Kb c^5 Price, 25 cents PUBLISHED BY The. Dramatic Publishing Compant CHARLES H SERGEL , PRESIDENT i Practical Instructions for 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-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 an* country. CONTENTS Chapter I. Introductory Remarks. Chapter II. Stage, How to Make, etc. In drawing-rooma 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 Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS SUITE B SKETCH IN ONE SCENE J By FANNIE MYERS LANGLOIS CHICAGO THE DRAMATIC PUBLISHING COMPANY ~f£ fa £ CHABACTERS. 2-1 V- V* Elmer Thaxton. Baritone of the Grand Opera Co. Lucille Thaxton. A society amateur. Jimpsy. A bellboy. Buster. A hotel porter. Scene. A handsomely furnished hotel sitting room. Time. The present. SUITE B Properties. Gent's tall chiffonier, military brushes, per- fume bottles, whisk broom, trunk, toilet case, two tall screens, bath towel, writing desk, sofa and pillows. Both professional and amateur actors are warned not to perform this play until they have the written permission of the publishers. The royalty fee is three dollars for each performance, payable in advance. Copyright, 1911, by The Dramatic Publishing Company. ©CI.D 28131 TMP96-006564 SUITE B Scexe: Elmer's apartments in the Annex. Door R. c. to bath, Door c. to corridor, d. 3 E. l. to Lucille's dressing room, d. 2 E. R. to Elmer's bedroom. Lively music at opening. Buster knocks, then opens c d. and enters, carry- ing a large trunk. Goes to d. r. and finds it locked. Looks around, sees b.l., opens and exit with trunk. Loud bump heard, as if he had dropped trunk. Lucille enters on sound of this bump, c. D. Is dressed in traveling dress, with satchel and umbrella. Lucille. I thought I heard something drop. [She glances around.] Well — this isn't half bad for a sitting room, and I'm lucky to get it. I suppose this is the dressing room. [Tries d. r.] No, locked! [Listens.] There's a man in there — asleep — I can hear him snoring, but, of course, he hasn't the key to this door. [Sees D. l.] Ah, there it is. [Buster re-enters without trunk.] Oh, you have brought my trunk up. [Places satchel and umbrella on desk c. Opens pocketbook, gives Buster coin.] Here. Buster. Thankee, mum. [Exit c. d. Note — Give him his tip each performance and he will say it.] Lucille. [Calls.] Lizette! Lizette! [Going up, looks off D. l.] Not here? She should have arrived half an hour ago. Good gracious! What if she has missed the train? [Looks at watch.] Five o'clock, and I dine with Mrs. Naylor at 7. The best thing I can do is to begin dressing and offer up a prayer for the speedy arrival of Lizette. [Takes up satchel and umbrella. Exit d. l., clos- ing door after her.] 4 SUITE B [Bellboy's knock, two sharp raps heard. JiMpsY enters c. d. with towels. Hangs them on screen b. Opens d. r. c. Sound heard of water running into bath tub. Then he goes to d. R., knocks several times. Rattles knob of door.] Elmer. [Off d. r., sleepily.'] Hello ! what the devil do you want? [Yawn heard.] Ow — wow — wow — wow. Jimpsy. Five o'clock. Bath's ready, sir. Elmer. [Off.] Did I tell you to wake me at five? Jimpsy. Said you'd gimme a jolt in de slats dat would knock me plaster off, if I didn't. Elmer. [Off.] I must have been peachy, all right. I'll get up. [Yawn heard.] Jimpsy. Do youse want a cocktail ? Elmer. No, I'll wait till I get down-stairs, [d. r. un- locked. Money thrown.] Jimpsy. [Catching coin.] T'anks! [Goes up behind screen b. Sound of running water stops.] Dat feller's a prince. [Exit c. D.] [Elmer enters d. r, in pajamas and slippers. Trousers, with suspenders dragging, over his arm. Has shoes in hand and drops them in front of chiffonier R. As he enters,, yawns, then speaks.] Elmer. Oh, but I must have been good last night ! [Looks in glass over chiffonier.] Yes, and I look the part today. [Unlocks chiffonier drawers with key attached to key ring hanging to trousers. Hangs trousers over screen b.] What an ass a fellow is to do that sort of thing! [Gets shirt, underwear, etc., from chiffonier while talking, puts buttons in shirt and hangs all over screen b.] There's nothing in it, except a headache and a bouquet of dark brown tastes in your mouth when you wake up. It certainly was a merry party. Let me see — it is a month — no, by George ! — it is six weeks since I had seen the boys. The only trouble was that they were too glad to see me. If SUITE B 5 Mario's throat continues bad, I may have to take his place for several weeks, and if I do, I can s5e my finish with that bunch. Met me at the train, the villains, and dragged me away from the path of duty without even letting me notify the hotel that I had returned and would occupy my rooms. Lucky for me that Jimpsy was on watch and the rooms un- occupied. Jimpsy got me upstairs and put me to bed with- out even the night clerk seeing me. Well, for a fact, I wasn't fit to be seen. [Exit d. r. c, leaving it open. Sounds of splashing as in taking a cold bath.] Waugh — this water is freezing. Well, one plunge and it will be over. Only the brave deserve to be fair. Brrr ! But this is chilly ! [Splash.] Oh, mama! [Splash.] This water is cold enough to freeze brass whiskers off an iron monkey! [Splash.] Brrr! Talk about the Klondike. [Splash.] [Heard getting out of bath.] There — if my blood doesn't circulate after that I'd better see a doctor. [Takes towel from top of screen. Hand and end of towel appear above top of screen as if drying himself after bath. Talks while putting on garments taken from top of screen. Shirt sleeve moves above screen as if being put on, etc.] For a fellow who has been out all night having a time, there is no tonic like cold water. Of course, it's a good deal of a shock to the system, but that serves you right for coming home in a shocking condition. And I've got to sing Toreador to- night. [Tries voice.] Ah — ah — ah — ah. Oh, I'm in fine condition for it ! Confound those fellows — how did they know I was coming to sing on account of Mario's illness? Must have been announced in the papers, I suppose. [Comes from behind screen limping — fastening suspenders.] I wonder what's the matter with that foot? Must have hurt it last night somehow. [Finds button off pants.] Button gone, eh? Just my devilish luck. I'm always 6 SUITS B moulting a button some place or other. [Gets safety-pin and fastens suspender with it.~\ That buttons your trousers will desert Does seem a shame and a sin, But laugh — ha, ha — for there's no hurt, You've a friend in the safety-pin. [Gets collar, cuffs, necktie, etc., from chiffonier drawer, puts them on while talking.] Confound that foot. [Limp- ing.] Somebody must have stepped on me. [Fastens bach button of collar. Front button is missing.] Now, where the deuce is that collar button? I know I put it in — I'm sure I did. [Searches behind screen, limping.] The devil seems to take a delight in hiding a man's collar button, so as to induce him to swear. Ouch! what in thunder is the matter with that foot ? [Sits on couch R. c. and takes off slipper. Finds collar button in slipper.] My collar button. Well ! Wouldn't that make you mad? [Com- pletes toilet. Puts on smoking^ jacket, takes papers from desk c, and sits in easy chair l. c] I told the hotel people they might rent this room, but I'm glad they haven't done it. I'd hate to be compelled to move. Well, it feels good to be back again. [Sits and reads.] Lucille. [Opening d. l.] Oh, you're there at last! [Throwing a shoe over screen A., which hits Elmer. lie jumps up.] I'm very angry at you. [Throws another shoe.] Now, set the buttons over on those shoes at once. They're so loose I can almost jump out of them. When you've done that, come and help me with my hair. [Exit D. L.] Elmer. By jingo! A woman! Well, here's a pretty situation for a gay grass widower ! [Picks up shoes.] What a dear little foot she has ! I wonder what she looks like ? SUITE B 7 [Pcrps over screen a., then goes hurriedly behind screen B., a shoe in each hand. Lucille enters d. l. in evening dress skirt and dressing sacque. She has curling tongs, stand mirror and lighted heater. He rubbers at her over screen B. | Lucille. Brrr — there's no steam on in there and it's colder than Greenland's icy mountains, so I'll finish dress- big here. [Sits at desk c. and proceeds with toilet.'] Now, hurry with those shoes, Lizette. I have a good mind to scold you, anyway. You ought to have heen here half an hour before I arrived. [Walking around with hair on curl- ing irons.] I stopped to have my nails brushed so you had plenty of time to have had my toilet ready without this rush. Are you ever going to give me those shoes, Lizette ? [Elmer holds shoes over screen.] Why don't you answer me? What makes you so dumb today? Where are you? Lizette ! [Impatiently.] Elmer. [In falsetto.] Ici, madam. Lucille. [,4st 8 SUITE B her hand. Raising shoe to threaten him.'] Keep away" — don't touch me ! I'll scream for help. [Recognizes him.] What! You? [Throws shoe L.] Elmer. What — you? [Crosses l. c. to her with his shoes in his hand.] Lucille. How dare you invade my apartments, sir? Elmer. Pardon me, Lucille — but you seem to have in- vaded my apartments. Lucille. Quite unintentionally. You see, I wrote to en- gage a suite of rooms at this hotel. I received the reply that all the suites were occupied, but that I could have a single room and use the sitting room adjoining, which be- longed to the suite of a gentleman who was at present absent from the city. You are the gentleman, I suppose? Elmer. The same. I returned unexpectedly. I was called home in haste to sing the Toreador in Carmen in the place of Mario, who has a bad throat. You look as if you were enjoying life. Lucille. Oh tolerably — and so you are on the stage. [Sits l. c. Tries to hide foot without shoe.] Elmer. When we parted five years ago I went to Italy and studied for that purpose. But you seem to be in trouble. May I assist you till Lizette arrives ? I am still legally your husband, you know. Lucille. I'll let you put on my shoes — if you care to. Elmer. Delighted. [Puts on one of his shoes.] But what has brought you here? [Sees his shoe on her foot.] Oh, I beg your pardon. [Gets her own shoe and puts it on.] Lucille. I have run up to sing at a musicale in aid of something or other — one of Mrs. Naylor's pet charities. I dine there at seven. [After pause.] Well, haven't you any- thing to say to me? Elmer. Yes. Let's get divorced. SUITE B 9 Lucille. Oh! Seen somebody else? Elmer. Perhaps. What do you care? Lucille. Nothing. Elmer. Your Uncle John's life-long friendship for my Uncle Bob prompted those two inveterate old bachelors to make two very absurd wills. Lucille. Yes. Neither one of us could inherit a cent un- less we married each other. It was a horrible plunge — but I took it. Elmer. Thanks. So did I. But, really, Lucille, it didn't strike me that it would be so horrible, for I was awfully fond of you and always had been ever since we were chil- dren and played together, but two hours after the ceremony you told me you cared nothing for me, and proposed that we should each go our own way. Lucille. And you got angry at that entirely rational proposal, left me without even kissing me good-bye, and this is our first meeting since. Funny, isn't it ? Elmer. Very. How pretty your foot is. Lucille. Don't flatter — chatter. Who is she. [Takes up curling-irons, .] Elmer. Who ? Lucille. The lady on whose account you want a divorce. Will you kindly curl this lock for me? I can't reach it. Elmer. I'll try. [Takes curling-iron — burns himself.] Lucille. You haven't told me who she is. Elmer. What do you care ? Lucille. Oh, nothing. Please be careful * you are burn- ing my ear. Elmer. I beg your pardon. [Drops tongs down her back. She screams, catches them out of her back. She tries their heat with her finger. Then hands them to him.] I am so sorry. 10 SUITE B Lucille. You could curl the hair easier if you would light the heater and heat the irons. Elmer. [He tries the irons and finds they arc perfectly cold. Motions with lips.] D — m. Lucille. ['Sitting at desk again. He lights heater, heats iron.] Is she a blonde or brunette? Elmer. Who ? Lucille. You know. Elmer. Oh — aw — aw — sort of [looking at lock of hair he is about to curl] half and half. Lucille. Oh — medium. Do you like being on the stage ? Elmer. So, so. Lucille. Do you know, you really have improved very much in appearance. I wouldn't be surprised if you have a great many lady admirers. Elmer. Oh, a few. Lucille. What color are her eyes? Elmer. Whose? Oh — you mean . Lucille. Exactly. [Turns in chair, looks squarely up at him.] Elmer. [Looks closely in her eyes.] Blue. [Crosses to R.] Lucille. The same color as mine. [Looking in glass. Aside, as she crosses to d. l.] Oh, I'd like to scratch them out of her head. [Looks at Elmer.] He's grown positively handsome. [Exit D. L.] Elmer. I wonder what's got into her? [Knock heard. He goes to c. d. Jimpsy hands him telegram, let- ters and a large bouquet. Calls.] There's a telegram for you. Lucille. [Off l.] Open and read it, please. Elmer^ [Reading telegram.] "Missed train. Arrive at 8:30 tomorrow morning. Will go to hotel. Lizette." SUITE B 11 [Elmer looks at card with bouquet. Dumps it into vase. Opens letters, glances at them and throws I hen/ down on desk c. while talking.'] You will have to get along withoui a maid for tonight. Lucille. [Off l.] I'm getting along pretty well with your assistance. Elmer. Yes — but I won't be here when you come home, you know. Lucille. [Enters d. l. completely dressed for dinner, with wrap.] Would you please tell me: Am 1 together at the back? Elmer. You are all right. Lucille. As if you knew anything about dresses. I don't feel sure of my back now. [Crosses to chiffonier — ■ stretches and tiptoes to see back in glass.] There, I knew it. Will you please straighten that piece of lace? Elmer. Simply delighted. How pretty your neck is. Lucille. You mustn't look at my neck. Elmer. I'm your husband. Lucille. Yes, but we're going to be divorced. Elmer. That's true. But we are not divorced yet. [Puts her wrap on. Tries to kiss her. She eludes him. \ Lucille. Now, sir, be good. Has she a plump neck ? Elmer. She ? Aw — Oh, yes — plump and white. Lucille. She ought to be ashamed of herself ! Elmer. For having a pretty neck ? Lucille. For trifling with a married man. [To c. d. angrily. Turns and holds out her hand.] Good-bye. 1*11 apply for the divorce — for desertion. Elmer. [Takes her hand.] But you are deserting me. Lucille. I am compelled to. Elmer. By my conduct. [Still holding her hand.] Lucille. No — by my engagement for dinner. [II r kisses her hand. She exit.] 12 SUITE B Elmer. Perversity, thy name is woman! [Gets shoes.] And this was on her dainty little foot ! I've a good mind to put it in a glass case and keep it to look at. But, pshaw ! What's the use ! She doesn't care for me — I'm a fool to go on loving her. [During this he puts on shoes.] How curious she was about my supposititious sweetheart. But then — she's a woman. Now, we men are never curious. [Takes off smoking jacket. Leaves jacket on lounge. Gets his coat, which is hanging just outside d. 2 e. Does not fully leave audience's view.] I wonder whether she's in love with another man ? By jove ! I'll have to find that out if we meet again. [Puts on coat.] There must be some other man dangling after her. Otherwise, she wouldn't have con- sented to the divorce so easily. I'll find him — and when I do = [Puts a flower from bouquet in his coat.] Wonder whether I'll have any voice after that protracted session last night? [Sings "I Love You — Will Forever/' by Fannie Myers Langlois. At end, takes his hat and exit d. c] [Lucille opens c. d. as if she had been waiting in hiding for his departure. Watches some one going down the hall as she enters backwards, and slowly, with her hand on the knob, closes door.] Lucille. He's gone. I don't care. I won't go to their old dinner party. I'm bilious. I have a sick headache. And as for singing at a musicale — I can't do it. I've got a cold — I've got the grip — every old thing is the matter with me. How can a person sing for charity with a voice like this? [Tries voice.] I'll send a note and say that my physician positively forbids my going out. [Pushes bell button. Sits at desk and writes note.] "My dear Mrs. Naylor : So sorry to disappoint you and be disappointed, but I have arrived here suffering so severely that my physician orders met to remain indoors for the present. Faithfully yours, Lucille SUITE i; 13 Thaxton." [Directs envelope. Knock heard. Lucille opens door and gives note and money.'] Call a messenger and send this at once. [Closes door, comes down to desk.] How remarkably handsome he lias grown. | Beginning in a pensive mood, sings "At Dusk" song by Fannie Myers Langlois. At close, sees bouquet. Picks it up angrily.] From her. | About to tear it to pieces. Stops. Laughs. Puts it back in vase.] No, let her have him. What do I care? [Picks up letters he opened and threw on desk.] Three of them. Oh, they must be crazy over him. [Takes them to lounge, sits and reads. Elmer enters c. d. unobserved and watches her. She laughs as she reads, but the laugh dies air ay. Tearfully.] And she dares to write this way to an- other woman's husband. [Angrily.] But what do I care? We're going to be divorced — and then he can have her if he wants her. [Tears letters and scatters pieces in jealous rage. Buries Iter head in pillows.] Elmer. [Sits on edge of lounge. Quietly.] Back al- ready ? Lucille. [Starts in surprise. Pause.] Not going. [Buries her head again.] Elmer. What's the matter? Are you ill? Lucille. Nn — n — no. [Very uncertainly. Sees flower in his coat.] I just hate her. [Angrily snatches flower from his coat and throws it down. She laughs, picks up the flower and straightens it out. He holds lapel for her to put it in his buttonhole.] No. [She slicks it into the bouquet. Sits at desk and writes on card.] Wring the bell, please. Elmer. [Ringing bell.] What are you going to do? [Knock c. d. Lucille puts card in bouquet, looking at Elmer.] Lucille. [To bellboy.] Send these to the Mercy Hos- pital. Elmer. Why didn't you go to the party ? 14 SUITE B Lucille. Well — because. Elmer. Because what ? Lucille. Well — I had to have some evidence for the divorce suit — so I came back to look for it. [Looks at pieces of letter on floor.'] But I've destroyed what I found. Are you in a very great hurry for the divorce? Can you wait until I can get some more evidence ? Elmer. My dear Lucille. I'm in no hurry at all. I can wait a hundred years if you need that much time. Lucille. Are you not forgetting you sing tonight ? Elmer. I had forgotten all about it; I must be off. [Knock at c. D. He opens door, Jimpsy hands him a note.'] For me — from the stage manager. [Opens note.] Listen. [Beads.] "Mario has recovered and insists upon singing tonight." Lucille. Well? Elmer. I am not going to the theatre. Jimpsy, reg- ister "Mr. Elmer Thaxton and wife, Suite B." Tell the clerk my wife ran up to town to give me a little surprise. Jimpsy. Yes, sir. Elmer. [Taking off coat.] And, Jimpsy, any one calls, not at home, remember. Jimpsy. Yes, sir. [Exit c. d.] [Lucille holds smoking jacket; Elmer puts it on. She suddenly stops coat when half way on, so his arms are pin- ioned.] Lucille. What is her name? Elmer. Whose ?— Aw— Oh— Lucille. Curtain. A Woman's Honor A Drama in Four Acts By JOHN A. FRASER Atttnor of "A Noble Outcast," "Santiago," "Modern Anam^,* etc Price, 25 cents Seven male, three female characters. Plays two hours. For Intense dramatic action, thrilling climaxes, uproarious comedy and * story of absorbing romantic interest, actors, either professional or amateur, will find few plays to equal "A Woman's Honor." With careful rehearsals they will find a sure hit is made every time without difficulty. CAST OF CHARACTERS General Mark Lester. A Hero of the Cuban Ten Years' War. .Lead Pedro Mendez. His half brother Heavy Dr. Garcia. Surgeon of the Madaline Straight Gilbert Hall, M. D. In love with Olive Juvenile Robert Glenn. A Wall Street Banker Old man Gregory Grimes. Lester's Private Secretary Eccentric Comedy Ebenezer. Glenn's Butler Negro Comedy Olive f Glenn's 1 Juvenile lead Sally ( Daughters f Soubrette Maria. Wife of Pedro Character NOTE. — Glenn and Garcia may double. Act 1. The Glenn Mansion, New York City. Act 2. The Isle of Santa Cruz, off San Domingo. One month later. Acts 3 and 4. Lester's home at Santa Cruz. Five months later. Between Acts 3 and 4 one day elapses. SYNOPSIS OF INCIDENTS Act 1. Handsome drawingroom at Glenn's. Sally and Ebenezer. **I isn't imputtinent, no, no. Missy." "Papa can't bear Gregory Crimes, but I'm going to marry him, if I feel like it." "Going away?" "I was dizzy for a moment, that was all." "This mar- riage is absolutely necessary to prevent my disgrace." "General Lester, you are a noble man and I will repay my father's debt of honor." "Robert Glenn is dead." Act 2. Isle of Santa Cruz. "Mark brings his American bride to his home today." "You and I and our child will be no better than servants." "How can I help but be happy with one so good and kind?" "It means that I am another man's wife." "Dat's mine; don't you go to readin' my lub lettahs in public." Act 3. Sitting-room in Lester's house. "What has happened?'' "Is my husband safe?" "Break away, give your little brother a chance." "To tell the truth, my heart is breaking." "Debt of duty! and I was fool enough to think she loved me." Act 4. "The illness of the general has an ugly look." "The gossips have it she would rejoice to be rid of her husband." "The Gilbert Hall I loved is dead." "Standing on the brink of the grave, my vision is clearer." "Forgive, and I will devote my life to making you happy in order to repay the debt I owe you — a debt ot honor." Address Orders to THE DRAMATIC PUBLISHING COMPANY ^WCAGO. ILLINOIS. Diamonds and Hearts A Comedy Drama in 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. Th© 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 out 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 1 do iV?" 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 yoiftog doctor." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS One copy del. to Cat. Div. ♦MN i isi2 Hageman's Make-Up Book By MAURICE HAGEMAN Price, 25 cents The importance of an effective make-up is becoming inure appar- ent 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 novr 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, Faca 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, the 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, Wool, Beards for Tramps, Moustaches, Eyebrows. 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, Puritans, Early 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, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS LIBRARY OF CONGRESS PUCiS 016 103 692 4 And Entertainment Books. 'Jtf EXNG 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