Maggie MacCart>^ Listens at the Door AN IRISH MONOLOGUE ^ ^{P^} H BY MARY MONCURE PARKER 1 The Dramatic Publishing Company BRADLEY-OES ^^^T:^ ^.^i^^ ^^^^SJ0^^m'il^^:^^^^^^:^^^^^^^^^^c(^^^^ Practical Instructions for Private Theatricals By W. D, EMERSON Author of *'A Country Bomance/' <'The Unknown Eival," ^'HuiBble Pie,'' etc. Price, 25 cents Here is a practical hand-took, 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 Eemarks. Chapter II. Stage, How to Make, etc. In drawing-rooms or parlors, with sliding or hinged doors. In a single large room. The Curtain j 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 winge, 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, Rain, Thunder, Break* ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Hors*-'" 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 COMPANIT ( CHICAGO. ILLINOIS Maggie MacCarty Listens at the Door AN IRISH MONOLOGUE BY MARY MONCURE PARKER Copyright, 1913, by The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY THP'Sb-OafeBSO 'CI,D 33405 Maggie MacCarty Listens at the Door AN IRISH MONOLOGUE By jMary Moncure Parker Slmre this was how it happened, Biddy Gilhooly — ■ an' though 'twas sorry I was to hear thim fussin' — him an' her — yet 'twas dyin' hiughin' I was listenin' at the other side of the shwing dure. I hov nothin' agin this place, as you know, Mary 'Sullivan — barrin' one or two inconvanienees — some- times they takes a strake of hovin' too mooeh company — but I soon shovrs 'em by me haughty manner whin I've hod enough. Make yersilves comfortable, girls — the fokes is home tonight an' is usin' the parlor thimsilves— so we'll hov to stay in the kitchen. Well, as I was sayin', this place is all right enough — the blaster is a nice sort of a mon an' minds his. own bisuess an' seems stiddy enough — barrin' he's out till one or two onct or twict a wake — but thot's shure not my affair and I think he do pinance — fer I hear her chewin' the rag ivery toime he cooms in late. Well, this is how it was — I got it all patched together listenin' bechume courses, whin they was atin' dinner. It sames she says to him in the mornin ', says she, ' ' This is a holiday today--an' fwhot air ye goin' to do?" ''Oh — I don't know," says he, "meet some of the byes I guess." 4 MAGGIE MacCARTY LISTENS *'An' play poker all afternoon — an' lose money an' I want a lot of new clothes," says she. ''Now Fred," says she, "don't do thot — I'll tell ye what — it's our club day an' I've asked ye so often an' the other wim- men's husbands go sometimes wid 'em an' — " "Not on yer loife," says he. "Fwhat do I want to git mixed up wid a lot of tabby-cats for?" *'Well, ye needn't call 'em tabby-cats," says she. "An' they're better than thim rid-faeed, bald-headed old min ye play cards wid," says she. "You ought to improve yer moind," she says. "To the Divvle wid my moind," he says. "Is thot what ye 're doin' on the gad all day?" An' thru fer him it is, Biddy Gilhooly, she's off on the gad all day — as soon as I gits her waist hooked up the back in the marnin', off she goes on the hoof loike mad — an' if it's improvin' her moind she is shure thin her brain ought to be bustin' thru by this toime — but I ain't sayin' but fwhot she's a plisant spoken lady at thot. Well, they wint on sparrin' back an' fourt an' finally to git rid of her tazin' he agrees to go, an' off they goes to her club — she all ragged out in vilvet an' plumes an' he in a Prince Albert an' silk hat an' a face on him loike vinegar. They was gone about two hours, him coomin' home first — she stayin' to some extry meetin' or other an' whin I heard him shlam the front dure thin I knew how it was widdout aven hearin' him shwear to himsilf while he was changin' his clothes — an' shure, girls, it is looky it is he didn't know Frinch or Eyetalian or any other language or he wouldn't been thru swear- in' yit. Shure, I see 'twas goin' to be a chilly meal whin they sot down to dinner. For some toime they didn't spake, thin she busts out wid — MAGGIE MacCARTY LISTENS 5 **I niver was so mortified in my loife," says she. ' ' I hope yer satisfied, ' ' says he, floppin ' his pork chop down hard on his plate. ''Niver agin fer me!" "Indade, and I'll not ask j^e," says she, ''but ye moight have been a gintleman," she says, beginnin' to cry. "Now don't go blubberin'," says he, "or I won't talk at all. An' why wan't I a gintlemin?" says he. "I s'pose because ye don't know how to be wan," she says, firin' up. "In the first place didn't ye go to slape and shnore right out loud?" "An' who wouldn't wid such a subject? — 'The Inner Ego in Relation to the Outer World.' — A foine thing to spind an hour talkin' aboot?" Shure, Biddy Gilhooly, I came near bustin' right out laughin' behint the sliwing dure. "Ye ought to know about the Inner Ego," says she, "ye 're chock full of it," she says — "but thot ain't the worst — whin I woke ye up wid a punch onct or twict — thin ye turned and twisted about loike a child an' finally, to cap it all, ye said to Miss Martha Briggs, who sat next to ye, 'I'd loike to shmoke a cigarette,' wouldn't ye?" "Well, fwhot's the matter wid the ould girl — can't she take a joke?" says he. "Ould Girl — don't spake so disrespectful," says she. "An' beside ye put yere foot in it foine — ]\Iiss Briggs is the head of the Anti-Cigarette movement in our Reform Department. But thot ain't all," she says, an' she was workin' her jaw so 'she couldn't sthop to ate — ■ but just thin she sthopped a minute whin I brought in some hot biscuits — for the appetite of him wint on the same. "The worst," says she, continuin' whin the shwing dure closes an' I got up close to it agin, "The jg MAGGIE MacCAETY LISTENS worst," she says, "was whin we wint to serve the tay and wafers and coffee, and Mrs. Sthanly asked fwhot would ye hov — thni fwhot did ye say — 'a rye high-ball' . — says you — thot's fwhot ye said — 'a rye high-ball' — I could hov dropped thru the flure. ' ' ''I forgot f where I was," says he, "whin she says, * fwhot will ye hov'? — just loike thot — so familiar." "Do ye know who she is?" says she. "The Prisidint of the Wimmen's Christian Timperince Union — ye've made a foine mess of it. Thin whin the chairman of the Art Departmint says to you, 'Air ye fond of Titian?' says she — thin fwhot did ye say — 'I always take siltzer water in mine,' says you — Fwhot will she think of me wid a husband loike thot? Thin I steered ye off to the leader of our music class, thinkin' ye moight not dis- grace me so mooch on music — an' I hope to die if it wasn't worse — she says to you — 'IIov ye heard Pag- liacci?' — an' how did ye answer? 'I don't care for thim Eyetalians,' says ye — 'but I loike Eddy Foy.' "An' thin fwhot did ye say to ould JMrs. Billings aboot her niece? — 'Thot's a cute little thrick in white,' says ye — an' she glared an' says — 'Sir, thot's not a playin' card — thot's my niece.' "Lord knows the aunt was homely enough to sthop a clock — an' how did I know she hod such a pritty rila- tive? If ye hod a bunch loike tliot at yer club I'd go ivery wake," says he. "Ye 're an' ould booby — talkin' so silly," says she. "An' it's no more I'll ask ye to the club." ' ' An ' it 's no more I '11 go, ' ' says he, ' ' Ye can bet your boots on thot — I Avas the only mon there." "Indade ye wan't," says she. "There was Professor Grote — a very brilliant mon." "Professor Goat, ye mane," says he. "Shure hQ MAGGIE MacCAETY LISTENS 7 looked loike wan wid tliiiu gray alfalfas on his chin." ''Don't spake disrespectful of your betters," she says. ''An' if there was a night school — ye could learn a few things from him." "Shure an' if I took him out for a night or two I could tache him a few things," says he. "But not in the line of mintal improvemint," says she — an' thin she flounced up an' I bate such a quick retrate, Mary 'Sullivan, thot I batted me head agin the pantry dure. I'm thinkin', Biddy, me darlin', thot whin the ]\Iaster goes to the Missus' club agin — Purga- tory will be a place to wear your furs. An' now we'll hov our coffee. I hov some foine crame — knowin' ye was coomin' I gave the fam'ly the top of the milk bottle this marnin' and saved the crame for oursilves. JUN 2 1913 The Outcast^s Daughter t g-^Acts By MARION EDDY PRICE, 25 CENTS Ten male, five female and one child characters. Plays two and one-half hours. Modern costumes. Three interior, one exterior scenes, all easily arranged where there is any scenery at hand. No stronger melodrama has been given the play-loving public. Full of the strongest appealing heart interest, intense, pathetic, real life, where joy and laughter are mingled with pathos and suffering, but all ending happily. A melodrama without a villain or the use of firearms. Amateurs may play it successfully, it plays itself, and it is adapted to strong repertoire companies, CAST OF CHARACTERS Carl Faber An ex-convict Howard Ross A manufacturer Dennis Hogan Servant to Ros.s Abel Gardener to Ross Judge Havens Of the police court Recorder Of the police court Lettner Clerk of police court Second Court Clerk Clerk of police court Two policemen Little Hugo Agatha's child Agatha Sterne Ross' bookkeeper Ida Rheinhold A retired singer Mrs. Wilmuth A washerwoman Katie Factory girl Frances Factory girl SYNOPSIS OF SCENES Act 1. Ross' private ofTice. "What has given me the honor of this visit?" "I will never sing again. My life has been a sad failure." "Good God! My mother!" "I have done wrong, I confess, but when a mother asks, a child must forgive. Oh, Mr. Ross, help me." "You, my rich and famous mother, to you I was nothing, and you — you are nothing — nothing to me," "Agatha! Agatha! My child! My child!" Act 2. Agatha's attic. "My poor father. So young and strong. How I could have loved him." "Yes, Katie is right, I have nothing but bread for my sweet child." "Madam, I vould lie if I say she vas anything but a lady." "On the other side, towards the garden, there are a few rooms I have never used. If you will take thorn " "You do not look like a man who could commit mur- der. How was it?" "I was a weak man and many misfortunes made me desperate." "My picture! I must be mad." "You are good, child, but you shall not call me father." "Father! Father!" Act 3. Ross' Garden, "He is so good to me, but I cannot forget my poor unhappy father." "The picture was taken when I was young. He shall have it." "Stay here and be my wife." "That suspicious old man is in the garden." "For her I sacrificed every- thing." "Do you want to go to prison again?" "My father needs me to defend and comfort him." Act 4. A Police Court. "Do not ask me, your honor — I am an «!X-convict." "Your silence will not help you." "It vas dark und Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor believes in a future life, sor." "He wished to see his child; I am his child." "Grandfather, we love you." "I am his wife. Do not condemn him." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, OJLINOB Hageman^s Make-Up Book By MAURICE HAGEMAN Price, 25 cents 1 le importance of an effective make-up is becoming more appar* ent to the professional actor every year, but hitherto there has been no book on the subject describing tlie 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. Chanter II. Grease-Paints, their origin, components and use. CHiapter III. The Make-up Box. Grease-Paints. Mirrors, Face Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spirit Gum. Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make- up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs. Beards, Eyebrows. Noses. Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, «ie Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XJ. Wigs, Beards, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers^ Hoosiers. Southerners, Politicians, Cowboys, Minors, Quakers. Tidmps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes. Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders, Puiitans. Eaviy Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen. Italians, Spaniards, Portuguese, South Americans, Scandinavians. Germans, Hollanders. Hungarians, Gipsies, Russians, Turks, Arabs. Moors. Caffirs, Abys- sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, He*""''ws, Drunkards, Lunatics, Idiots, Misers, RogueE. Address Orders to THE DRAMATIC PUBLISHING COMPANY rHTCAGO, ILLINOl.S LIBRARY OF CONGRESS PLAYS And Entertainment Books. ^HJEING the largest theatrical booksellers in ^^ 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 plajang, 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