been made, tack sheets of straw-board along the edge ; then mark out with charcoal the outline intended, and with a sharp knife or fine saw trim the edges to the proper shape. The straw- board must then be reinforced at the back by strips of lath, to render it stronger. This being done, cover as before directed, gluing the sheeting- firmly to the straw-board. Almost all scenery, and especially the wings, are made to do double duty, by being painted upon both sides. This plau is recommended both for its economy and for the reason that a larger number of scenes may be at hand than could be used if each was upon a separate canvas. In case of pro- file wings, one side should be trees and shrubbery, for a forest, and the other side rocks, for a mountain or cave scene. For a small stage, revolving wings may be used, being readily handled and much less liable to get out of order than the sliding wings. These are held by pivots at the top and bottom of the wing, and when the scene is to be changed, can be turned around by hand, the wing being painted on both sides. If the stage be large enough, a drop representing the foreground of a forest would be a good subject. Trees and bushes occupy the sides of the scene and the branches over- grown with running vines meet and interlace at the top. After this is painted, the whole central portion is cut out and the scene appears as an arch. This forms a pleasing substitute for a pair of wings, and may be used with a park or garden scene, a forest scene or a lake scene for moonlight effect. Its use gives a greater apparent depth to the stage than can be obtained by any other means, and is very pleas- ing. This scene should be made of heavy cloth, well sized, and must be mounted upon poles at top and bottom, to keep it in proper shape. Some very handsome and artistic scenes, may be made from ordinary paper hangings. For a corridor scene or for 10 HOW TO MANAGE AMATEUR THEATRICALS. a chamber scene, paper hangings arranged in panels may be used. Select some unobtrusive and rather large figure. Cover the frame with cloth, as before directed and then, af- ter marking out doors and windows, if any, paper the rest of the scene, carefully matching at the seams. The paper should be arranged in panels, as a large unbroken space gives a very Hat and uncomfortable look to the scene. Paint in the doors and windows and touch up the paper in some parts, creating a shadow by touching up the lights upon the upper and right hand portions and by deepening the darks on the lower and left hand parts. By this means a nice scene can be made, which would otherwise be far from satisfactory. Paint in subdued shades and never in strong or o verb right colors. The latter are too obtrusive, and also tire the eyes of the spectators. If possible, work with the same light by which the scene is to be shown. If this is not convenient, examine often in the course of the work, by means of artificial light. Amateurs should not attempt a drop curtain. This is sub- mitted to closer examination by the audience than any other, and defects, however small, are easily and quickly seen owing to its strong illumination by the footlights and also from the fact that it is shown when there is nothing else to take up the attention. It will be far better tp have a fine drop, painted by some one who understands his business. In regard to the borders. — These are usually painted blue for out-door scenes, and as stucco-work, or rafters, for inte- riors. They are of cloth, tacked to a narrow board at the top, and allowed to hang from the flies. Care must be taken however when the stage is small not to have the blue borders too near the heads of the performers, for it would be ridiculous to see their heads within a foot or two of the sky. In this case it is better to represent upon the borders the branches of trees, or some such objects. The selection of scenes depends of course on the plays to be presented. If light pieces, farces or society plays are the principal ones, the most useful scenes will be rich interiors. Many pieces require for their entire performance but one HOW TO MANAGE AMATEUR THEATRICALS. H scene, and it is preferable to produce such pieces, as amateurs often make bad work of changing scenes. A good assort- ment of scenery for an amateur club would be as follows : a drawing room, chamber, attic, cottage exterior, street, wood, palace exterior, garden and lake This with the open flat described will form an assortment with which to produce a large number of plays whether farces, dramas or comedies. Other scenes of course may be necessary, but with these the company will find no difficulty in finding suitable plays to fit the stock on hand. Burlesques as a general rule require special scenery ; so do also most tragedies. Scene painters often facilitate their labors by stencilling If a figure is to be repeated a number of times upon a scene a stencil is cut in card board, by which any number of figures can be quickly painted by means of a il stub :1 brush. When touched up afterwards this mode is very satisfactory for frescoes, stucco work, ornamented borders and the like. Set scenes are hardly suitable for amateurs, as their stage is rarely large enough for this purpose, without crowding too much. A stage less than 20 feet wide w^ould look too cramped with a set cottage on each side, and therefore this style had better not be* attempted. If how T ever such is nec- essary and the stage is reasonably large a set cottage may be made by placing a flat from the first to the third entrance, connecting it with the first wing. Cottages for small stages must be made as small as possible, consistently with the height of the actors, and they (the actors) must be careful not to remain too near them, as the proximity will render them ridiculous, In set scenes, or where a tree, fence or other object is needed in the centre of the stage, props are neces- sary. The most substantial and satisfactory are made as follows. A stick of deal about one by two inches is armed at the top with a piece of iron twisted into the shape of a corkscrew. The other end, which is sawed at an angle, has a projecting piece of strap iron, containing a hole one half inch in diameter. The bottom of the scene has one or two similar pieces with holes in them, and about five feet from 12 HOW TO MANAGE AMATEUR THEATRICALS. the floor at the back, a common screw-eye or staple is driven in. To set up the scene hand screws are necessary. These are conical screws with a handle, and are easily forced into the stage. One of these is placed in the iron eye at the foot of the scene, then the twisted point of the prop is inserted in the staple and another screw is then forced into the stage through the iron eye at the foot of the prop. This does not take as long to do as does the reading of it, and no fear need be felt of accidental falling. Much depends upon the proper illumination of the scenery, and too much care cannot be spent in the study of the best means of accomplishing this object. Each wing must have a light behind it, to obviate the shadow which would other- wise be cast upon the scenery beyond and where it is possi- ble the scenes should have illumination from above. SCENIC EFFECTS AKD ILLUSIONS. The sky in the moon-light scene should be painted with some transparent color, and without the admixture of whit- ing. This is necessary to allow the rising moon to be pro- duced. The scene is " opaqued " on the back with the ex- ception of the perpendicular streak referred to, and at the bottom of this, where the horizon is painted, a backing of semi-transparent purple gradually lighting to bright red is painted. The scene is now ready, and all that remains is the moon. This is the simplest part of the operation. It is merely a tin box, sufficiently large to hold a reflector, and either a strong and bright argand burner kerosene lamp, or an argand gas burner. The top of the box must, of course, have an opening to allow the heat to escape, and the bottom to allow cold air to enter. The front of the box should be of tin, with a circular or crescent-shaped hole of the proper size in the centre and exactly opposite the brightest part of the flame. If gas is used, a rubber tube should be used to convey it to the lantern. This is to be raised very gently from the horizon to the top of the scene by means of a rope, and the opening in front should touch the back of the scene. The color at and above the horizon HOW TO MANAGE AMATEUR THEATRICALS. 13 renders the effect very realistic, as every one has observed that the sun is of a deeper and richer color and less bright- ness until well above the horizon. The raising should be ac- complished by a crank to which the rope is attached, and the motion very slow and steady. I have given considera- ble space to explaining this effect, as it is one of the most beautiful and most realistic which has ever been produced. An effect sometimes used in this connection is that of causing the object lighted by the moon or sun to brighten in the parts shone upon. This is producing by " opaquing " the shadow parts, and then lighting up the scene from the back. Great care is, however, necessary in doing this that the light streak, w T here the path of the moon has been, is not also lighted up, thereby destroying the whole. Another way of producing the sun-rise effect is to paint the scene with the exception of the sky, and then cut out this portion. The sky is represented on another cloth painted dark sky-blue, gradually brightening, with a slight tendency towards red in the vicinity of the sun. This lumi- nary is represented by a hole of the proper size. This sky scene is placed immediately back of the profile scene, and should be sufficiently long to reach twice from the horizon to the flies. The scene is backed by a curtain, gradually shaded from perfect white to red and purple, and this cur- tain should be brilliantly lighted, and should be stationary behind the moving sky scene. The manipulation is obvious, — the sky scene moving either up or down to represent either sun-rise or sun-set. A very pretty effect for dream-scenes, allegories, etc., is to have the tableau usually shown in this connection gradually appear, without any movement of the scenery, and as quickly and gradually disappear. It is a telling effect, and I wonder it is not oftener used. It is exceedingly simple, and if care be taken to follow the directions, success and favorable com- ment must be assured. The scene to be used for this purpose should be a drop, as any frame-work would spoil the effect. The material used is tarlatan or muslin, and the scene, which should be of dark 14 HOW TO MANAGE AMATEUR THEATRICALS. colors, and without too elaborate details, is painted with transparent colors, no priming being used. When used, a plain, dark curtain is hung behind it. The light should be strong in front of the scene until the time for the apparition, or whatever may be intended, to appear. The portion of the stage behind the scene should be in total darkness until the proper moment, and the dark curtain, or a portion of it, re- moved. The tableau being arranged, the foot-lights are gradually lowered, and light from behind being thrown on the tableau, the picture gradually appears as if by magic, and there being no movement of the scene, no drawing aside of curtains or opening of traps, the effect is truly mystical in the extreme. By reversing the lights the tableau disappears and the scene, before invisible, again comes into sight. The dark curtain must then be lowered before the tableau is dis- turbed. This effect is also used occasionally to show the interior of a set cottage on the stage. The scene being an interior, and most of the action going on outside, it is necessary sometimes to show some portion of the action inside the house. To ob- viate the necessity of changing the scene, the side of the house nearest the audience is made transparent, as was the scene just described, and when a strong light is thrown be- hind it, its transparency becomes visible, and the action can take place behind it. Another application of this same effect is the sudden and complete change of scenery, noiselessly, and without the slightest movement. The transparent scene being painted in this manner is backed by one having marked contrasts of light and shade and brilliant and possibly overdrawn colors. For instance, a castle interior can be in a moment changed to the ruins of the same, an effect which always takes with an audience. Another application, although in the realm of the exhibition rather than the theatre, is the change from a winter landscape to the same in summer. The lightning usually made on the stage is by means of a flash-box, and is simply the sudden lighting and darkening of the scene. This I will explain further on. The neatest and HOW TO MANAGE AMATEUR THEATRICALS. 15 most realistic method is as follows : If the scene is an ex-, terior it can be made very grand and appalling. It is also exceedingly simple. The scene is prepared the same as the moonlight scene before described, the opaquing being done upon the back. The parts left are simply jagged streaks like a shaft of lightning, and there should be from three to five of these in different parts of the scene, and going in dif- ferent directions. Any sudden momentary illumination thrown upon the back of the scene near one of these " bolts " will give a most startling and realistic effect. The best method for accomplishing this is to have a strong light in a tin-lined box, open and shut as quickly as possible, throwing the light upon only one of the bolts at each flash. The reason for using a number of streaks is, of course, obvious. Another way to throw the light on is by means of the flash- box, as will be explained later. If desirable, the effect of setting fire to a house in the dis- tance can be used with this scene and will prove very suc- cessful. The treatment can easily be understood from what has already been said regarding illumination from the rear. The parts representing the fire bursting through the windows and roof being left transparent. After the flash, a slight light should be thrown behind that portion of the scene where the house is and with a flickering motion gradually increased. The effect is more realistic than would seem from this description. A common mode of making instantaneous changes from one scene to another is to paint the scenes upon flaps about a foot w^ide which are fastened to an upright frame-work by means of wire hinges. The flaps are worked on the same principle as a common swivel blind, familiar to every one. Take for instance, the play of A Romantic Idea. The piece requires the instantaneous change from a ruin to a gothic castle, and then back again to ruins. The flaps having been prepared and hung, paint upon one side of them the castle. Then, by means of the bar or rope used to turn them over, present the unpainted side, on which should be drawn the ruin. This is a neat way of making this change, and is very effective. 16 HOW TO MANAGE AMATEUR THEATRICALS. The flat scenes are quite common in pantomime, where a whole or only a portion of the scene is made to change. The sadden and mysterious changes from one scene to another, or the appearance and disappearance of objects painted on the flat are done by means of flaps. The best way to imitate stars is to opaque the entire scene, then punch holes through and cover these holes with tissue paper, or what is much better, the tracing cloth used by draughtsmen. The lights along a distant shore, or a city in the distance, are produced in the same manner. The effect of fog has been w^ell produced by using a gauze curtain or two and a slowly descending drop painted lead color of different shades and much like clouds ; the gauze curtains are lowered one after another and then the drop is unrolled. The stage is at the same time darkened. The rising of the fog upon the bright moonlight scene and the set lighthouse with its bright beacon, never yet failed to send a thrill of pleasure through the audience. Thunder is usually imitated by means of a piece of sheet iron; the best size being about three by five feet. A smaller size will do, but as the noise produced is deeper the larger the size, the above dimensions are none too small. This thunder is, however, decidedly artificial, and could hardly be mistaken for the real article. At some theatres they roll cannon balls across the stage, which is much more realistic. A bass drum or large gong is often used for this purpose. To produce the noise of falling rain, several modes are used. A long box is studded on the inside with short nails, so as to resemble a bagatelle board, and a handful of peas are allowed to run from one end to the other The peas strike against the nails, and the noise is supposed to resemble the patter of rain on the roof. The box for this purpose should be of half inch boards, and six feet long by one wide. The depth is immaterial. In use, it is raised at one end un- til the peas run to the other end, which is then raised, and so on. Another method is to make a paper screen of about the HOW TO MANAGE AMATEUR THEATRICALS. 17 above proportions (six feet by one foot) and throwing the peas against it, first with one hand and then the other. The screen consists of a frame covered with very light paper. A third method, and by far the best, is to procure a cheese- box and bore a hole through the centre of both the cover and the bottom, line the sides with brads or small nails driven in only long enough to hold them. They should be driven in irregularly and should be only about two-thirds of an inch apart. They should stand about half an inch or more high when driven. Put a handful of peas (not more than that) into the box, nail the cover on and then furnish it with an axle and crank, and mount it in a frame, so that it can be turned whenever rain should be heard. This machine can .be turned either fast or slow, and is far better than either of the former methods. The noise of broken glass or crockery is produced by means of a basket securely covered containing broken glass or crockery. To produce the noise shake it briskly or throw it upon the stage. The noise of wind is produced by means of a huge hum- ming-top, which is mounted in a frame similar to that hold- ing the rain cheese-box. A small wheel on the stem of the top is joined by means of a belt or cord with a large wheel which is turned by a crank. By turning this slower or faster, the moaning and whistling of the w^ind is imitated in a won- derfully effective and natural manner. THE MANAGER AND HIS DUTIES. Great care should be exercised in choosing a manager, for he is an autocrat from whose decisions there are no appeals. From the necessity of the case his commands must be obeyed and promptly, too. The manager should have considerable practice on the stage and about theatres. He should be a good judge of acting, should possess a fair share of firmness, quickness in deciding on any point whether relating to the going on and coming off, or the positions and movements on the stage. He should be sufficiently well versed in elocution to correct faulty read- 18 HOW TO MANAGE AMATEUR THEATRICALS. ings, and amend wrong pronunciation. He should possess an artistic sense and have a nice eye lor color and stage effect generally. So that he will be able to place the characters in the most telling groups and tableaux. To the manager falls the somewhat troublesome task of marshaling the lesser, but often essential characters, who fill up scenes, as courtiers, valets, ladies in waiting, mobs, soldiers, sailors, etc. The people filling these small parts must be instructed to keep themselves well in subordination to the leading characters, and by no forwardness seek to attract the attention of the audience. But it by no means follows that they are to stand stiff as pikestaffs, and with faces as set and expressionless as hair dressers' wax dum- mies. The manager must school them how and when they are to express interest in what is transpiring on the stage. To frown or laugh, to cheer or shout, at the proper moment and in a natural manner. Unless the manager displays resolution, tempered by ur- banity at the very outset, he will find himself bothered con- tinually by some aspiring lady who wishes to. play Juliet or Lady Teazle ; or some ambitious juvenile who fancies that he is the Hamlet that critics have long looked for. An early show of determination will quickly squelch the importuni- ties of this class of amateurs. The members of the com- pany who really possess talent will generally show a willing- ness to "make themselves useful." Knowing that the audi- ence will quickly discriminate between the pure, bright ore and the glaring dross. Modest self-reliance is as readily detected from impudent assurance on the stage as in real life. But if a manager's toils and troubles are many and great, his reward is proportionate. When he sees a play " go off" triumphantly, he feels as does the captain of a gallant bark who knows that her safe arrival in port is largely due to his skill, care and resolution. HOW TO MANAGE VMATEUlt THEATRICALS. 19 DRESSES AXD DRESSING. In the matter of costuming great care and sometimes great self-denial is required. For many performers, both male and female, are apt to desire to make their appearance in a cos- tume that in shape and color is unbecoming to them. Mean- while it may be so glaring in hue, or so strange in shape, as to contrast most unfavorably with the dresses of the rest of the company. To insure propriety and harmony in costume, it would be well to leave the entire ordering of the dresses either to the manager or to some member of the company noted for his taste and knowledge in that line. Otherwise, although each individual dress may be perfect of its kind, it may contrast unfavorably in color, or be out of keeping in some other respects with the habits worn by the other mem- bers of the company. As a general thing ladies will be found safe guides in matters relating to the skillful contrast or blending of colors. Much more depends upon this skill in costuming than the unthinking suppose. In rehearsing a part, either at home or on the stage, it is well to rehearse in costume, and thus get rid of the awkward feeling caused by wearing a style of dress to which a person is unaccustomed. Otherwise one will be apt to tilt a cavalier hat, with its drooping plume, over the brow in the style in which the modern Derby is worn. We need hardly remark that some practice in dancing and fencing adds much to the easy gracefulness of carriage supposed to be the prerogative of a gentleman. A few years ago it was difficult to procure information as to the shape and style of costumes appropriate to the period and position of the characters of a piece. But so rapid has been the production of illustrated books and papers that it is quite easy even in remote villages to get all the informa- tion needed. Velvets, satins, jewelry, gold and silver lace, embroideries, etc., are now imitated with such perfection, in cheap stuffs and metals, that very elegant theatrical costumes can be easily and economically made. 20 HOW TO MANAGE AMATEUR THEATRICALS. THE PROMPTER AND HIS DUTIES. Too much care cannot be taken in selecting the person to fill the position of prompter. Bad acting is made worse, and good acting often marred, by the inefficiency or negligence of this official Prompting forgetful performers is by no manner of means the sum total of a prompter's duty. It is his business to make out (or see that they are made out) inventories of scenes, properties, etc, He should personally hand these in- ventories to the stage carpenter and the property man, so that if anything is called for which they are unable to pro- vide, the article or articles may be at once procured. He should give the play about to be produced a careful perusal, so that he may fully understand it in every particular. The prompter should proceed to prepare his prompt book after this formala : Forty lines previous to an entrance he marks on the mar- gin of the page a " call." If the character to be called should need any special article, this should also be stated with the call, thus : " Call Marguerite — table,' 1 or ; ' Call John Fryer — purse, whistle and pistol to fire. 11 This call is read to a call- boy, who takes the articles from their proper places near at hand and carries them to the actor called. Upon the completion of the prompt-book it becomes his duty to attend rehearsals punctually, and make himself thor- oughly acquainted with the abilities, aspirations, and even mannerisms of each actor. Some actors he will see need but a word or two to set them off swimmingly, while others will require whole lines to be given them before they fairly catch the words. Remember that a prompter can sometimes be a little too prompt as well as too remiss. It will sometimes happen that an actor fancies he can make a point by a lengthened pause, either before beginning or in the midst of his speech. Great discretion must be exercised in such cases, as a per- sistent prompt may greatly embarrass the actor. To the prompter belongs the duty of having all the shouts, HOW TO MANAGE AMATEUR THEATRICALS. 21 firing of guns, breaking of crockery, storms of wind, thunder and lightning, properly managed, so that they well fill in at the proper moment. The prompter should take nothing for granted, but be ready for every contingency. The most perfect actor may at a most unexpected moment become embarrassed and for- get his part. Consequently unless the prompter has his eye following every word, a hitch is likely to occur which may greatly mar the performance of the scene. Where amateurs find that the prompter is fully up in his business, they will seldom need his assistance. For it will give them a confidence that will go far to help their mem- ory. ELOCUTION. So many of the plays of the day, or " Society " plays, as they are termed, are now produced that many aspirants for dramatic fame — amateur and professional — deem it unnec- essary to pay much attention to the study of elocution. This is a great mistake. No one need let his every day conversa- tion come less " trippingly off" his tongue, because he has learned how to speak correctly; to emphasize at the pro- per place, and to similate by tones and cadences the various feelings and passions supposed to agitate the person acting the character. James Wallack, the elder, a matchless melo- dramatic actor, and one of the very best tragedians, declaimed the stateliest blank verse sonorously and richly — yet he was none the less one of the liveliest rattle-brained comedians that ever graced the stage. Gustavus Brooke, one of the grandest elocutionists that ever lived (whose Othello has never been surpassed), was inimitably droll as O' Callahan. Phelps was as great in Fallstaff as in Wolsey. Some of the best Hamlets have been equally good Benedicts. Of course there is no propriety in bringing the heavy style suitable for Macbeth into the light badinage of Dazzle. The manner of good actors and speakers should be stud- ied, but not imitated. 22 HOW TO MANAGE AMATEUR THEATRICALS. MEMORANDA OF THINGS WORTH REMEMBERING, While as large a room as possible is generally desirable, size is not the only consideration. At the end where the stage is to be situated there should be a door on either side for the convenience of the exits and the entrances. The dressing rooms should be as near the stage doors as possible in order to avoid a necessity for the performers travelling all about the premises, and perhaps keeping the stage waiting. The easier the plays, either in length of parts, manner of arranging scenery, etc., the more likely are they to go off pleasantly. The comfort of an audience is a thing to be considered ; for if the people are in a pleasant mood they will be likely to enter into the spirit of the acting, and not be disposed to seek out little faults. It should be a rule admitting of no deviation that no one should be permitted behind the drop curtain except the ac- tors, and persons necessary to attend to scenery, etc. Amateurs have a tendency to speak too quickly — to rush the part, in short. In this way they often cut another per- former out of his speech, and thus cause dissatisfaction. This rapidity gives an air of bustle and fidgetiness to a per- formance ; whereas everything should move as if in well- worn grooves ; easily and smoothly. A few lessons on the " principal points " of a character from a real good professional actor will be of great benefit. Talent or even genius are of little avail unless you are perfect in your lines. Keep your face well to the audience, whenever possible. Speak up clear, and distinct. Avoid a fidgetty manner, such as shuffling the feet and sawing with the arms. Be certain that the person speaking to you has finished his speech before you begin to reply. Carefully refrain from " tearing a passion to tatters." Ranting excites derision, not emotion, in the spectators. HOW TO MANAGE AMATEUR THEATRICALS. 23 " Learn to speak slow ; all other graces Will follow in their proper places." Do not trust an important part with a novice, however promising he or she may appear at rehearsal. Remember " the play's the thing." Be sure to have one or more dress rehearsals. This will make the actors not only easy in the costume worn; but familiarize them with the look of the whole company in char- acter dresses. Lighting up a room for theatrical preformances requires considerable ability of its kind, as lights either too glaring or too dull are equally faulty. Actual experiments should be made by placing the lamps in different positions, as if too low they throw the shadows up — if too high the shadows are, of course, reversed. WHAT PLAYS TO SELECT. Out of a very extensive catalogue of the finest plays we have selected the list that appears on the following pages. Among them will be found plays of different lengths, and which require various styles of performers. As a rule they demand very little expensive dress or complicated scenery. Nearly all of these plays have been performed with success. Many of them by our leading amateur companies. The number of people required in each piece ; the costume and scenery are also given in every instance. N\ B. Where not otherwise stated, the costumes are those of modern times. 24 HOW TO MANAGE AMATEUR THEATRICALS. PIECES SUITABLE FOR PRESENTATION IN DRAWING ROOMS. PLAYS FOR TWO PERFORMERS. A HAPPY PAIR. A " tiff" between husband and wife. Very smart dialogue. Only a drawing-room scene. A MORNING CALL. A very witty, pleasing piece. Needs only a lady and gentleman. Takes place in a handsome drawing room. HONESTY IS THE BEST POLICY. Two male characters ; but one has an opportunity to personate sev- eral individuals. Scene, a broker's office. PLAYS FOR THREE PERFORMERS. BOX AND COX. Two first-rate low comedians, and an elderly female lodging house keeper. Only one bed-room scene. Very funny. TAMING A TIGER. Characters a lively young gentleman, a peppery old man, and a brisk man-servant. uncle's will. Requires a gentleman and lady, and a female servant. A hand- some drawing room. ON BREAD AND WATER. One gentleman, one lady, and a charming soubrette character. A plain school room. A DRAWING-ROOM CAR. Two gentlemen, one lady. Scene, interior of a Pullman drawing, room car. Very pleasant piece. PLAYS FOR FOUR PERFORMERS. HIGH C. Three good male and one excellent female character. Only scene, an ordinary room. HOW TO MANAGE AMATEUR THEATRICALS. 25 A GAME OF CARDS. Three gentlemen and one lady. Unusually interesting piece. Only calls for one scene, a handsome parlor. MABEL'S MANOEUVRE, One gentleman and three ladies. One scene, a pleasant sitting room. Charming little piece for sprightly ladies. BETSY BAKER. A light comedian, a low comedian, a lady and a laundress. The latter, Betsy, is a capital character. Immensely droll. Only a draw- ing-room scene. MARRIED BACHELORS. Three males and one female. An immense deal of sport is to be made with this one brief act. A plain room is the only scene. WHITEBAIT AT GREENWICH. Needs a first-rate light comedian, a good low comedian, an old man, and a chambermaid. Every one of these persons have good characters. The scenery plain. Dresses easy to get. COOL AS A CUCUMBER. One old man, one walking gentleman, a light comedian, and a chambermaid. Very fine piece. Scene, a drawing-room. PLAYS FOR FIVE PERFORMERS. HUNTING THE SLIPPERS. Four gentlemen and one lady. A dentist's operating room, with chair, etc. A very amusing piece, with a good chance for all the characters. I SHALL INVITE THE MAJOR. For four gentlemen and one lady. Full of most exquisite badinage. Each character good of its degree. The one act all takes place in a pretty parlor. CAPTAIN OF THE WATCH. One testy old man, one walking gentleman, a light comedian, a real lady, and a pert chambermaid. This is an exceedingly pretty and popular piece. The captain is a splendid character for a very good light comedian. The scenery and dresses require to be hand, some. The former is somewhat difficult to get up. 26 HOW TO MANAGE AMATEUR THEATRICALS. PLAYS FOR SIX PERFORMERS. DANDELION S DODGES. Four male land two female characters. Dandelion is one of the very best low comedy pans, while all the others are very good. One scene only, a pretty landscape. AUNT CHARLOTTE'S MAID. Three male and three female characters furnish a good chance to different kinds of comedians. Only one scene, a plain apartment, wanted for the whole act. OFF THE STAGE. The three male and three female characters have capital parts in this brilliant piece. Only one scene, a parlor, is used through the whole act. ME. X. Three male and three female characters. Fizzing over with gen- uine comedy. The one act only needs one scene, a sitting room. THE HAIR APPARENT. Five male and one female character, which are all pleasing. The act has only one scene, a garden. A LOAN OF A LOVER. One walking gentleman, one low comedian, two old men, one lady and one chambermaid. The low comedian and the chambermaid have as good parts as can be found anywhere. If they can sing, they can double the interest. Both dresses and scenery are very pretty, and not difficult. NAVAL ENGAGEMENTS. One light comedian, one Irishman two old men, a lady and a cham- bermaid. The old admiral, the Irishman and the chambermaid are prime characters. Except that the scenery requires often shifting, this is an A I piece for amateurs. ANYTHING FOR A CHANGE. One light comedian, two old men, two ladies, and a chambermaid. This is just the thing for a parlor piece, as there is only a modern drawing room needed, and the dresses are those of the present time. THE TWO EONNYCASTLES. One light comedian, one low comedian, one old man, two ladies, and one chambermaid. Brimful of fun. Good opportunities in every character. Only a plain room and ordinary dresses needed. TRYING IT ON. One waft :leman, one old man, one light comedian, one old HOW TO MANAGE AMATEUR THEATRICALS. 27 lady, one young lady, one chambermaid. Very easily put on the 1 — both as regards dress and scene. A THUMPING LEGACY. m One low comedian, one old man, two walking gentlemen, one trag- ical-comical gentleman, and a chambermaid. One of the best farces. Dresses very nice, and scenery non-expensive. PLAYS FOR SEVEN PERFORMERS. MIRIAM'S CRIME. This excellent play is in three acts, and is full of interest. Five male and two female characters. Of these Miraim is a very fine char- acter for a young lady with tragic abilities ; Rernard and Biles are both strong characters of a very opposite nature ; there are also a capital Irish servant man, and a heavy villain. The scenery and dresses are not expensive or troublesome to get. HOME. This delightful comedy is full of Robertsonian spirit and grace. It requires four males and three females ; and each of these characters is perfect of its kind. A single drawing-room is the only scene, and the dresses of modern life suffice. PLAY *FOR EIGHT PERFORMERS. woodcock's little game. This is just the piece for parlor playing ; the characters, while widely contrasted, give a capital opportunity to four gentlemen and four ladies to display all the graces of good society. Woodcock is a splendid part, for a young comedian. Scenery, modern apartments* Fashionable dress of the da v. PLAY FOR TWELVE PERFORMERS OURS. Six males, and six females. Though there will be some difficulty in managing the scenery, and the dresses are not easily procured, yet the sparkling dialogue, the telling incidents, and the elegance of the costumes in one portion of the play, and their careless oddity in the other, will well repay all trouble and outlay. 28 HOW TO MANAGE AMATEUR THEATRICALS. PLAY FOR THIRTEEN PERFORMERS DOLLARS AND CENTS. Nine male and four female characters. This is a very popular piece with our leading Amateur Dramatic Associations, in spite of its many- characters ; or, perhaps, because of them ; as it gives an opportunity to every acting member. DE WITT'S MUSICAL PLAYS ; OR PARLOR OPERETTAS. The following list contains eight little operettas ; affording an ex- cellent opportunity for amateur actors who a*re at the, same time singers. The language is pure and witty, the music of a high order — but sparkling and pathetic. These pieces occupy a sort of midway between song singing and opera. Being more interesting than the former ; far less heavy and difficult than the latter. They can be sung in or out of character costume. LEAP YEAR. Music selected and adapted from Offenbach's celebrated Opera " Genevieve de Brabant." One male, one female character. THE TWIN SISTERS. The music selected from the most popular numbers in Le Cocq's celebrated Opera Bouffe, " Girofle-Girofla." Two male, two female characters. MY WALKING PHOTOGRAPH. Musical Duality, in one act. The music arranged from Le Cocq's Opera, " La Fille de Madame Angot." One male, one female charac- ter. THE QUEEREST COURTSHIP. The music arranged from Offenbach's celebrated Opera, "La Prin- cesse de Trebizonde.'' One male, one female character. ESTRANGED. The music arranged from Verdi's celebrated Opera, " U Trovaiore." Two male, and one female character. CIRCUMSTANCES ALTER CASES. Comic operetta, in one act. The music composed by Alfred B. Sedgwick. One male, one female character. SOLD AGAIN AND GOT THE MONEY. The music composed by A If reel B. Sedgwick. Three male, one fe- male character. how to manage amateur theatricals. 23 MOLLY MORIARTY. This is an unusually good piece. The words are witty, the music full of spirit. One male and one female character. TEMPERANCE DRAMAS. Below we give a list of several of the very best Temperance Dra- mas ever written. The scenery is generally very easily done ; being mostly, either nice sitting rooms, or squalid garrets. The costume is in all cases the dresses of modern every day life ; ranging from the handsome clothes of well-to-do ladies and gentlemen down to the tat- ter:-:", greasy garb of unfortunate drunkards. These pieces are particularly well adapted for representation by Temperance Leagues, Daughters of Rebecca, and kindred lodges. RUM. A drama, in 3 acts. 7 males, 4 females. TEX NIGHTS IX A BAR-ROOM. A drama, in 5 acts. 8 males, 2 females. AUXT DIXAH'S PLEDGE. A drama, in 2 acts. 6 males, 2 females. FRUITS OF THE WIXE CUP. A drama, in 3 acts. 6 males, 3 females. druxkard's warning. A drama, in 3 acts. 6 males, 3 females. THE BOTTLE. A drama, in 3 acts. 11 males, 6 females. FIFTEEX YEARS OF A DRUXKARD'S LIFE. A melodrama, in 3 acts. 13 males, 4 females THE DRUXKARD. A drama, in 5 acts. 12 males, 5 females. In every one of these plays there are several very effective charac- ters. First the man, who surrenders all the noblest traits of his disposition, the best feelings of his heart to the allurements of jovi- ality, and the love of strong drink. This main character in all the pieces is very effective and, under different circumstances, gives scope for a display of high ability : from genteel -comedy to drunken hilarity, and tragic misery and broken heartedness. Then there is the tispy clown (as he may be termed) who prostitutes his wit and humor for the rum and gibes of his "company." Again, the bar- 30 HOW TO MANAGE AMATEUR THEATRICALS. keepers, growing richer every moment as their customers grow poorer ; fellows who couldn't cross their village church yard at night without stumbling at every yard over the graves of their vic- tims. Then there is in most of these plays a cute Yankee — too cun- ning to. be gulled out of either his silver or his senses by the traps and pitfalls of dissipation. The sad-eyed and poverty-stricken wives and daughters of the drunkards are characters that afford excellent chances to gifted ladies to not only delight but to help in bettering their tempted neighbors. ETHIOPIAN PLAYS FOR AMATEURS. As many Amateurs have a liking for " darkey '' characters, and fre- quently show much ability in personating both the ' ' aristocratic nig" and plantation black, we give a list of some of the best piece s to suit them. A young lad generally personates the " Dinahs " and " Topsies " of the Darkey Drama. The incidental music is easily procured. Bones, Tamborine and Banjo being skillfully handled by many young gentlemen. The scenes are easily put together, and the dresses simple and cheap. These pieces rarely fail to please even the most fastidious. " They who come to blame, remain to laugll. ,, THE STUPID SERVANT. A fidgety, fiery old darkey gent, and a servant who is always either breaking things or disarranging them. One chamber scene. Ordinary clothes. THE MUTTON TRIAL. A seemingly stupid country lout, a crusty lawyer, a snarling far- mer, and a country judge. This piece is full of fun, and affords a capital chance to take off peculiarities of local personages. WHO DIED FIRST. First rate character for a rough darkey and his wife. Two other passable characters. This piece is irresistibly droll. Common dresses, and a poor kitchen. WAKE UP, WILLIAM HENRY. This piece gives a good opportunity to a burlesque lecturer, as it runs upon phrenology and other ologies. Two other male characters. Extravagant costumes, and scene a plain chamber. COAL HEAVERS' REVENGE. Taken up mainly with the comical tricks played by two coal- heavers on an old Doctor, because he won't pay them for putting in ten tons of coal when he only had two. There are four other passa- HOW TO MANAGE AMATEUR THEATRICALS. 31 ble characters who help to make fun. Common costumes. Scene outside of a cottage. THE BABY ELEPHANT. A dashing young darkey, a stunning young wench, two rough dar- keys, and four other pretty good characters. Modern costumes. A street, and a chamber. TAKE IT ! DON'T TAKE IT ! This is an absurdly funny piece for two burlesque "Nigs" — if good at imitating peculiarities of famous stars all the better. Extra- vagantly shabby and eccentric dresses. One dark wood scene. pompey's patients. Cleverly managed to give five darkeys each a good show. Pompey and Dr. Catnip are " immense. ; ' Modern dresses. A fancy chamber and a kitchen constitute the scenery. port wine vs. jealousy. Two males and one female. Full of funny situations, and gives lots of scope to the three characters to spread themselves. Common costumes. Scene, a fancy chamber. ONE, TWO, THREE. An exceedingly lively take off on the Dramatic Agency business, introducing some very queer characters, who give full employment to the muscle of the servant Bounce. Seven characters, male, all good. Scene, a plain chamber. Dresses odd and fantastic. GRIPSACK. Amusing piece for three males. A theatrical manager and two would-be actors. Eccentric modern dresses. Scene, a plain cham- ber. DARKEY SLEEP-WALKER ; OR, ILL-TREATED SOMNAMBULO. , A glimpse at Bellini's great opera from a funny point of view ; shows the doings of a colored professor of Phrenology, the tricks of a colored student. The professor's daughter is a charming creature, who helps along the laugh amazingly. Four characters in all. Dresses, present day. Scene, one room. LAST OF THE MOHICANS. Four excellent characters ; the Indian chief is a smasher. Three males and one female character. Two scenes — a chamber and a wood. Burlesque military and Indian. BOBOLINO, THE BLACK BANDIT. Good hit at the " Going to Europe, you know " fever. Two male, two female characters : all good. Scene — one room, showing wild 32 HOW TO MANAGE AMATEUR THEATRICALS. Italian scenery when a curtain is drawn. Costumes, tourists' and extravagant brigands'. EH ? WHAT IS IT ? This piece has four male, one female character to make things lively. Scene, one chamber Costumes, modern. DAGUERREOTYPES ; OR, THE PICTURE GALLERY. Three male characters. Very much is made of a very good sub- ject. Scene a small daguerreotype gallery. Costumes, modern and extravagant. GO AND GET TIGHT. Five male characters, who make an immense deal of fun out of the fact of a servant literally obeying his master, when he is told to "go and get tight." Scene, a room. Costumes, modern and gro- tesque. WANTED, A NURSE. Four male characters, including one Dutch. Intensely funny. Scene, a plain kitchen. Costumes, modern and extravagant. JEALOUS HUSBAND. Has two male and one female character, all exceedingly good. Scene, a fancy rustic chamber. Costumes, modern. GLYCERINE OIL. Three male characters, with lots of chance to make sport. Scen- ery, one street or wood, one kitchen. Costumes, old fashioned. A NIGHT IN A STRANGE HOTEL. Two male characters, who kick up any quantity of amusing "shindies." Scene, one ordinary chamber. Costumes, extravagant negro dresses. GUIDE TO THE STAGE. Three characters, including the " Ghost." Scenery, a dark wood. Costumes, extravagantly farcical. THE MAKE-UP BOOK. EXPLAINING IN THE CLEAREST MANNER, HOW TO POWDER AND PAINT THE FACE SO THAT IT WILL EXACTLY SHOW THE NATURAL APPEARANCE OF THE COUNTENANCE AT ALL AGES OR SEASONS OF LIFE, AS "THE SCHOOL BOY," "THE LOVER/' "THE SOLDIER," "THE JUSTICE," "THE LEAN AND SLIPPERED PANTALOON," AND THE " LAST SCENE OF ALL" — MARKING, TOO, EVERY LINE PRODUCED BY THE VARIOUS PASSIONS AND EXPRESSIONS WHICH ARE INTENDED TO BE REPRESENTED ON THE STAGE. BY THIS SERIES OF EXPRESSIVE PICTURES AND THE ACCOMPANYING READING MATTER AMATEURS CAN WITHOUT MUCH TROUBLE "MAKE UP A FACE" AS WELL AS THE BEST PROFESSIONAL. (33) PREFATORY REMARKS. Too much attention cannot be given to the " make-up " of the face, so as to make it harmonize with the age, and the leading characteristics of the person represented. By closely consulting the excellent drawings, given to illustrate the printed directions, it will be possible for any one however youthful in appearance to so change the look of his face that his best friends would not recognize him. The first thing to be done, is closely to shave the face, and care should be taken to remove every vestige of everything like oil or moisture, otherwise it will be impossible to make a good job of the " make-up." We append a list of the things necessary to a complete " make-up " for every variety of character. Dry Whiting, Prepared Whiting, India Ink, Email Noir, Prepared Fuller's Earth, Cosmetique, Lip Rouge, Pearl Powder, or Petaline, Powdered Gum, or Spirit Gum, Rouge, Carmine, Joining Paste, Burnt Umber, Dutch Pink, Pencils for Eyebrows, Powdered Blue, Grenadine, Pencils for Veins, Lemon and Orange Chrome, Camels-Hair Brushes, Hares' Feet, Mongolian Powder Puffs, ordinary and minia- Prepared Burnt Cork, ture. Also other accessories in the way of Wigs, Beards, Mustaches, etc., as may be indicated by the character to be played. Any of the foregoing articles may be obtained of the publisher of this book. (34) JPZATEI. Ybwtfo Fu/./ HOW TO MANAGE AMATEUR THEATRICALS. 35 YOUTH. Very little artificial aid is needed properly to " make-up " the face, for such persons as represent the Young Lovers and Dandies of the stage. We allude to such characters as Frederick Plum, Norval, Sir Edward Ardent, Ned Clayton, Plumper, Prince Hal, Young Dornton, Dazzle, and similar personations. The first thing needed is that the face and neck should be entirely covered with white powder. Rouge should then be used, sparingly, on the cheeks, particularly on the cheek bones, where a touch of red just below the eyes imparts to them a lustre, indeed almost a diamond- like brilliancy. It may not be amiss to just put the least dash of red below the eyebrows, as that increases the lively appearance of the eyes. The chin will be all the better for a faint tinge of rouge. Then take a delicate camel's hair brush and draw the finest of fine lines in burnt umber di- rectly under the lower eyelashes, as delineated in Plate 1, Figure 1. This is an art we have borrowed from the Ori- entals, the beauties of the Harem thus lining under their eyes to increase their expression. Of course these direc- tions must be followed accurately as described, for an irre- gular coarse line will only disfigure the very handsomest countenance. When a person's eyebrows are distinctly marked naturally there is no need of attempting to alter them in any way for young characters ; but if deemed ad- visable to change their appearance a few strokes of the cos- metique will produce the necessary effect. This is all that is required in " making-up " of a face for this class of characters. 36 HOW TO MANAGE AMATEUR THEATRICALS. MANHOOD. Advancing years begin to leave legible " mile-marks " as they pass. Characters of early middle-age, as Sergeant Jones, John Gold worthy, Major Treturne, Cassio, Hawksley, etc., require a little attention to the faces in order to show the effects of more or less anxiety and other causes on their features and expression. To produce the required appear- ance a few lines, as shown in the picture, should be traced about the mouth and eyes. The length and depth of these lines should be governed not alone by the supposed age of the character, but in a degree by the fact of the life the per- son has led. Thus a jolly fellow like Mercutio would not need as decided lining as a grave, sad man like the melan- choly Jaques. Proceed first to cover the neck and face with white powders, applying rouge as before directed to the cheeks and the under portion of the eyebrows, and also drawing the fine line with umber beneath the lower eye- lashes. Then proceed to make two or, in some cases, three exceedingly delicate lines from the outside corner of the eyes as delineated in Plate 2, Fig. 1 ; closely imitating the natural thread-like marks called *' crow's feet," which in most faces appear with maturing years. Where the character is of a lively good natured kind the lines should be drawn to tend downwards (Plate 2, Fig. 2) ; where a brooding, sor- sowful expression is intended to be given, the lines should tend upwards. This expression is intensified by having a line leading from the nostrils as shown in Fig. 3. Rouge should be applied to the chin, also a very faint touch of dry blue. This makes the skin look as if recently shaven. Where the period of time appropriately allows mustaches to be worn, they should be thick and drooping at the ends. Whiskers, of course, give a character a more robust and manly look, and in many cases are admissible. PLATE IL jfltinJiootf \ A Fi HOW TO MANAGE AMATEUR THEATRICALS. 43 DEATH. When death has to be counterfeited it requires real artis- tic skill to make up the countenance. There should be no possibility of any failure to produce the right effect. While the feeling of awe engendered by the appearance ot dissolu- tion is very deep and even hallowing, the least short-coming or over-doing in the matter may make a tragedy sink into a farce. In all characters where the person represented has to move about the stage and speak, the death-like appearance should not be so decided as where the party enters, appar- ently in the last agonies, and immediately expires. Of the first class such characters as Beverly, Werner, King Lear, and Virginius are prominent examples. Gas- ton, in the u Man in the Iron Mask," Danny Mann, Louis Xl., and Mathias, in The Bells, are notable instances of the second class. - . Prepared whiting should be evenly spread over the throat and face ; then apply, with a hares foot a coloring of Dutch pink. Proceed to fix under the eyebrows, below the eyes, and into their hollows, with pow T dered antimony. (See Plate 6, Fig. 1.) This can be best applied by tying a bit of soft flannel around the end of a pencil ; being very careful not to have the least bit of it touch the eyelids. A hare's foot may next be used to give a slight coloring with powdered antimony to the depressions in the throat, cheeks, and tem- ples. The sides of the nose, between the eyebrows, over the upper lip, and even the chin should be, also, slightly touched with the powdered antimony. (See Plate 6, Fig. 2.) Then a slight tinge of chrome should be put on the front of the nose, on the nostrils and on the eyelids. The hollows at the corners of the mouth, as well as the hollow in the centre of the upper lip should be darkened with burnt umber. Powdered blue on the lips (but only just a touch), imparts that ashy tint that always accompanies dis- solution. Lines about the forehead, the mouth and the 44 HOW TO MANAGE AMATEUR THEATRICALS. eyes, should be made more or less heavy and striking, according to the age and circumstances preceding the sup- posed death of the character. ECCENTRIC AND LOW COMEDY CHARACTERS. In almost every comedy and farce, and in some trage- dies—notably the grave diggers in Hamlet — there are to be found one or more low comic and eccentric parts. Some of these characters add greatly to the amusement of an au- dience, and not a little of the ludicrous effect they produce is owing to the perfection of their make-up. Of such actors were Liston, Finn. Matthews (the elder), Kilner, Jack Reeves, Eberle, Herbert, etc., in the past. In the present, Harry Becket, Sol Smith, Gus Williams, Emmet, and a host of similar performers both on the regular and the variety stage. All these mentioned were or are men of talent. Still not a little of their talent was displayed in the original and artistic way in which they made-up for their most tell- ing performances. For this style of character lay a foun- dation, a ground-work as it were, by covering the neck and face entirely with prepared fuller's earth. Then apply a slight coloring of rouge to the eyebrows, the cheeks, and a mere touch on the middle of the forehead. The period of life — young, middle-aged, or old — will be managed by lin- ing, etc., as directed under the several headings in pre- vious parts of this work. "Curly,'' " Scratch," "Half- bald," " Bald," are the names given to the wigs worn by these characters. Wigs can always be got in colors, to suit the ideas of the performer, as red, black, white, gray, and iron gray. For comic notaries, old-fashioned lawyers, and similar characters, have the face rather pale than ruddy, using a black or iron-gray half-bald wig, with whiskers of a suitable color. The eyebrows should be rough and beet- ling, while f he lines of the face should be marked in accord- HOW TO MANAGE AMATEUR THEATRICALS. 45 ance with the presumed age of the person represented. See the directions already given on this subject. What is known as a " character part " can only be made- up right by one who has carefully acquainted himself with the author's idea of the way in which the person is to appear ;and act. To gain this knowledge the performer must thor- oughly read up and understand the part. Having arrived at a true conception of the age, disposition, position, etc., then refer to the proper directions suitable to the circum- stances, as already laid down in this book. MAKE-UP OF DRUNKARDS. Where it is necessary to show on the face the disagree- able physical signs of liquor swilling, even the very form of the nose is sometimes altered. One way to produce this effect is to affix a small piece of wool to the end of the nose with spirit gum, moulded and pressed into the desired form. It is then rouged to give a suitable color. Some increase the size of the cheeks in a like manner. Another way is to take a small quantity of paste powder, and with water knead it up to the consistency of putty ; attach it to the nose with spirit gum, and rouge to same hue as the cheeks. (See Plate 5, Pig. 3.) Pimples, warts and other disfigurements are made by attaching small pieces of wool, and coloring red, brown, etc. The rough, unshaven look is produced by rubbing chin and cheek with the powdered blue. Where the hair is red a little carmine should just warm the blue. 46 HOW TO MANAGE AMATEUR THEATRICALS. HEBREW CHARACTERS. For Jews of a dignified or tragic aspect begin by cover- ing the face with prepared fuller s earth ; Dutch pink should follow, applied with a hare's foot. The cheeks should re- ceive the least touch of rouge. A jet black wig, bushy- black whiskers, and heavy black eyebrows are generally thought requisites for characters of this kind. To give the nose that peculiar hooked appearance usually found in the Jewish race, the part between the eyebrows, above the bridge, must be lightly touched with burnt umber ; while the lines marking the nostrils should be very strongly mark- ed. (See Plate 4, Fig. 3.) Burnt umber under the eyebrows adds to the desired effect. As to the indications of age, re- fer to the various appropriate directions. For a low grade of Jews, such as usurers, sheriff's depu- ties, old clothes men and the like, the foregoing directions should be somewhat exceeded, the lines being deepened, and the under lip made very red with carmine. INDIAN AND MULATTO CHARACTERS. The warm red coppery color so peculiar to the American Indian is best imitated as follows : The line should be first painted below the under eyelashes with India Ink, then pro- ceed to put on the other marks as already given to create the impression of the desired age, as under headings of Youth, Maturity and Old Age. Mix cold cream and mon- golian together, and spread entirely over the face and neck ; color brightly with carmine on the cheeks ; darken the eye- brows with cosmetique. The hair should be long, coarse, straight and black for Indians. For characters like Othello and Zau. 2 200. 3 103. 1 9. 2 3 128. 3 101. 3 99. 5 145. 6 102. 1 88. 2 74. 8 53. 2 73. 3 30. 1 5 131. 28. 5 151. 3 8. 5 180. 3 19. 2 60. 7 187. 1 174. 1 64. 1 190 1 191. 197. 1 18. 4 116. 2 4 129. 2 159. 3 122. 3 177. 5 100. G 139. 1 17. 3 86. 4! 72. Dreams, drama, 5 acts 6 Duchess de la Valliere, play, 5 acts. . 6 Easy Shaving, farce, 1 act 5 Everybody's Friend, comedy, 3 acts. 6 Estranged, an operetta, 1 act 2 Faust aad Marguerite, drama, 3 acts, 9 Fearful Tragedy in the Seven Dials, interlude, 1 act 4 Female Detective, drama, 3 acts.... 11 Fernande, drama, 3 acts 11 Fifth Wheel, comedy, 3 acts 10 First Love, comedy, 1 act 4 Foiled, drama. 4 acts r. . 9 Founded on Facts, farce, 1 act.. . . 4 Garrick Fever, farce, 1 act 7 Gertrude's Money Box, farce, 1 act. 4 Golden Fetter (Fettered), drama, 3 11 Goose with the Golden Eggs, farce, 1 act 5 Go to Putney, farce, 1 act 4 Happy Pair, comedietta, 1 act 1 Hard Case (A), farce, 1 act 2 Henry Dunbar, drama, 4 acts 10 Henry the Fifth, historical play, 5 38 He's a Lunatic, farce, 1 act 3 Hidden Hand, drama, 4 acts 5 II is Own Enemy, farce, 1 act 4 Home, comedy, 3 acts 4 Household Fairy, sketch, 1 act 1 Hunting the Slipper, farce, 1 act 4 High C, comedietta, 1 act 4 Hunchback (The), play, 5 acts 14 If I Had a Thousand a Year, farce, lact 4 I'm Not Mesilf at All, original Irish stew, 1 act 3 In for a Holiday, farce, 1 act 2 In the Wrong House, farce, 1 act. . . 4 Isabella Orsini, drama, 4 acts 11 I Sha 1 ! Invite the Major, con*edy, 1 4 Jack Long, drama, 2 acts , . 9 Joy is Dangerous, comedy, 2 acts. . . 3 Kind to a Fault, comedy, 2 acts..' . 6 Lady of Lyons, play, -6 acts 12 Lame Excuse, farce, 1 act 4 DE WITT'S ACTING PLAYS (Continued). Lancashire Lass, melodrama, 5 acts.12 3 ,arkins' Love Letters, farce, 1 act.. 3 2 /Article 47, drama, 3 acts 11 5 Aai (The), comedy, 2 acts 7 2 Afe Chase, drama, 5 acts 14 5 living Statue (The), farce, 1 act 3 2 kittle Annie's Birthday, farce, 1 act. 2 4 kittle Rebel, farce, 1 act 4 3 Jttle Ruby, drama, 3 acts 6 6 ^ockecl In, comedietta, 1 act 2 2 ^ocked Tn with a Lady, sketch, 1 act. 1 1 .ocked Out, comic scene 1 2 ledgers and Dodgers, farce, 1 act.. 4 2 Leap Year, musical duality, 1 act. . . 1 1 Vlarcoretti , drama, 3 acts 10 3 Maria and Magdalena, play, 4 acts . 8 6 Marriage at Any^ Price, farce, 1 act. 5 3 Master Jones' Birthday, farce, 1 act. 4 2 Maud's Peril, drama, 4 acts 5 3 Midnight Watch, drama, 1 act 8 2 Milky White, drama, 2 acts 4 2 Miriam's Crime, drama, 3 acts 5 2 Model of a Wife, farce, 1 act 3 2 Money, comedy, 5 acts 17 3 Mr. Scroggins, farce, 1 act 3 3 Mr. X., farce, 1 act 3 3 My Uncle's Suit, farce, 1 act 4 1 My Wife's Diary, farce, 1 act 3 1 My Wife's Out, farce, 1 act. . . 2 2 My Walking Photograph, musical duality, 1 act ... 1 1 Never Reckon Your Chickens, etc., farce, 1 act 3 4 New Men and Old Acres, comedy, 3 8 5 Nobody's Child, drama, 3 acts 8 3 Noemie, drama, 2 acts 4 4 No Name, drama, 5 acts 7 5 Not a Bit Jealous, farce, 1 act 3 3 Not So Bad as We Seem, play, 5 acts.14 3 Not Guilty, drama, 4 acts 10 6 Not Such a Fool as He Looks, drama, 3 acts 5 4 Nothing Like Paste, farce, 1 act 3 1 No Thoroughfare, drama, 5 acts and prologue 13 6 Off the Stage, comedietta, 1 act 3 3 On Bread and Water, farce, 1 act... 1 2 Only a halfpenny, farce, 1 act 2 2 Only Somebody, farce, 1 act 4 2 One too Many for Him, farce, 1 act. 2 3 £100,000, comedy, 3 acts 8 4 Orange Bio soms, comedietta, 1 act. 3 3 Orange Girl, drama, in prologue and 3 acts 18 4 Ours, comedy, 3 acts 6 3 Our Clerks, farce, 1 act 7 5 Our Domestics, comedy farce, 2 acts 6 6 Our Heroes, military play. 5 acts. . .24 5 Out at Sea, drama in prologue and 4 acts 16 5 Overland Route, comedy, 3 acts 11 5 Peace at Any Price, :farce, 1 act. ... 1 1 Peepo' Day, drama, 4 acts 12 4 Peg^y Green, far e, 1 act 3 10 Petticoat Parliament, extravaganza, in one act , 15 24 Photographic Fix, farce, 1 act 3 2 A COMPLETE No. M. 1". 61. Plot and Passion, drama, 3 acts 7 2 138. Poll and Partner Joe, burlesque, 1 act 10 3 110. Poppleton's Predicaments, farce, 13 6 50. Porter's Knot, drama, 2 acts 8 2 59. Post Boy, drama, 2 acts 5 3 95. Pretty Horse-Breaker, farce, 1 act.. 3 10 181 and 182. Queen Mary, drama, 4 acts.38 8 157. Quite at Home, comedietta, 1 act. ..52 196. Queerest Courtship (The), comic op eretta, 1 act 1 1 132 Race for a Dinner, farce, 1 act 10 183. Richelieu, play, 5 acts . .16 2 38. Rightful Heir, drama, 5 acts 10 2 77. Roll of the Drum, drama, 3 acts 8 4 13. Ruy Bias, drama, 4 acts 12 4 194. Rum, drama, 3 acts 7 4 195. Rosemi Shell, travesty, 1 act, 4 scenes 6 3 158. School, comedy, 4 acts 6 6 79. Sheep in Wolf's Clothing, drama, 17 5 37. Silent Protector, farce, 1 act 3 2 35. Silent Woman, farce, 1 act 2 1 43. Sisterfy Service, comedietta, 1 act.. 7 2 6. Six Months Ago, comedietta, 1 act. 2 1 10. Snapping Turtles, duologue, 1 act. . 1 1 26. Society, comedy, 3 acts 16 5 78. Special Performances, farce, 1 act.. 7 3 31. Taming a Tiger, farce, 1 act 3 150. Tell-Tale He »rt, comedietta, 1 act. . 1 2 120. Tempest in a Teapot, comedy, 1 act. 2 1 146. There's no Smoke Without Fire, comedietta, 1 art 1 2 83. Thrice Married, personation piece, lact 6 1 42. Time and the Hour, drama, 3 acts. . 7 3 27. Time and Tide, drama, 3 acts and prologue 7 5 133. Timothy to the Rescue, farce, 1 act. 4 2 153. 'Tis Better to Live than to Die, farce, 1 act 2 1 134. Tompkins the Troubadour, farce, 13 2 29. Turning the Tables, farce, 1 act. ... 5 3 108. Tweedie's Rights, comedy, 2 acts.. 4 2 126. Twice Killed, farce, 1 act 6 3 56. Two Gay Deceivers, farce, 1 act 3 123. Two Potts, farce, 1 act 4 4 198. Twin Sisters (The), comic operetta, lact 3 1 162. Uncle's Will, comedietta, 1 act 2 1 106. Up for the Cattle Show, farce, 1 act. 6 2 81. Vandyke Brown, farce, 1 act 3 3 124. Volunteer Review, farce, 1 act 6 6 91. Walpole, comedy, 3 acts 7 2 118. Wanted, a Young Lady, farce, 1 act. 3 44. War to the Knife, comedy, 3 acts. . . 5 4 105. Which of the Two? comedietta, lact 2 10 98. Who is Who? farce, 1 act 3 2 12. Widow Hunt, comedy, 3 acts 4 4 5. William Tell with a Vengeance, burlesque 8 2 136. Woman in Red, drama, 3 acts and prologue 6 161. Woman's Vows and Mason's Oaths, 4 acts. . . , 10 4 11. Woodcock's Little Game, farce, 2 4 4 54. Young Collegian (Cantab.), farce, 1 3 3 DESCRIPTIVE CATALOGUE ^jg» of DE WITT'S ACTING PLAYS AND DE WITT'S HEIOPIAN AND COMIC DRAMAS, containing Plot, Costume, Scenery, J of Representation and every other information, mailed free and post paid IDE WITT'S ACTING PKICE 15 CENTS. No. 201. 202. 203. 204. 205. 206. 207. 208. 209. 210. 211. 212. 213. 214. 215. 216. 217. 218. 219. 220. 221. 222. 223. 224. 225. 226. 227. 228. M. F. School for Scandal, comedy, 5 acts 15 4 Eileen Oge, drama, 4 acts 11 3 She Stoops to Conquer, comedy, 5 acts 14 4 Drawing Room Car, Petite Com- edy, 1 act 2 1 Circumstances Alter Cases, comic operetta 1 1 Hair Apparent (The), farce, 1 act, 5 1 Sold Again, comic operetta, 1 act 3 1 Married Bachelors, comedietta, 1 act 3 2 Othello, tragedy, 5 acts 16 2 Mabel's Manoeuvre, Parlor Inter- lude 1 3 Honesty is the Best Policy, 1 act, 2 London Assurance, comedy, 5 acts 9 3 The Widow, comedy, 3 acts 7 6 Turn Him Out, farce, 1 act 3 2 Still Waters Kun Deep, comedy, 3acts 8 2 My Neighbor's Wife, farce, 1 act, 3 3 Poor Pillicoddy, farce, 1 act 2 3 Naval Engagements, farce, 1 act.. 4 2 Chimney Corner (The), domestic drama, 2 acts 5 2 The Two Buzzards, farce, 1 act. . 3 2 Slasher and Crasher, farce, 1 act, 5 2 Cool as a Cucumber, farce, 1 act, 3 2 Betsy Baker, farce, 1 act 2 2 His Last Legs, farce, 2 acts 5 3 Ici on Parle Francaise, farce, 1 act 3 Box and Cox, farce, 1 act 2 1 The Omnibus, farce, 1 act 5 2 The Loan of a Lover, vaudeville, lact 4 1 No. 2*9. 230. 231. 232. 234. 235. 236. 237. 238. 239. 240. 241. 242. 243. 244. 245. 246. 247. 248. 249. 250. 251. 252. 253. 2-4. 255. 256. M. F. Sarah's Young Man, farce, 1 act, 3 3 Family Jars, musical farce, 2 acts 5 2 All that Glitters is not Gold, comic drama, 2 act s 6 & Tale of a Shark, musical comic monologue 1 A Kiss in the Dark, farce, 1 act. .23 A Morning Call, comedietta, 1 act 1 1 To Oblige Benson, comedietta, 1 act 3 2 My Turn Next, farce, 1 act 4 3 A Regular Fix, farce, 1 act 6 4 Trying It On, farce, 1 act : 3 3 Limerick Boy, farce, 1 act 5 2 Drunkard's Doom, drama, 2 acts, 15 5 Handy Andy, drama, 2 acts 10 3 Dumb Belle, farce, 1 act 4 2 Irish Li on, farce, 1 act 8 3 Irish Tutor, f;irce, 1 act 5 2 Thumping Legacy, farce, 1 act... 7 1 High Life LeTow Stairs, farce, 1 act 9 O Rough Diamond, farce, 1 act 6 3 Cricket on the Hearth, fairy tale of home, 3 acts 8 7 Marriage, a Lottery, comedy, 2 acts 3 4 More Blunders than One, farce, 1 act 4 3 Ticket of Leave Man, drama, 4 acts 9 3 Idiot Witness, melo-drama, 3 acts 7 2 Lend Me Five Shillings, farce, 1 act 5 2 One Too Many, farce, 1 act 4 2 Quiet Family, farce, 1 act 4 4 Sweethearts, a dramatic contrast, 2acts 2 2 -RECENT ISSUES.- No. 257. i 258. 259. 260. 261. 262. 263. 264. 265. 266. 267. 268. 269. 270. Ten Nights in a Barroom, drama, 5 acts 11 Aunt Dinah's Pledge, drama, 2 acts 6 Fruits of the Wine Cup, drama, 3 acts 5 Drunkard's Warning, drama, 3 acts 6 3 Bottle (The), drama, 2 acts 11 6 Fifteen Years of a Drunkard's Life, melodrama. 3 acts 10 4 Drunkard (The), drama, 5 acts 13 5 Scrap of Paper, drama, 3 acts ... 6 6 Two Bormvcastles, farce, 1 act. 3 3 Who Killed Cock Robin, farce, 2 acts 2 2 My Wife's Bonnet, farce, 1 act.. 3 4 Obstinate Family, farce, 1 act.... 3 3 Object of Interest, farce, 1 act.. 4 3 Irish Tiger (The), farce, 1 act... 5 2 I No. m. F. J 271. Irish Post, comic drama, 2 acts.. 9 3 J272. Toodles, drama, 2 acts 10 2 ] 273. Irishman in Londpn (The), farce, 2 acts 6 3 274. Irish Widow (The), farce, 2 acts 7 1 275. Day After the Wedding (The), farce, 1 a^t 4 2 276. Good for Nothing, drama, 1 act. 5 1 277. Grimshaw, Bagshaw, and Brad- shaw, farce, 1 act 4 2 278. Irish Attorney, farce, 2 acts 9 2 1 279. Black-Eyed Susan, nautical drama 2 acts W 2 280. Pretty Piece of Business, comedy, 1 act 2 3 281. Wanted 1000 Milliners, farce, 1 act 3 7 282. Irish Broom Maker, farce, 1 act. 9 3 283. E. C. B. Susan Jane, musical burlesque .BAe'05 o ^s.^- 5L 6 Deacidified using the Bookkeeper process. Neutralizing agent: Magnesium Oxide Treatment Date: Nov. 2007 PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 16066 (724)779-2111