Price, 25 Cents THE VISITORS ajmuuipnna Hageman's Make-Up Book By MAURICE HAGEMAN Price, 25 cents The Importance of an effective make-up is becoming 1 inure appa/» ant to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known 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 It is not only the best make* up book ever published, but it is not likely to be superseded by any other.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. Chaoter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro. Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make* up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips. Eyebrows, Eyelashes, Character Roles, 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 A^e, 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, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Bearers, 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 Iwarmers, Hoosiers. Southerners. Politicians, Cowboys, Minors. Qtia^k^rs, Tramps, Creoles, Mulattoes, Quadroons, Octoroons. Negroes. # Scridiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders*/* Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians, Gipsies. Russians, Turks, Arabs, Moors. Caffrrs, Abys* sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS THE VISITORS A PLAY TO BE ACTED BY CHILDREN IN ONE ACT By FLORENCE KIPBR FRANK Copyright 1916 \ By The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY ,-..],. 24y P5 3SII CAST OF CHARACTERS John Willoughby A boy of ten Susan Willoughby A girl of eight Mama Willoughby (the part to be taken by a girl of 14 or 15) Papa Willoughby (the part to be taken by a boy of about 15) Little Ghost Boy A child of ten Little Ghost Girl A child of eight 4 # DEC 26 1916 ©CI.D 4573G THE VISITORS Scene — Bedroom of the Willoughby children, John and Susan. There are two little white-counterpaned beds at the right of the room. At the left is a dresser and other appointments of an attractive bedroom for ivell-to-do city -apartment children. The entrance to the room is a door at the' back of the stage. In the center of the room and toward the front of the stage is a fair-sized table, the kind that might hold a sewing-basket, children's books, etc. At pres- ent it is occupied by the under half of a large card- board box — a flimsy box of the department -store va- riety. Under this box is spread a table-cover of immaculate whiteness. Within the box, an experi- ment by the Willoughby children is in process. They have filled the flimsy affair with nice, soft, sticky mud — filled it so that the mud is level with the top of the cardboard sides. With this mud as a foundation they are laying out a miniature forest — small twigs for the lofty trees, a stone in the back- ground for a distant mountain, a small cardboard structure for a cabin in the forest. When the cur- tain rises, the two children, John in pajamas, Susan in a nightgown, are busily intent on the experiment. John. [In a sort of a chant, as he plants the twigs, places the stone, etc.'] And here we'll put a little tree, And here a little fountain, And guarding over all the land, A great and lofty mountain. It's beautiful now, isn't it, Susan — I mean Mytyl. 4 TEE VISITORS Susan. [Rather dubiously.] Y-yes! Yes, it is beau- tiful, John — I mean Tytyl. John. You aren't beginning to be a scardy-cat, are you, Mytyl? Susan. Well, Tytyl, dear, are you altogether quite sure that mother is going to like it ? John. [Grandly.] O, she won't mind when I ex- plain to her all about it. [Marks out various objects ivith his finger.] And here we'll put a little stream, And here a tree with branches, And by the open cottage door A — a — a — [Hesitates in thought for a few moments and finally exclaims emphatically.] I don't know what to put by the open cottage door. I can't think of anything that would rhyme with branches — at least I can't think of anything that would stand by an open cottage door. Can you, Mytyl? Susan. [Without stopping to think.] No, I can't; and I'm sure there isn't anything or you would have thought of it. You do think of the most beautiful words and the most beautiful poems ! John. [Modestly.] 0, they aren't much, really! | With growing enthusiasm.] But do you know what I 'm going to do sometime ? — when I 'm grown ? Susan. [Clasping her hands.] O what, Tytyl! Tell me ! John. I'm going to be a really poet — a really true one — and live way off in the forest — and have a little cottage just like this one — and sit at the door of it, like Hiawatha — "At the door on summer evenings" — and every summer evening I'll look at the stars, 0, a long, long time — just look and look at them shining and shiuiug — and when they've shined right into me, the way they do sometimes, then I'll walk into the cottage and TEE VISITORS 5 I'll light the lamp and I'll sit down at the table and I'll write a poem — a beautiful poem about them — a new one every evening — Susan. And I'll sit there while you're writing and I'll look at you, Tytyl. John. [Awakened from his dream. \ You can if you want to. But you mustn't interrupt — not once — not one single word while I'm thinking — Susan. [Earnestly.] Really, I won't. I won't. I promise. John. All right, you can come, then. And it's going to look just the way this does — everything — the forest and the trees and the mountains. [He surveys the minia- ture scene thoughtfully and exclaims.] don't you think we'd better have another little stream rushing down the side of the mountain ? Susan. [Seizing a little cup that has been standing on a chair.] Let me do it. Let me make it rush, Tytyl. John. All right, then. One cupful will do it. [She runs from the room and returns in a moment with a cupful of water, which she pours into the already saturated mud in the box. This last cupful is a little too much. The side of the box gives way and the mud oozes out on the white table-cover. This accident can be managed with a box constructed so that one side may be easily knocked out.] John. There now! Now you have done it. Susan. [Beginning to sob.] Tytyl, I'm sorry. I am sorry. And mother will be angry. I know, I know she will be. John, There she comes now. I hear her. [As Mother Willoughby enters from door back, the two children stand so that the ruin on the table may be shielded. They change their positions as she advances.] Mother. John ! Susan ! Bedtime ! Sleepy-time, kiddies ! John. [Aside — indignantly.] She talks to us as if we were babies! 6 TEE VISITORS Susan. S-s-sh! She's going to see it. Mother. Come now, honey-bunny. Let mother comb her hair for her. Susan. [Not moving.] I can do it myself now, mother. Mother. Well, can she! Pretty soon I shan't have any baby any longer. John. Don't they want you in the dining room for dinner, mother? Mother. Not just this minute, sonny. Company tonight. A really, truly party. All dressed up in our bestest. Daddy and I want to see you children safe asleep first. — Whatever makes you act so queerly? John. N-nothing, mother. We 're just standing here by the table. Mother. Yes, I see that, sonny. [Pulls him gently away from the table, and when she sees the devastation, cries out.] ! ! ! John ! John ! Susan ! Susan. It was my fault, mother. I — John. No, indeed, mother, it wasn't. I told her — Susan. But I got the water. John. I asked you to do it. Mother. I'm afraid that I shall have to punish both of my children. John. [Eagerly.] But, mother dear, it's the for- est — and flowers — and a little cottage — Mother. John, you know very well that it 's nothing but sticky mud and water out of the faucet. John. But, mother, some day I 'm going to live there. I'm going to live there and be a poet — Mother. [Not hearing him — gazing sadly at the table.] A new table, too — and a new table-cover. John ! Susan ! You '11 have to go to bed without your suppers ! Father Willoughby. [Calls from outside.] Mother! Mother ! Won 't you tie my bow-tie for me ? Mother. Right in here, daddy. Father. [As he enters, sees the crestfallen appear- ance of the children.] What's this! What's this! What's the trouble with John and Susan? TEE VISITORS 7 John. Mytyl said that she did it, but really, truly — Susan. It wasn't Tytyl, daddy. Honestly it wasn't. Father. Mytyl! Tytyl! What are they talking of, Mother? John. We got them out of The Blue Bird. You see, we don't like our real names. They're too real — John and Susan — Father. Don 't like their real names ! Did you ever hear of such nonsense? Mother. They've been very naughty children, Daddy. I shall have to send them to bed without their suppers. Father. Do as you think best about it, Mother. Only don't, for goodness sake, be late for dinner. Mother. Yes, Daddy. Don't kiss them good-night this evening. [Father leaves the room without saying good-night to the children. Mother Willoughby bundles them into bed, turns down the light, and she also leaves without saying good-night to them.'] Susan. [Her voice coming sobbingly from the bed- clothes.] She — she didn't kiss us either. John. [Determined to show no weakness — gruffly.] He said our names were silly. Susan. They don't love us any more, Tytyl. [In a wail.] My mother didn't kiss me ! John. [More gruffly.] Huh ! I don't care. Don't be a baby. [Gets out of the bed, and sits on it.] I'm going to run away from here. That's what I'm going to do, this minute. Susan. [Sitting up.] Wh-where are you going to run to ? John. To the forest. To my cottage. Susan. [Horror-struck.] You're not going in your pajamas! John. Huh, I don't care. It's warm there. It's summer. Susan. John Willoughby, put on your suit this instant. 8 TEE VISITORS John. Won 't ! Susan. Then I shan't go with you. John. All right, then ! [He pulls on an overcoat over his pajamas, and Susan puts her coat over her nightgown. Thus attired, the two children start hand in hand for the door and throw it open, only to be confronted by a strange apparition. On the threshold stand a boy and girl, also hand in hand. The boy is about John's age, the girl /Susan's. But they are not modern children. They are attired in the costumes worn at the time when Mother and Father Willoughby were boy and girl. These costumes may be of the children's styles of about 1870, or later. The pantalettes of the '70 period are suggested. John and Susan fall bach in amazement, as the two strange little children come shyly forward. These latter stand still in the middle of the room, and John and Susan stare at them with curiosity. Susan. [Clasping her hands enthusiastically.'] 0, aren't they cunning? John. Sh-sh, Mytyl ! You might hurt their feelings. Susan. Who are they, Tytyl? John. I don't know any more than you do. They look like a picture I saw once somewhere. Boy. We're not a picture, and it's very rude of you to say so. [Both John and Susan start in astonishment when the Boy begins to speak, but they quickly recover their composure and their manners.'] Susan. [Earnestly.] O, he didn't mean to be rude — really! He didn't say you were a picture. He said just that you looked like a picture. Girl. They did make a picture of me once. It was a crayon picture — a great big one. Susan. [Trying to remember.] Yes, and once I saw it. Boy. They made a picture of me, too. I was ten years old. I stood with my hand on a table. [lie poses himself in the stiff photographic manner of the period.] THE VISITORS 9 John. [With a little scream.]. 0, I remember! I remember! My daddy showed it to me. It was at my grandmother's. Susan. 0, I remember too, now. It was my mother that had that picture. John. [Puzzled.] But my daddy, when he showed it, said it was a picture of him when he was my age. Susan. And my mother said it was her picture. [There is a pause. The Willoughby children are plainly bewildered.] Boy. [Comes shyly forward.] I am your daddy. Girl. And I'm your mother. Susan. But how can that be? They're in the dining room now, this very minute. Boy. Only part of them are down there. Girl. Only the grown-up part of them. Boy. We're the other part of them, but they've for- gotten. Girl. Perhaps they wouldn't know us if they saw us. Susan. [With pity.] Then you're only — only little ghost children ? Boy and Girl Together. [Sadly.] Only little ghost- children ! Susan. 0, I'm so sorry ! [Suddenly John begins to laugh and the other chil- dren turn to him inquiringly.] John. [Laughing.] 0, wouldn't father be surprised if he walked into the dining room right in the middle of the company and all, dressed just in that way? Susan. [Laughing also.] And wouldn't mother be surprised if she did ? [The Boy and Girl join in the merriment, and all laugh hilariously for a few moments.] John. [Suddenly thoughtful.] What would you say to him if you did that? What would you say to my father ? Boy. I 'd say — I 'd say — [Triumphantly. ] I 'd ask him if he remembers the forest. John. The forest? 10 THE VISITORS x. The forest? • Girl. [To Boy — clapping her hands in delight.'] 0, our forest ! Our forest ! Boy. She used to live there, too. It wasn't a real forest, of course. Just a woods back of our farm. But we pretended. John. [In glee.] O, I know! I know! My father used to do chores on his farm — fetch wood and carry water. Susan. And my mother lived next door to him. She used to dry the dishes in the kitchen. She was so little that she stood on a chair to put them in the pantry. Girl. [Measuring up to Susan.] She wasn't so very little. She wasn't any littler than you are. Boy. The forest was right back of our house. There was a cottage in it and no one lived there. It was a wonderful place to play in. Girl. [Pointing to Boy.] He told me that sometime way away when he grew up — sometime he was going to live in that cottage. Boy. There was a little hill back of it and we pre- tended it -was a mountain. Girl. It looked very much indeed like a mountain and he made up stories about it. Susan. We have a forest, too, and he [pointing] makes up beautiful poems. Boy. Where is your forest ? You can 't keep a forest in the city! Girl. You haven't even an upstairs or a downstairs to your house. It isn't a house, really. John. [Showing table.] We made our forest on the table. Susan. But the mountain brook spilled over. Boy. 0, there it is ! 0, you poor little children ! Girl. I think we'll have to come and play with them often, shan't we, Hansel? Boy. Yes, indeed, Gretel. I think they need us. John. Hansel! Gretel! [Jumping up and down THE VISITORS H in delight.] They have them, too. They have play- names ! Susan. Goody! Goody! Ours arc Mytyl and Tytyl. Boy. Do you know any games, you poor little city- children ? John. Do we know any games, Mytyl! Just listen to him. Susan. We know all the games that there are, and more than you do, 'cause they make up new ones for us every day now. Boy. Do you know ' ' I saw a ship a-sailing ' ' ? John. 0, do you mean, ' ' I saw a ship a-sailing, a-sailing on the sea, And, oh, it was laden with pretty things for me?" [The children now join hands and play "I saw a ship a-sailing." They can then sing together or in groups — the Boy and Girl together, and then John and Susan. The following songs are suggested, for Boy and Girl: "Jingle, Jingle Bells," (i Morning Prayer," "Grand- ma's Knitting Song," etc. For John and Susan: "Spring Song," arranged from Mendelssohn, and "Alice's Supper." They are playing a singing game or singing a song, when Mother and, Father Willoughby open the door. The Boy and Girl appear very much frightened, and as the Mother and Father enter the two little ghost-children slip behind them and disappear through the entrance- way. John and Susan run to the bed and cover them- selves with the bed-clothes.] Mother. John ! Susan ! Whatever were you doing ? John. [Sitting up in bed.] 0, mother, we were playing with them. Didn't you see them? Mother. See whom ? What do you mean ? Did you see anyone, Daddy? Daddy. They're light-headed, because they didn't have any supper. Mother. The poor little things! They've been dreaming, Daddy. 12 THE VISITOBS Susan. Mother ! Daddy ! They slipped out right behind you. Mother. Who slipped out, Susan? Tell Mother, dearest. Susan. Why, they — they — Mother, there was a cabin in the forest ! John. [To Father.] And you made up stories about it and about the mountain. Susan. And you were just as big as I am when you stood on the chair to put away the dishes. John. And you had play names, too. They were — let me see ! — they were Hansel and Gretel. Father. Whatever has happened to them, Mother! Whatever has happened to our children ! Mother, I don't know, Daddy. But one thing I do know. Every evening — every blessed evening — they're going to have their old mother and daddy for play- companions. Father. good, Mother! goody, goody! Susan. Do you mean our own really grown-up mother and daddy? John. Or do you mean those other children — the children you were when you were little? [Father and Mother look at each other.] Mother. Both, darling, both together. [Father nods his head gravely.] Susan. Kun back to your comp'ny now, dearest Mother. John. Mother, we're so sorry — so very sorry — that we spilled it. [Mother and Father are leaving room. At door Mother turns.] Mother. And if you take all your meat and potatoes, you can have ice-cream, too. Nurse is bringing the tray tliis very minute. John and Susan Together. [ Clapping hands.] O goody ! goody ! Goody ! CURTAIN. Diamonds and Hearts A Comedy Drama m Three Acts By EFFIE W. MERRIMAN Price, 25 cents This play has become one of the most popular in America. The good plot, the strong "heart" interest, and the abundant comedy all combine to make a most excellent drama. "Bub" Barnes is a fine character of the Josh Whitcomb type, and his sister is a worthy companion "bit." Sammy is an excruciatingly funny little darkey. The other characters are good. Fine opportunity for introducing specialties. The play has so many good points that it never fails to be a success. CAST OF CHARACTERS BERNICE HALSTEAD, a young lady of eighteen, with an affec- tion of the heart, a love for fun and hatred of arithmetic AMY HALSTEAD, her sister, two years younger, fond of frolic , INEZ GRAY, a young lady visitor, willing to share in the fun.... MRS. HALSTEAD, a widow, and stepmother of the Halstead girls HANNAH MARY BARNES, or "Sis," a maiden lady who keeps house for her brother DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's son by a former marriage DR. BURTON, a young physician SAMMY, the darkey bell-boy in the Halstead house ' ABRAHAM BARNES, or "Bub," a yankee farmer, still unmar- ried at forty— a diamond in the rough ATTORNEY; SHERIFF Time of playing, two hours. Two interior scenes. Modern costumes. SYNOPSIS OF INCIDENTS Act. 1. Parlor of the Halstead home. The young doctor. The three girls plot to make his acquaintance. An affection of the heart. "Easy to fool a young doctor," but not so easy after all. The step- mother and her son. The stolen diamonds. The missing will. Plot to win Bernice. "I would not marry Dwight Bradley for all the wealth the world contains." Driven from home. Act 2. Kitchen of the Barnes' farm house. Bub takes off his boots. The new school ma'am. "Supper's ready." "This is our nephew and he's a doctor," Recognition. A difficult problem in arithmetic. The doctor to the rescue. "I'm just the happiest girl in the world." "I've come to pop the question, an' why don't I do it?" Brother and sister. "If it's a heifer, it's teh be mine." The sheriff. Arrested for stealing the diamonds. "Let me knock yer durned head off." The jewels found in Bernice's trunk. Act 3. Parlor of the Halstead home. "That was a lucky stroke — hiding those diamonds in her trunk." The schemer's plot miscar- ries. Abe and Sammy join hands. The lawyer. "Bully for her." Bradley tries to escape. "No, ye don't!" Arrested. "It means, dear, that you are to be persecuted no more." Wedding presents, and a war dance around them. "It is no trick at all to fool a y9ung doctor." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Joe Ruggles OR THE GIRL MINER A Comedy Drama in Fout Acts By FRANK J. DEAN Price, 25 cents Nine male, three female characters. A vigorous, stirring play depicting peculiar types of life in a large city and in the miir.ng districts of the West. The parts of Joe Ruggles, the miner, Han? "Von Bush (Dutch dialect), and Richard Hamilton, the scheming villain, all afford opportunity for clever work; while the part ot Madge (soubrette), who afterwards assumes the character of Mark J.ynch, is an excellent one for a bright young actress. Scenery — City street, showing R. R. Station; rocky pass, with eet cabins; a wood scene, and two plain interiors. Costumes of tht day. Time of playing, two and a half hours. SYNOPSIS OF EVENTS ACT I— En' ranee to Railroad Station Looking for a victim — Joe Ruggles — "Them galoots Is worse than grizzlies" — "Morning papers" — Madge and Bess plying their trades— "Can't you sing Joe a song?" — Hamilton and his pal confer — Tom Howarth gains inportant information — "Don't you dare to la> hands on us!" — Hamilton tries to maintain his authority — "Who' Old Joe!" ACT II — Doomsday's Hotel, Dare-devil's Gulch, California The landlord secures a guest — Hans disappointed — "Dot is a mis- dake" — A ghost story — The "Kid and his sister" — "Did I hurt youi highness?" — Hans and Doomsday have another talk — Kate Laurel meets the young miner — "Yah, dot vas vot J t'inks" — Madge's dis- guise penetrated — She recognizes an old enemy — "Now, George Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think yer can pick on me because I'm han'some ye'll find me ter hum" — Hamilton appears — "Those two youngsters ai*e mine" — The tramp takes a hand. ACT III— Wood Scene A lively ghost — Hamilton and Smith plan more villainy — Old Joe thinks of turning Detective — Kate Laurel again — "There is a secret connected with my life" — Kate's confession — "What do you mean, sir?" — Tom Howarth once more — "Vos you looking for a hotel?"— Planning an abduction — Old Joe as an Irishman — "Phat does yez want wid me?" — Undertakes to be a detective — Takes a hand in tt"; abduction — "Do it at your peril." ACT IV Hans hears, end tells, the latest news — "I nefer pelieved dot epook peesness" — Kate Laurel astonished — Hamilton attempts flight — "De poys haf got Mr. Hamilton, und dey vill gif him a necktie barty" — Arrest of Smith — "Get out mit my vay, I vas de United States Mail" — Tom meets his old friend under new circum- stances — "Do you want me, Tom?" — Old Joe gives consent — A happy ending. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS THE DUST OF THE EARTH A DRAMA IN FOUR ACTS By KATHERINE KAVANAUGH Author of "The Professor of Love," "The Girl and the Outlaw," "Corinne of the Circus/' etc. PRICE, 25 CENTS This Rural Drama plays two hours and there are six male and four female characters. There are one exterior and two interior scenes, all simple. Each character fur- nishes a good part; interesting plot wound into every line of the play; two charming love stories; the heroine and her story win the audience from the moment the curtain rises. Full of mystery, romance, pathos and fun. CAST OF CHARACTERS David Moore, of Maple Farm Cottage. Susan Moore, his wife. Elizabeth, their daughter. Jerry, their son. Rev. Dr. Templeton, a young divine. Miss Arabella, the village newspaper. John Ryder, the young master of The Maples. Wandering Tom, a mystery. Old Morse, his companion. Nell, "The dust of the earth." Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS HICKS AT COLLEGE A Comedy in Three Acts By SARA PRESTON, AMY OLIVER AND RALPH E. DYAR PRICE, 25 CENTS Characters, twelve male, nine female. Plays about two hours. Costumes modern. Three easy interior scenes. A jolly, lively piece — full of comedy and action — well adapted to the needs of schools and colleges and ama- teurs everywhere. CAST OF CHARACTERS Hiram Hicks : The Braino Man Tom Horton Who writes advertisements Fritz Jordan Horton 's chum who plays basket ball Adam Biddicut Professor in Northern University Dean Smiley. Dean of the College of Arts in Northern University Percy Bobbins A recent arrival from ' ' Deah Boston ' ' Adolph Hopkins A lazy boy Bastian Briggs A dig Josh Anderson A basket ball enthusiast Charlie Padlet Reporter for the ' ' Daily Shriek ' ' Peter The popular proprietor of ' ' The Pal ' ' Walker Manager for the Braino Man June Grant ) Seniors, chums, and interested respectively in Polly Porter ) Horton and Jordan Claire Angeline Jones A stage struck girl Susy Spriggins A freshman with a crush Daisy Armstrong An athletic girl Fluff Finley A f usser girl Flora Belle Delamartyr Waitress at "The Pal'' Mrs. Cobb Housekeeper at ' ' The Quarters ' ' Lily Maid at ' ' The Quarters ' ' ACT I. Scene — The Palace of Sweets, familiarly known as "The Pal, ' ' the meeting place of town and college. Time — Morn- ing, three days before the championship game. ACT II. Scene — The campus of Northern University. Time— > Morning, the day of the game. ACT III. Scene— ' < The Quarters, ' ' home of the six boys. Time — Evening, the jubilee after the game. Address orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Practical Instructions tor Private Theatricals By W. D, EMERSON author of "A Country Romance," "The Unknown Rival," "Humble 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 L 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. Stage Effects. Wind, Rain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots. Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Ma*. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANT CHICAGO, ILLINOIS LIBRARY OF CONGRESS PLAYS 015 873 421 7 And Entertainment Books. iljEING 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"