Price, 25 Cents PUBLISHED BY The* Dr-amatic Publ^ishing Compant Practical Instructions for Private Theatricals ByW. D. EMERSON Author of **A Country Eomance,'^ ''The Unknown Eival," "Humble Pie," etc. Price, 25 cents Here is a practical hand-book, describing in detail all the accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in words, everything 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. In 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 light- Footlights, Sidelights, Eeflectors. How to darken the stage, etc. Chapter VI. Stage Effects. Wind, Eain, 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, ILLINOIS The Girl and the Outlaw A DRAMATIC PLAYLET BY KATHARINE KAVANAUGH Ck>pyright 19U by THE DRAMATIC PUBLISHING COMPANY CHICAGO THE DRAMATIC PUBLISHING COMPANY F535Z\ CAST OF CHARACTERS. Margaret Fenton, a prairie flower. Don Thomaso, an outlaw. Pedro, a half-breed. JAN -6 1915 The Girl and the Outlaw Scene: Interior of Don Thomaso's hut in the moun- tains. Door R. U. and door C. Open window L. C. with blanket for curtain. Rough table and chair R. C. Couch with Navajo blanket L. C. Rough wooden cup- board up L., with a few heavy plates and other dishes. [Curtain rises on Pedro, who lies, smoking, on the couch. His eyes are directed to the door R. U. Pres- ently he rises and goes slowly to the door R. TJ., listens, then comes down to the tahle.^ Pedro. Huh — mighty quiet in dere — she sleep, may be. She raise blazes dis momin'. For one little girl she raise most hell anybody I ever see. [Looks at his left hand.] Hull — dere where she cut me yesterday — trow knife and most cut off my two fingers. Now, I know better, she eat without a knife. Little devil. Well, pretty soon her father send ransom money and she go way from here — [Pauses to take a puff] — may be, and may be not. I t'ink boss pretty much stuck on her. She trow knife at him he pretty soon get cured. [Sud- denly pauses — half turns as he sits on end of table — listens, then shrugs his shoulders and keeps on smoking.] Oh, I guess she still sleep ! [Margaret quietly enters R. V., unseen by Pedro. She makes toward window, raises end of blanket, looks out, then goes back softly toward door C. Has reached door when Pedro turns and sees her.] 3 4 THE GIRL AND THE OUTLAW Pedro. Little fool ! You go out dat door dose men slioot you quick, like dat ! [Snaps fingers.'] Margaret. I don't believe you ! I don't believe there can be more than two such scoundrels as you and that master of yours in the whole world ! [Pedro reaches for his pistol.] I'm not afraid of your gun. Shoot me if you like. I'm going to take my chances out there. Pedro. I swear I am telling you the truth ! The men out there are all outlaws like myself. You would stand no chance with them. They have orders from the boss to shoot you if you tried to get away. They'd kill me if I let you go. They'd even kill the boss if he let you go before your father sends the mone3^ Margaret. Why ? Pedro. Because ever>^ one of them is entitled to his part of the ransom. You t'ink I am liard man — you t'ink the boss hard man, eh? — but I tell you, every one of dose men is as bad or worse. They are hard up, crazy for money, and they are outlaws. Margaret. But aren't they men, after all? Aren't they human beings? Haven't they any feelings? Oh, I'm not worried about myself — but think what my poor dad is suffering. Pedro. We do think of him. There is not a man out there that don't hate him. There's not one among us that lie has not liunted and sworn to punish. Margaret. It's his duty to hunt outlaws. That's what he is sheriff for. If you were honest men you'd have no cause to hate him — or fear him either. Pedro [Shrugs]. Huh — we do not fear him. Margaret. You do fear him — and you'll have cause to fear him more than ever when he learns what you've done to me. THE GIRL AND THE OUTLAW 5 Pedro. Don 't we treat you well ? You got nice room — pleiit}' to eat — and Pedi"o to wait on you. Vou would also have knife and fork to eat with if you didn't liave bad habit of throwing them at peoj)le. Margaret. See here, Pedro, you say you need money. Get me out of here before Don Thomaso returns, and I swear you'll be well paid for it. Pedro. Sure, I will be well paid, with a knife in my back. I like to be accommodating, Senorita, but I have only one life, and that is very dear to me. Besides, it is impossible — you coiild not go a foot outside that door before they would have you. Margaret. God ! — is it possible there is not one man among you? Have you never had a sister, Pedro? Pedro. No — my sisters were all brothers, and T aui the only child. Margaret. Have you never been in love, Pedro ? Pedro. Oh, yes, sixteen or seventeen times — but it never took. Margaret. Well, isn't there something I can appeal to? Isn't there anything soft about you, Pedro? Pedro. Only my head — my heart is as hard as nails. Margaret. What do 3'ou think is going to liappen to you when Don Thomaso and all his ruffianly gang are captured by my father, the sheriff? Pedro. Your father, the shenff, will never (capture Don Thomaso. He has been trying to do it for years, l)ut Thomaso is too smart for him. Margaret. Well, he'll get him one of these days, and when he does, all you bad men are going to liave a necktie party all to yourselves. I wonder liow it feels to have a rope real tight around your neck, with the other end thrown over tlie limb of a tree, and four oi* five big 6 THE GIRL AND THE OUTLAW iiusky fellows pulling you up and up, and you feel yourself choking — choking — Pedro. By gar, you stop dat kind of talk — ^you hear me? Margaret [Laughing]. Pedro, you're a coward. Pedro. What ! Margaret. That's what I said, a coward! All your bravery lies in that six-shooter you've got in your belt. If you didn't have that within reach you'd be afraid of me, a girl. Pedro. Huh — w^ho wouldn't be afraid of a girl who throws knives so straight like you? Margaret. Well, I haven't got a knife now, but I'd like to have one. I'd spoil that smoke of yours. [Takes a plate from cupboard.] Don't you know it's impolite to smoke in the presence of a lady? Throw that cig- arette away — throw it away. Pedro. By dam — who you talkin' to? Margaret. I'm talking to you, and I mean business. [Aims plate at him.] Throw that nasty thing away before I break this plate over your head. Pedro. Break plate nothing — you break my head. Margaret. I '11 give you just four seconds to do what I tell you. Pedro. No, I don't throw no cigarette away. [Is about to put cigarette in his mouth. Margaret throws plate at his feet. He dodges.] By dam, girl, what you doin'? Margaret. Didn 't you see what I was doing ? Wait, I'll do it again. [She reaches for another plate.] Pedro. You come away from dere. Margaret. Not a step. Pedro. Come Avay, I tell you. You tink I goin' to THE GIRL AND THE OUTLAW stand here and let you throw whole damn china closet at me. Come, I fool enough ; now I mean what I say. [Puts hand to gun.'j Margaret. You're bluffin', Pedro. You can't scare me that way. Pedro. Huh— you tink I won't shoot. Margaret. I know you won't. If you harmed me, that outlaw chief of yours would cut your ears off. Pedro. You know why"? Because he save you for himself. You mighty fresh, eh ? You tink you come to no harm in dis place; I tell you dere is no more cruel man in de whole world than Don Thomaso. Murderer, outlaw, thief— he cares for nothing, nobody. He is the most bad man I ever see. Margaret. Then why do you stick to him ? Pedro. Dey say birds of a feather flock together. I guess I most bad man as he is. [Is about to put cigarette to his mouth.l Margaret. Didn't I tell you not to smoke? Pedro. Oh, you go — [Margaret throws another plate. He dodges.] By dam, you stop dat now— stop it, I say— I stand 'nough such foolishness. Margaret. And I've stood enougli of your bad to- bacco. Every time you take a puff 1 '11 smash a plate as close to that hardwood head of your as possible. Pedro. If I say I no smoke, you come 'way from dose plates, eh? Margaret. Yes, if you throw that bag of tobacco over here. Pedro. But I give you my word— IMargaret. Your word ain't worth a huckleberry to me. Throw the bag, or I throw a plate. Pedro [Throws hag]. Dere. you— you— 8 THE GIRL AND THE OUTLAW Margaret [Aiming plate] . Don 't you call me names. Pedro. I had no intention, Senorita. [Margaret tkrotvs hag out of window.] You little devil, you throw away my good tobacco. [Margaret suddenly pretends to he ill. Pedro looks at her distrust f idly.] Pedro. What's matter now, eh? Margaret. Pedro, I'm beginning to feel faint — that rope you were smoking has made me ill — get me a glass of water, Avill you? Pedro. Here, take drink whiskey. [Offers flask.] Margaret. No, I couldn't drink that stuff. I want water — get me some water — quick, Pedro, I'm sick. [Staggers to couch and lies down.] Pedro [Crosses and looks down at her]. You no tell me lie, eh ? You sick for sure, eh ? Margaret. Can 't you see I am ? I 'm going to faint. I know I am. I feel it coming. Get me some water — water — [She pretends to faint. Pedro stands looking at her.] Pedro. If you fool me, you little devil, I shake de life out you. Here, you no sick. You little liar, eh? Come, wake up. [He shakes her — she remains in faint.] By gar, she sick sure 'nough. If boss give me job take care woman again I cut my own throat first. I go get bucket water and throw it in her face. [Exit R. U.] Margaret [Jumps up, runs to R. U. E., turns the key in door, and laughs]. Oh, how easy. [Runs to window, looks out.] I wonder if he was telling the ti-uth about those men out there. I must take the chance. I must get home to Dad. [Ahout to exit C. D. when door opens and Don Thomaso enters. He closes door.] THE GIKL AND THE OUTLAW Thomaso. What ! Going to take French leave, were you? Where is that dog of a Pedro? [Looks about.] Margaret. Oh, I 've got him in cold storage. [Crosses to table R.'] Thomaso. Inclined to be funny, eh? Good, I like you better that way. You've been a little devil since yesterday, do you know it? Margaret. Yes, but I found so many other devils around, I thought I'd change just to be different. Thomaso. How did you manage to get rid of Pedro? Margaret. Pretended to faint and sent him for a glass of w^ater. Thomaso. And he went like a fool. Margaret. Exactly ! Thomaso. You're a clever little woman, but you w^on't w^ork any of your tricks on me. As for that Mexican dog, I'm going to teach him a lesson. [Starts for door L. U. with whip.] Margaret [Runs and stands before door L. U.]. What are you going to do? Thomaso. I'm going to whip him within an inch of his life. Margaret. You shan't do it! Thomaso. What ! Margaret. You shan't touch him! You called him a Mexican dog, but he's w^hiter than you are. Thomaso. He's a dirty half-breed. Margaret. And what are you? Thomaso. Never mind about me. As good l^lood flows in my veins as there does in yours. Margaret. Oh, no, my people are white people— my father is a man— a brave, courageous man— not a cow- ardlv thief and outlaw. 10 THE GIRL AND THE OUTLAW Thomaso. I'm an outlaw, yes, but no one has ever called me a coward. Margaret. It's cowardly to keep me here against my will — it's cowardly to torture an old man as you are torturing my father. Thomaso. Ever since your father has been sheriff he has made it his business to hunt me, day and night; he has sworn to take me, where other men have failed; he has put a price on my head, and if it were not that I know the secret places of these mountains better than any man living, he would have strung me up long ago. Do you expect me to have any pity on him — do you expect me to have any for you, his daughter? Margaret. Does he know that I am in your power? Thomaso. Yes. I took great pleasure in imparting the information. As soon as he hands over the ransom money I'll send you home. Margaret. He'll never send you a penny. Thomaso. Then I will send him one of your little fingers for a reminder. If that isn't enough I'll send another— one each day until he gives in. I think the first one will be sufficient. Margaret. And I warn you the first chance I get to escape, I'll take it. Thomaso. How? That door is guarded on the outside. Margaret. Then I T1 try the window. [Starts toward the window.] Thomaso. Wait. [Goes to door L. Z7., unlocks it, and calls.'] Pedro — you black dog — come here. [Enter Pedro, frightened.] Thomaso. Take your gun and stand outside that THE GIRL AND THE OUTLAW 11 ■window. If any one as much as raises that curtain, shoot, and shoot to kill— do you understand? Pedro. Si, Senor. Thomxso [Slashes whip]. Then go. \Fedro takes gun and exits CD.} Margaret. You dog— and you call yourself a white man— you lie ; no white man would torture a woman. Thomaso. That'll do out of you. So you think I'm a miserable half-breed like those men outside, do you? Come here. [He takes from his shirt a small chain with a half a locket attached.] You see this little trinket? It is one-half of a baby's locket with a woman's picture inside. Bead what it says. [Margaret hesitates. He holds the locket out.] Read! Margaret [Takes the locket wonderingly— glances at it in surprise] . Where did you get this ? • Thomaso [Impatienily]. Read! Margaret [Beads from locket] . ' ' Tom, from mother. Who are you— where did you get this locket? Thomaso [Taking it from her]. I've always had it— ever since I remember. In my baby days among the half-breed Mexicans who raised me, this trinket was my only plaything. I used to gaze at the picture and wonder who the pretty lady was. IVIargaret [Looking at him closely]. Do you know now? Thomaso. I believe she was my mother. Margaret [Her hands to her eyes]. Oh, no, no, that can't be. Thomaso. What do you mean? JVLvRGARET. I mean that I have the other half of that locket, with the same woman's face in it, and she was mv mother. 12 THE GIRL AND THE OUTLAW Thomaso. Are you telling me the truth? Margaret. Here it is — see for youi*self. [Takes half- locket from her neck.'] Thomaso [Gazes at locket]. The same. [Reads.] ''To Margaret from mother." What does it mean? Margaret. It means that you have stolen that locket — and the man you've stolen it from was my brother. He was taken from us by gypsies when he was five years old — that trinket was about his neck. I was only a baby then — but I remember the dark-haired little fellow — [Pauses, puts her hands on his shoulders, looks closehj.] Let me look at you. My God, it can 't be — it can 't be — Thomaso. It is — it's true — it's time. Margaret [Turns sadly from him]. And you an outlaw. Thomaso. And what chance had I to be anything else? Raised among a gang of cutthroats who taught me to steal and cheat and murder ! Five years ago, when I was nothing more than a boy, a man called me a Mexican dog — I told him he lied — he struck me in the face with the butt of his revolver — I drew mine and shot him through the heart. Since then, they've tried to catch me — my own father has set a price on my head. Margaret. Ah, but he didn't know it was his own son he was hounding ! You were nothing to him but an outlaw, a notorious criminal. It will be different now! He will tiy to save you instead ! Thomaso. He can't! If they ever catch me, no one can save me. I am a murderer — an outcast — Margaret. You are my brother, and you've never had a fair chance. Dad must try to save you. Thomaso. Never mind about me now. The thing is to get you out of this place as soon as possible. THE IJlliL AND THE OUTLAW 13 Margaret. Won't they let me go if you tell them — Isn't your word law among them? Thomaso. No — far from it. They call me chief because I'm a little braver, a little more reckless than they are, but every one of them is waiting for his share of the ransom money you were to bring — they'll never h't you go wi til out it. Margaret. Then what are we to do ? Thomaso. Til lie to tliem. I've never lied to them before and they'll believe me. Go, get your hat — per- haps I can get you away without being seen. [Mar- garet exits R. U.] If I can only get her away. My life will pay the forfeit, but I am willing. Let's see if the coast is clear. [Raises curtain at window . A shot is fired. Thomaso staggers hack, catching on cupboard to hold himself up.] My God — it was Pedro — I forgot. [Enter Margaret, R, U.] Margaret. I'm ready. Are you coming with me? Thomaso [Bracing himself \. I can't just now. You'll be safe with Pedro. Call him for me. Margaret [Goes to door]. Pedro — come. [Enter Pedro.] Thomaso. Pedro, see that Miss Fenton leaves here immediately. Tell the men the ransom money has been paid. That I am responsible. Pedro. Si. Senor. [Margaret and Pf:DRo exit door in flat. I Thomaso. If I can only hold out vuitil she is safe. God, will you help me do it? You've never done much for me in all my wasted life — but help me just this once — for her sake. [Enter Pedro.] Thomaso. Is shr safe, Pedro? 14 THE GIRL AND THE OUTLAW Pedro. She is gone, Master. Thomaso [Relaxes and falls on couch]. Then I can go too. [He rolls to floor, dead. Pedro drops his gun, runs to Thomaso 's side and feels his heart.} Pedro. Master ! CURTAIN. Because I Love You Dtama in Font Acts By JOHN A. FRASER AuUMt Ol "A Woman's Honor," "A Noble Outcast," **A Modem Ananias," "Santiago," etc. Price» 25 cents Eight male, four female characters. Plays two hours. Modem costumes. This is probably the strongest drama written of the modern romantic style. It is a pure love story and its sentiment and pathos are of the sterling, honest kind which appeals to every man and woman with a human heart. The stage business will be found extremely novel, but easily accomplished. The climaxes are all new and tremendously effective. One climax especially has never been surpassed. CAST OF CHARACTERS Imogene Courtleigh. Wilful, waj^ward and wealthy. ...Juvenile lead Ginger. A Gypsy waif Soubrette Nance Tyson. Her supposed mother Character Prudence Freeheart. A poor relation Old maid comedy Horace Vemer. An artist and accidentally a married man Juvenile lead Dick Potts. His chum and incidentally in love with Ginger Eccentric comedy Ira Courtleigh. Imogene's guardian Heavy Buck Tyson. A Gypsy tinker Character comedy Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy lifejor Duffy. County Clerk and Confederate veteran Irish comedy Squire Ripley. A Virginia landlord Character old man Lige. A gentleman of color Negro character Note; Squire Ripley and Van Sittert may double. SYNOPSIS OF SCENES Act 1. "The George Washington," a country tavern in old Vir- ginia. An impromptu wedding. "When I was on the boards at old Pott's theayter." "Horace has fallen in love and has done nothing but rave about her ever since." "The marriage ceremony performed, I depart, and you will make no attempt ever to see me again." "Except at your own request, never!" Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- cue. "Gold does not always purchase happiness, lady." "Do you ever feel the need of a faithful friend?" "I do, I do, I'm thinking of buying a bulldog." "Look at the stride of him, and Imogene sitting him as if he were a part of herself." Within twenty feet of certain death. "Gone? Without even my thanks for such a deed of desperate heroism?" Act. 3. The Courtleigh Place. A woman's folly. "And you say his father was a gentleman?" "1 have already refused to sign the aocument." "Stand back, she is my wife." Act. 4. The "Mountain Studio." "You're too good to let that French girl get you." "I struck him full in the face and the chal- lenge followed." "You will not meet this man, dear love?" "It shall, at least, be blow for blow." "I'll release you from your promise. Fight that man." "I'm the happiest man In old Vir» {finia, because you love me.'* Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILUNOIS The Spinsters^ Convention (The Original Old Maids^ Convention) Price, 25 cents An evening's entertainment which is always a sure hit and a money-maker. Has been given many hundred times by scnools, societies and churches, with the greatest success. An evening of refined fun. It requires from twelve to twenty ladies and two gentlemen, although ladies may take the two male parts. A raised platform with curtains at the back is all the stage requires, but a fully equipped opera stage may be utilized and to great advantage. Ridiculous old maid costumes, with all their frills and fur- belows, their cork-screw curls, mittens, work bags, bird cages, etc., are the proper costumes. Later on in the program some pretty young women in modern evening dress are required. The latter should each be able to give a number of a mis- cellaneous program, that is, be able to sing, play some instru- ment, dance, whistle or recite well. This entertainment utilizes all sorts of talent, and gives each participant a good part. Large societies can give every member something to do. SYNOPSIS Gathering- of the Members of the Societv— The Roll-Call — The Greeting Song— Minutes of the last meeting— Report of The Treas- urer—Music: "Sack Waltz"— A paper on Woman's Rights— Song: "No One to Love. None to Caress." — Reading of "Marriage Statis- tics" — The Advent of the Mouse — Initiation of two Candidates into the Society — The Psalm of Marriage — Secretary's Report on Eligible Men— A Petition to Congress — Original Poem by Betsy Bobbett — Song: "Why Don't the Men Propose?"— Report of The Vigilance Committee — An Appeal to the Bachelors — Prof. Make-over — The Ren-odelscope. -Testimonials— The Transformation and a miscel- Janeous program. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Hageman^s Make-Up Book By MAURICE HAGEMAN Price, 25 cents The importance of an effective make-up is becoming more appar- ent to the professional actor every year, but hitherto there has been no booii 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 literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques- tions can be asked by professional or amateur that cannot be an- swered by this admirable 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. ^ . ., ^ „ t • ^ Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips. Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, \oung 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, bickly and Healthy Old Age, Ruddy Complexions. r^ ^ -r^f Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects Wigs. Beards Kvebjows. Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eves and Eyelids, tlie 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, ^^ ool, Beards for Tramps, Moustaches, Eyebrows. .^^ ^v. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers Southerners. Politicians Cowboys, Minors, Quakers. Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- ing Peace. Scouts. Pathfinders, I'uritans. Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians. Germans, Hollanders. Hungarians, Ginsies, Russians, Turks, Arabs. Moors, Caffirs, Abys- sinians, Hindoos. Malays. Chine.se, Japanese. Clowns and btatuary. He^^rews, Drunkards, Lunatics. Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPAN\ CHICAGO, ILLINOIS LIBRARY OF CONGRESS HH PLA\5 015 939 494 3 * And Entertainment Books. IHJEI^^ ^^^ largest theatrical booksellers in 1^ the United States, we keep in stock the most complete and best assorted lines of plays and en- tertainment books to be found anywhere. We can supply any play or book pub- lished. We have issued a catalogue of the best plays and entertainment books published in America and England. It contains a full description of each play, giving number of char- acters, time of playing, scenery, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for ama- teurs and professionals, and nearly all of them may be played free of royalty. Persons inter- ested in dramatic books should examine our cat- alogue before ordering elsewhere. We also carry a full line of grease paints, face powders, hair goods, and other '*make-up" materials. The Dramatic Publishing Company CHICAGO