m^m.'^^^^^^.wi^^s:3%:<^^^^^.^^^-s^:i^^^n Kageman^s Make-Up Book By MAURICE HAGEMAN Price, 25 cents ^li.^ Importance of an effective make-up is becoming^ n^o*^ otpps." ent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at th© same time covering all branches of the art. This want has noTV been filled. Mr, Kageman has had an experience of twenty year*, as actor and stage-manager, and his well-known literary ability ha& 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 hy 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 It is not only the best make- up book ever published, but it is not likely to be superseded by any other.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 I'owder 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 <5traiqht 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, v/ith 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 Feature.s. 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 Plair, 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, Minor^, Qliakers, Tramps, Creoles, Mulattoes. Quadroons, Octoroons, Negroes,; Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathflyd«FS, Puritans, Early Dutch Set lien Englishmen, Scotchmen, Iri^Smen, Frenchmen, Italians, Sp:miLirdt^ Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians, Gipsies. Russians, Turks, Arabs, Moors, Caflirs. Aby«« sinians, Hindoo's, Malays, Chinese, Japanese, Clowns and Statuary Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMP-^JVv CHICAGO, ILLINOIS WAITING FOR BURGLARS BLACKFACE MONOLOGUE FOR A ]\L^N By BIRCH B. RIDGWAY Copyright 1916 By The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY ^' 4,K DEC 26l9\6^p,p 45,3, WAITING FOR BURGLARS Scene — Bank interior with imitation cardboard safe. At rise of curtain Sambo is discovered on guard equipped ivith a razor and an army gun. Stands near safe. Sambo. Dis heah job ob bein' night watch at dis savings bank sure am a soft snap. Just like bein' Presi- dent ob de United States. There hain't nothin' to do but sot round an' watchful wait for burglars. But there hain't no safe an' sane robber goin' to monkey round dis establishment with Sambo Shinbones on de job. No, suh ! [Shoivs gun to audience.] Dis heah gun I got in my hands is de finest scattah gauge weapon in de world. An ' talk about bein ' a good shot — why, folks, I kin shoot dat gun with de same sureness dat I shoots craps. Den If de dose ob lead don't stop them, they sure had bettah make tracks while they am in condition. [Draivs razor from shoe.'] Dis razor am to use in a pinch — one ob de open kind. Dis heah nigger don't take no stock in safety razors. Yes, suh! All de rob- bers am completely bluffed out. There hain't a rough neck in de w^hole state dat would have de uncommon sense to lay a hand on dat safe. If he did, de under- takah certainly would have a patient. But maybe you white folks would help me if I got in a scrape with bank burglars. [Looks over audience.'] Some ob youse looks like you'd be purty tough cus- tomers in a free-for-all. It sure does me good to know dat such a stiff lookin' bunch am'backin' me. Speakin' ob bank robbers, I sure had a most awful encountah with 'em while I was office boy in a St. Louis Z 4 WAITING FOR BURGLARS bank. De robbers got de drop on me dat time 'cause I nebber had no gun. If I'd only had dis blundah-buss there wouldn't have been no robbery. But, say! You all realize dat what I am speakin' is perfectly reliable. It am de truth, de whole truth, and anything but de truth. Well — I was sayin' — I was there in de bank dat night a sweepin' out for de next mornin' an' dem burglars got in an' begin tyin' my hands before I eben had time to draw my pocket knife. I tried to git loose, but one ob 'em says : ' ' Hold still, you black coon, dere ain't no Abe Lincoln to turn you loose this time." I didn't like to be called names like dat, but what could a fellah do ? All I can say is dat. dey war mighty mean men. One ob dem sot down on my head an ' de other on my solar plexus an' grinned down in my face. ''What you all want?" I asked. "Don't you know?" inquired de big fellah what was settin' on top ob my lungs. "We've come to hold up this bank?" "Well," says I, "you may be holdin' de bank up, but you am certainly holdin' me down." After they got tired ob usin' me for a kind of parlor settee they got up an ' started to blow de safe with nitro- gasoline. When dey wasn't lookin' I sort ob kicked my feet on de floor to attract de attention ob a cop what ought to be wanderin' round out in de street. "Quit that kickin','' yelled the big burglar. Dat made me mad, it did, and I replied: "You'd kick yourself if you was all tied up like dis. " From den on I didn't do nuffin' but sot back an' watch de following numbers on de program. Ebbery time I'd bat my eyes that big fellah would pint his fire- arm at me an' I couldn't do a thing to save de shack from gettin' a first-class clean-up. Dem men was sur- tainly old hands at de business. I'll bet you all a chaw ob terbaccer, women an' ladies not included, dat de big one with de gun has busted more banks to the square mile than all the Democratic administrations in de last sebbenty years. I nebber saw anyone enjoy a thing like dem men did. Dey wasn 't in no hurry at all an ' laughed WAITING FOR BURGLARS 5 an' cracked jokes while dey was preparin' to crack de safe. ''Mike," says de big one to de little one, ''does you like to hear riddles?" "Oh, snre," says de little one. "I'm a bear on riddles." "Well, here it is. "Why is bank crackin' like buyin' government bonds?" "I'll give it up, " says the little one ; ' ' why is it ? " " Because dey are strictly safe business," he replied. Then the little one went to de window an' looked for de cop. "We don't want to split de swag with no bow- legged billy swinger," he growled. I suppose he was sore about de gag his pardner worked on him, for he says: "Talkin' about cops makes me think of a riddle what I'd like to spring on you." "All right, spring ahead," responded de big fellah. "Why is the lead man in the movies like a policeman?" cten asked the little man. De big man scratched his head and says : "I reckon it's because they always catch the villain." "No," cackled the other, "it's because dey is both star men." Well, dem burglars kept on a talkin' dat way about de weather an' war an' religion until they got a hole drilled through de side .ob de ole soap box. Den they got de carbolic acid or nitro-dynamite or what ebber it war an' elevated dat sixty-ton safe plumb through de skylight. I don't expect dem burglars ebber found none ob dat coin. No, suh ! I'll bet dat strong box nebber stopped sailin' till she hit de Mississippi ocean. So clat's all about me and de bank crackers. If I'd only had dis gun an' razor to entertain de visitors with, I might have got my name in red capital letters in de Sunday papers. Yes, suh! I certainly does believe in preparedness. In dat case, preparedliness would have been next to godliness. But, say — afore I forgets it — a friend ob mine is in de most critical condition. I 'spect he's bound to die an' if he don't, I don't nebber 'spect he'll recover. De fact is, he just can't sleep an' if a man can't sleep any at all, he's in for it. Dat poor man, he actually snores 6 WAITING FOR BURGLARS so loud dat he wakes himself up. So sad, so sad! [Sniffs.] It almost brings tears to my ears ebbery time I thinks about it. An' my friend was such a fine man an' one ob de best poultry raisers in de south part of Plymouth Rock County. Why, once I saw him raise twenty hens an' four roosters off a roost one night an' not a one ob 'em squawked. If dar is any person in de audience who can beat dat record he oughtn't to be heah tonight. No, suh ! he should be out at work. But I just can't keep dat poor man's sorry condition out ob my mind. He sure am to be pitied. I guess I might as well tell youse about another calamity while you all am feelin' sad an' down-hearted. I was walkin' along de street de other day an' I met a little colored boy who was cryin' as if his heart would break an' fall to pieces. Ob course I stopped to find out what was de matter. ' ' Little boy, ' ' I asked, ' ' why does you weep so bitterly?" "Well," he says, "it's just like dis: My paw he's all laid up in bed an' I've got to tote ebbery bit of de wood an' water." "Well," says I, "that is a great misfortune. What is the matter with your father — has he got a case of rheumatism ? " " Hain 't no case ob rheumatiz about it," he bawled, "it's a charge of bird shot." Den I strolled on down de highway until I met a young niggah what looked like he 'd been run obber by a passenger train. My curiosity was 'roused to de high- est-pitch an' I inquired ob him what de main difficulty was. "Well, suh," he explained, "I accidentally hap- pened to be walkin' round over in Mistah Bayne's melon patch an' afore I knew it I was attacked and mistreated somethin' awful." "That's too bad," I says in my gentle way; "did ole Bayne catch you while you was there ?' ' " No, " he replied, ' ' but his bulldog did. ' ' Maybe 1 don't look like it, but I come from mighty noted families. Yes, suh, my father was a minstrel end man in one of Shakespeare's plays, an' my mother was Topsy in "Uncle Tom's Calaboose." I 'spects dat ac- counts for my hankerin' for de footlights, but I don't WAITING FOR BURGLARS 7 guess I'll ebber have any success on de stage. You see, dis is de way ob it : A manager ob a big show offered me a position as stage hand, but I nebber took de job. No, suh; I couldn't be two things all at once. "How in de name ob sense," I says, "can you expect me to be a stage hand when I was born an' raised with two black hands?" [Holds dusky hands to audience.'] But I'm gettin' entirely off ob de subject. When I first commenced I was talkin ' about bank robbers. But — • as I said once before — dar hain't one in de whole dis- trict dat would dare show his face round heah. None ob 'em wants to risk gettin' punctuated with buckshot. \Loud hnocli outside; Sambo 'badli) frightened.] Hello! Who's out dar? Who's dar, I tells you? I Crash of glass outside.] hordy, they am breakin' in. Say — you white folks — if you all see anyone round heali in a minute, tell dem dat de night watch am gone on his vacation. [Runs off.] Tompkin's Hired Man t Th^Acts By EFFIE W. MERRIMAN PRICE, 25 CENTS This is a strong play. No finer character than Dixey, the hired man, has ever been created in American dramatic literature. He compels alternate laughter and tears, and possesses such quaint ways and so much of the milk of human kindness, as to make him a favorite with all audiences. The other male characters make .good contrasts: Tompkins, the prosperous, straightforward farmer; Jerry, the country bumpkin, and Remington, the manly young American. Mrs. Tompkins is a strong old woman part; Julia, the spoiled daughter; Louise, the leading juvenile, and Ruth, the romp- ing soubrette, are all worthy of the best talent. This is a fine play of American life; the scene of the three acts being laid in the kitchen of Tompkin's farm house. The settings are quite elaborate, but easy to manage, as there is no change of scene. We stronglj' recommend "Tompkin's Hired Man" as a sure success. CHARACTERS Asa Tompkins — A prosperous farmer who cannot tolerate deceit. Dixey — The hired man, and one -of nature's noblemen. John Remington — ^A manly young man in love with Louise. Jerry — A half-grown, awkward country lad. Mrs. Tompkins — A woman with a secret that embitters her. Julia — A spoiled child, the only daughter born to Mr. and Mrs. Tompkins. Louise — The daughter whom Mr. Tompkins believes to be fcis? own. Ruth — Mr. Tompkin's niece, and a great romp. Plays about two hours. SYNOPSIS Act 1. Sewing carpet rags. "John and I are engaged." "Well, you can disengage yourself, for you'll never be married," "Mrs. Clark, she's took worse." Who makes the cake? Julia declines to sew carpet rags. "It would ruin my hands for the piano or my painting." Dixey to the rescue. "You take the rags a minute, child, and I'll just give that fire a boost." Dixey's story. "It breaks his heart, but he gives her away, an' he premises never teh let her know as how he's her father." Enter Jerry. "Howdy." John gets a situation in the city. Farewell. "It's a dandy scheme, all the same. We'll have our party in spite of Aunt Sarah." "Oh, I'm so happy." The quartette. Curtain. Act 2. Chopping mince meat. The letter. Louise faints. "How dare you read a paper that does not concern you?" "You have robbed me of my father's love." The mother's story. Dinher. "I swan, I guess I set this table with a pitchfork." "Now, Lambkin, tell Dixey all 'bout it, can't yer?" "It looks zif they'd got teh be a change here purty darned quick, an' zif I'm the feller 'lected teh bring it 'bout." "None o' my bizness, I know, but — I am her father!" "It's love the leetle one wants, not money." "If I'd been a man. I'd never given my leetle gal away." "I'm dead sot on them two prop'sitions." Curtain. Act 3. Dixey builds the fire. "Things hain't so dangerous when everybodys' got his stummick full." The telegram. "It means that Louise is my promised wife." "By what right do you insinuate that there has been treachery under this roof?" "A miserable, dirty, little waif, picked up on the streets, and palmed off upon my father as his child!" "Oh, my wife, your attitude tells a story that breaks my heart." "Yeh druve her to do what she did, an' yeh haint got no right teh blame her now." "Friend Tompkins, a third man has taken our leetie gal an' we've both got teh larn teh git along v/ithout her. We kin all be happy in spite o' them two sentimental kids* C'lJ^tain. Addre-s Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Practical Instructions for Private Theatricals By W. D, EMERSON Author of "A Country Bomance/' *