■%?v'S^M w{^m^ ^^i^i^^^^^^^^-^^^-^^j^ ci^^^' Practical Instructions tor Private Theatricals By W. D, EMERSON Author of "A Country Romance,'' "The Unknown Kival ** *• Humble Pie," etc. Price, 25 cents Here is a practical hand-took, describing in detail all the accessories, properties, scenes and apparatus neces-sary 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. Ko such useful book has ever been ofifered to the amateur players of any country. CONTENTS Chapter T. 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, Reflectors. How to darken the stage, etc. Chapter VI. Stag^ Effects. Wind, Rain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots. Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. Xi,INOIS George Has a Grouch on Sisters A MONOLOGUE BY MARY IMONCURE PARKER Copyright, 1913, by The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY ^ if V .-.T?^«'^ TMP96-006870 CI.D 83404 George Has a Grouch on Sisters A ^MONOLOGUE By ]\Iary ]\roNCURE Parker Ah, say, if a feller had the arrangin' of things, they'd be mighty darn diffrunt in this world, I tell you. You could play ball in the middle of the street without havin' to keep a lookout for the cop ev'ry ten minutes— and there wouldn't be no cranky old dames yellin' for you to keep off their little two by four grass plats— an' your Dad would smile an' say, "Oh, that's all right, Sonny- be careful next time"— when he had to fork out the coin fer a busted plate glass winder. Say— if my father 'd ever say that to me just onct instead of tellin' me I was drivin' him to the Poorhouse an' would land ill jail— I'd drop dead of heart failure— Honest to Good- ness I would! I wisht we lived up in Greenland or one of them cold countries where they have whale's blubber for winder panes— an' my 'lowance wouldn't go so quick. I'd fix vacations for eight months an' school fer four —an' we'd have turkey an' ice-cream ev'ry day— an' Gee! no Dancin' School; if I arranged this world— an' you wouldn't have to take a bath, an' I wouldn't have no older sisters bossin' me— an '—ah— wake up— what's the use of havin' a pipe dream! Ev'ry body looks at children an' says they has a snap— an' some old moke 4 GEOKGE HAS A GEOUCH ON SISTERS pats you on the head an' says, "Ah, my boy — these is the happy days ! ' ' Gosh ! he must have a good f ergetter. Sunday mornin' when the rest of the fambly wants to sleep cause they been out L'lte Sat'da}^ night — then they hustles you off to Sunday School an' you has to do the religious stunt fer the whole darn bunch — an' they think you aint wise to the game. They'd ruther be Pagins an' sleep. An' why I don't like sisters is they don't mind their own bizness — one of 'em hollers out, "]\Ia, George's put on a clean collar without washing his neck,"— and if you say, "Ah, gwan an' mind your own bizness" — she calls out — "i\Ia, George is very impert'nent" — she gets that word somewheres out of the dictshunery, an' thinks it's smart to spring it on the fokes 'bout you. Then you have to take off your collar an wash — or may be before you dress they go snoopiu' around in the bath-room to see if you get clear in the tub — then Ma makes you take a regler soap bath. Sometimes you can get even when Ma's out of hearin', by sayin — "Well, you must a set up pretty late with that bow-legged cheap skate bow of yourn, cause w^hy you're so cranky." An' you'd most take a lickin' for gettin' in that shot an' seein' your sister get mad. Why is it your sister alius likes them pinheads? An' not only that, but they want to set an' google at 'em on the sofa — an' they don't want you 'round causs your feet's muddy or yonr hair aint brushed or you might say somethin' — gee — your sister talks language to them mutts, an' her voice is soft an' ev'ry little while she gurgles — an' she's all fussed up with a ribbon in her hair an' a lot of puffs an' curls — an' j^ou want to tell the feller if you're sore at her — that she aint like that regler — she's jest puttin' on, an' in the mornin' she wears a ole kimonna an' her GEORGE HAS A GROUCH ON SISTERS . 5 hair in curl kids, only you don't darst tell cause of 3^our Pa. Why is it a feller's more skeered of his Pa than his ^la ? Sometimes I answers ]\Ia back, but when Pa scolds I jest stands an' soaks it in — course sometimes I'm bustin' to say somethin' — but I don't very often. Guess wliy I'm sore 'bout ev'ry thing is this. One of my sisters married one of them pinheads — a regler rah-rah college boy with turn-up trousers and pomp'- clour hair. Well, she went away to live an' I didn't see her fer most two years, an' then they come home fer a visit an' brung a kid. Say, that kid wan't much to look at — bald an' kind of blinky eyed, but it was the w^hole show and then some. Ev'ry body set round an' gazed an' worshipped like 'twas one of them little Billikens, an' Pa an' Ma giggled at it and said, "Goo — Goo" — "See your Gram- pa an' Gramma," an' the kid let out a howl like it didn't give a durn. Nobody looked at me. Say — I wasn't as much as a one-legged guy at a foot-ball game. An' Mary Ann, that's our hired girl, the one we got now — we're alius changin'— Ma says it's cause of me — they gotter blame somebody — w^ell Mary Ann says, "Ah, now, too bad fer you, Garge; yer nose is out of jint agin." An' I says, "Cut that out now, or I'll give you a swift push in the mug," an' then I skiddoes for j\Iary Ann's got some muscle, believe me. 'Twas even worse when they noticed me, an' says — "Come baby, kiss 00 Unkie" — ah, that talk makes you sick — an' the kid had a wet mouth an' spit on my cheek. I didn't want to be a uncle anyway. An' Sister's husband, he says, "If you're real good, George" — an' I thought he was goin' to give me a quarter — fat chanst with that pinhead — "you can wdieel the baby in his buggy." 6 GEOBGE HAS A GEOUCH ON SISTERS An' everybody said "Won't that be lovely!" Like you couldn't see through they was wantin' to shake the kid fer awhile. I couldn't say no, cause tlicy was comp'uy, an' Ma says, "For Hevens sake try to l)ehavc till they're gone." I wheeled the buggy up an' down an' the fellers stood and guyed me. "Oh, look at Unkie" — "Where's your apron nurse?" They was playin' safe cause I couldn't leave the kid. But, believe me. Sliver 'n Fat's got somethin' comin' to 'em. I wanted to chuck the whole thing in the alley, but you couldn't hurt a little guy like a ])aby. Guess I've got somethin' to be thankful for — cause my sisters is growed up — cause Bob Miller is alius gittin' licked fer teasin' his little sister, an' she tells on him an' he pulls her hair an' hides her books an' then she tells some more an' they never get even. I'd ruther have my kid brother 'cause he's a good little scout — bet your life he aint no tell-tale. I aint got but one sister left to kick about my keepin' rabbits in the basement an' playin' army in the yard. We had a circus onct an' I was clown an' rode a real live pony round the yard and Pa raised a howl cause the grass was all wore off, an' he said the place was all goin' to rack an' ruin cause of me. An' I said twant no worse 'n wearin' out the furniture settin' roun' with mutts like my sisters did, an' then I got a lickin'. That's wh}^ I most alius soaks in what Pa says an' don't say much. Pa was sore that day anyhow cause he got stuck on a trade— an' he took it out on me. Say, believe me, I'm the goat. One day Ma made a turrible fuss 'cause we had two live ducks sent i'rom the country an' Mary Ann put 'em in the basement till the butcher could kill 'em next day. An' when ]\Ia came home from a card- GEOEGE HAS A GROUCH ON SISTERS 7 party I had the ducks swimmin' round in the bath-tub an' sister hollered out, ''You dreadful boy, what '11 you do next?" an' the ducks was squawkin' an' flai)pin' their wings an' throwin' the w^ater all round an' havin' a bully time, an' I said — "Ah, Gee — I thought I'd give 'em one more good time before they died tomorrow." Honest, sister aint got no heart — Honest to goodness she aint ! 'Taint so bad no"\v, though, cause this sister 'at's left don't kick much only on my grammer. Who made. up Grammer anyw^ay? I don't see why it ain't as good to say, "I ain't saw a man" as it is to say, "I ain't seen a man." Oh, well, maybe I've got a grouch — 'cause you'd never guess why. I'm kinder lonesome fer my sister's little kid. Funny I never missed him till he went away. But after all, your fokes is your fokes. He couldn't he'p hissef much, that little guy. Seems queer he'd ever get big and strong like me. He was kind of a cute little cuss, after all. IMaybe your fokes is kinder mean to you — but maybe they aint as mean as other fokeses fokes is. Ah — Gee — if that kid was here now I'd let him spit on my cheek. JUN 2 1913 Because I Love You Drama in Fout Acts By JOHN A. ERASER Author of "A Woman's Honor," "A Noble Outcast," "A Modern Ananias," "Santiago," etc. Price, 25 cents Eight male, four female characters. Plays two hours. Modern 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, wayward and wealthy... .Juvenile lead Ginger. A Gypsy waif Soubrette Nance Tyson. Her supposed mother Character Prudence Freeheart. A poor relation Old maid comedy Horace Verner. An artist and accidentally a married man Juvenile lead Dick Potts. His chum and incidentally in love with Ginger Eccentric comedy Irat Courtleigh. Imogene's guardian Heavy Buck Tyson. A Gypsy tinker Character comedy Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy Major 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 doae 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 ray thanks for such a deed of desperate heroism?" Act. 3. The Courtleigh Place. A woman's folly. "And you say Ibis father was a gentleman?" "I have already refused to sign the document." "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- frinia, because you love me." 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-no is becoming: more appar- ent to the professional actor every year, but liitherto tlaere has been no bool^ on the subject describing the muderm methods and at tht Sc>me time covering all branches of the art. This want has novt been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his weli-kiiown literary ability lias enabled him to put the knowledge so gained into shape to be of use to otheis. 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 pi of essior.al or amateur that cannot be an- swered by this admirable hand-book. It is not only tlie best make* up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambiiious actor. CONTENTS Chapter I. General Remarks. Chauter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face Powaer and Puff, Exora Cream, Rouge, l^iquid Color, Grenadine. Blue tor the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste. Mascaro. Crape Hair, Spirit Gum. Scissors, Artists' Stomps. Coid Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before iViaking up; the Straight Make- up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Evelashes, Character Roles, Jewelry, Removing Make-up Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, wilh Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chaptf^r VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Ace, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef • j^ects. Wigs, Beards, Evebiows. Noses. Lips, Pallor of Death. Chapter IX. The Human Fe-atures. The Mouth and Lips, the Eyes and Eyelids, the Nose, tlie Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Bearas, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Ba;d Wigs, Ladies' Wigs, Beaixls 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, Cowbovs, Minors, Quakers, Tranaps, Creoles, Mulattoes, Quadroons, Octoroons. Negroes. Soldiers during War, Soldiers dur- ing feace, Scouts, Pathfinders, Puritans, Early Dutch Settlers. Englislim.en, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders Hungarians. Ginsies, Russians, Turks, Arabs, Moors, Caftirs, Abya- sinians. Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS play;« LSl.S'^ CONGRESS And Entertainment Books. ^SJEING the largest theatrical booksellers in -W 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