VV No Plays Exchanged. J Just Published-Parlor Pantomines , Parts. Price 25 Cents Each.'. T H B PN 3155 ,D4 Copy 2 (irate Cjrainals, HOW TO GET THEM UP AND HOW TO ACT IN THEM. TO WHICH IS ADDED, How to " Get Up" Theatricals in a Country House ; RULES, BY-LAWS, SELECTED SCENES, PLAYS, NEW YORK: SAMUEL FRENCH, PUBLISHER, No. 122 Nassau Street. Anything on this cover sent by mad on reclip, of price. FRENCH'S STANDARD DRAMA. Price 1 5 Cents each.— Bound "Volumes $1. 25. VOL. I. 1 Ion 2 Fazio 8 The Lady of Lyons 4 Richelieu 5 The Wife 6 The Honeymoon T The School for Scandal 8 Money VOL. II. 9 The Stranger JO Grandfather Whitehead 11 Richard III 12 Love's Sacrifice 13 The Gamester 14 A Cure for the Heartache 15 The Hunchback 16 Don Caesar de Bazan VOL. III. 17 The Poor Gentleman 18 Hamlet 19 Charles II 20 Venice Preserved 21 Pizarro 22 The Love Chase 23 Othello 24 Lend me Five Shillings VOL. IV. 25 Virginius 26 King of the Commons 27 London Assurance 28 The Rent Day 29 Two Gentlemen ofVerona 30 The Jealous Wife 31 The Rivals 32 Perfection VOL. V. [Debts 33 A New Way to Pay Old 34 Look Before You Leap 35 King John 36 Nervous Man 37 Damon and Pythias 38 Clandestine Marriage 39 William Tell 40 Day after the Wedding VOL. VI. 41 Speed the Plough ' l Romeo and Juliet 43 Feudal Times 44 Charles the* Twelfth 45 The Bridal 46 The Follies of a Night 47IronChest [Fair Lady 48 Faint Heart Never Won VOL. VII. 49 Road to Ruin 50 Macbeth 51 Temper 52 Evadne 53 Bertram 54 The Duenna 55 Much MFo About Nothins 56The,^tic ^VOL. VIII. 57 The Apostate 58 Twelfth Night 59 Brutus 60 Simpson & Co 61 Merchant of Venice 62 Old Heads& Young Hearts 63 Mountaineers [riage 64 Three Weeks after Mar- VOL. IX. 65 Love £5 As You Like It 67 The Elder Brother 68 Werner 69 Gisippus 70 Town and Country 71 King Lear 72 Blue Devils VOL. X. 73 Henry VIII 74 Married and Single 75 Henry IV 76 Paul Pry 77 Guy Mannering 78 Sweethearts and Wives 79 Serious Family 80 She Stoops to Conquer VOL. XI. 81 Julius Caesar 82 Vicar of Wakefield 83 Leap Year 84 The Catspaw 85 The Passing Cloud 86 Drunkard 87 Rob Roy 88 George Barnwell VOL. XII. 89 Ingomar 90 Sketches in India 91 Two Friends 92 Jane Shore 93 Corsican Brothers 94 Mind your own Business 95 Writing on the Wall 96 Heir at Law VOL. XIII. 97 Soldier's Daughter 98 Douglas 99 Marco Spada 100 Nature's Nobleman 101 Sardanapalus 102 Civilization 103 The Robbers 104 Katharine and Petruchio VOL. XIV. 105 Game of Love 106 Midsummer Night's 107 Ernestine [Dream 108 Rag Picker of Paris 109 Flying Dutchman 110 Hypocrite 111 Therese 112 La Tour de Nesle VOL. XV. 113 Ireland As It Is 114 Sea of Ice 115 Seven Clerks 116 Game of Life 117 Forty Thieves 118 Bryan Boroihme 119 Romance and Reality 120 Ugolino VOL. XVI. 121 The Tempest 122 The Pilot 123 Carpenter of Rouen 124 King's Rival 125 Little Treasure 126 Dombey and Son 127 Parents and Guardians 128 Jewess VOL. XVII 129 Camille 130 Married Life 131 Wenlock of Wenlock 132 Rose of Ettrickvale 133 David Copperfield 134 Aline, or the Rose of 13.3 Pauline [Killarney 136 Jane Eyre VOL. XVIII. 137 Night and Morning 138 .Ethiop 139 Three Guardsmen 140 Tom Cringle 141 Henriette, the Forsaken 142 Eustache Baudin 143 Ernest Maltravers 144 Bold Dragoons VOL. XIX. 145 Dred, or the Dismal [Swamp 146 Last Days of Pompeii 147 Esmeralda 143 Peter Wilkins 149 Ben the Boatswain 150 Jonathan Bradford 151 Retribution 152 Minerali VOL. XX, 153 French Spy 154 Wept of Wish-ton Wish 155 Evil Genius 156 Ben Bolt 157 Sailor of France 158 Red Mask 159 Life of an Actress 160 Wedding Day VOL. XXI. 161 All's Fair in Love 162 Hofer 163 Self 164 Cinderella 165 Phantom 166 Franklin [Moscow 167 The Gunmaker of 163 The Love of a Prince VOL. XXII. 169 Son of the Night ,170Rory O'More 171 Golden Eagle 172 Rieozi 73 Broken Sword 174 Rip Van Winkle L75 Isabelle 176 Heart of Mid Lothian VOL. XXIII. 177 Actress of Padua 178 Floating Beacon 179 Bride of Lamermoor 180 Cataract of the Ganges 181 Robber of the Rhine 182 School of Reform 183 Wandering Boys 184 Mazeppa VOL. XXIV. 185 Young New York 186 The Victims 187 Romance after Marriage 188 Brigand 189 Poor of New York 190 Ambrose Gwinett 191 Raymond and Agnes 192 Gambler s Fate VOL. XXV. 193 Father and Son 194 Massaniello 195 Sixteen String Jack 196 Youthful Queen 197 Skeleton Witness Innkeeper of Abbeville 199 Miller and his Men 200 Aladdin VOL. XXVI. 201 Adrienne the Actress 202 Undine !03 Jessie Brown 204 Asmodeus 205 Mormons 206 Blanche of Brandywine 207 Viola Deseret Deserted VOL. XXVII. 209 Americans in Paris 210 Victorine 211 Wizard of the Wave 212 Castle Spectre 13 Horse-shoe Robinson 214 Armand, Mrs Mowatt 15 Fashion, Mrs Mowatt 16 Glance at New York VOL. XXVIII. 17 Inconstant 18 Uncle Tom's Cabin [9 Guide to the Stage 20 Veteran 221 Miller of New Jersey 222 Dark Hour before Dawn 223 Midsum'r Night's Dream [Laura Keene's Edition 24 Art and Artifice VOL. XXIX 225 Poor Young Man 226 Ossawattomie Brown 227 Pope of Rome 228 Oliver Twist 229 Pauvrette 230 Man in the Iron Mask 231 Knight of Arva 232 Moll Pitcher VOL. XXX. 233 Black Eyed Susan 34 Satan in Paris J35 Rosina Meadows [ess 236 West End, or Irish Heir- 237 Six Degrees of Crime 238 The Lady and the Devil VOL. XXXI. 241 Merry Wives of Windsor f242 Mary's Birthday 243 Shandy Maguire 244 Wild Oats 245 Michael Erie 246 Idiot Witness/ 247 Willow Copse 248 People's Lawyer VOL. XXXII. 249 The Boy Martyrs 250 Lucretia Borgia 251 Surgeon of Paris 252 Patrician's Daughter 253 Shoemaker of Toulouse 254 Momentous Question 255 Love and Loyalty 256 Robber's Wife VOL. XXXIII. 257 Dumb Girl of Genoa 258 Wrec'k Ashore 259 Clari 260 Rural Felicity 261 Wallace 262 Madelaine 263 The Fireman 264 Grist to the Mill VOL. XXXIV. 265 Two Loves and a I ife 266 Annie Blake 267 Steward 268 Cap'ain Kyd 269 Nick of the Woods 270 Marble Heart 271 Second Love 272 Dream at Sea VOL. XXXV. 273 Breach of Promise 274 Review 275 Lady of the lake 276 Still Water Ruu3 Deep 277 The Scholar 78 Helping Hands 279 Faust and Marguerite 280 Last Man VOL. XXXVI. 281 Belle's Stratagem 2S2 Old and Young 283 Raffaella 284 Ruth Oakley 285 British Slave A Life's Ransom 287 Girahia 288 Time Tries All VOL. XXXVII. 289 Ella Rosenburg 290 Warlock of the Glen 191 Zelina 292 Beatrice 293 Neighbor Jackwood 294 Wonder 295 Robert Emmet 296 Green Bushes VOL. XXXVIII. 297 Flowers of th< 293 A Bachelor of Arts 299 The Midnight Banquet 300 Husband of aa H.i 301 Love's Labor Lust 302 Naiad Queen 303 Caprice 304 Cradle of Liberty 305 The Lost Ship 306 Country Squire 307 Fraud and its Victims 308 Putnam 109 King and Deserter 310 La Fiammina 311 A Hani St uggle 312 Gwinnett/ Vaughan VI. L. XL. 313 The Love Knot ( Judge 314Lavater, or Not a Bad 315 The Noble Heart 3'6Coriolanus 317 The Winter's Tale 3l S Eveleen Wilson * 239 Avenger or Moor of Sicl- 319 Ivanhoe 240 Masks and Faces ) ly|320 Jouathan in England (Catalogue continued on t hird page of cover.) ffJU- Zf ° THE AMATEUR'S HAND-BOOK AND GUIDE TO HOME OE DRAWING ROOM THEATRICALS. HOW TO GET THEM UP AND HOW TO ACT IN THEM EDITED^-BY TONY DENIER, THE CELEBRATED C03IIC PANTOMIMIST, Author of Denier's Parlor Pantomimes, Stage Requisites, and several of the most Successful Pantomimes ever produced. TO WHICH IS ADDED HOW TO "GET UP" THEATRICALS IN A COUNTRY HOUSE. TOGETHER "VFITH RULES, BY-LA"WS, SELECTED SCENES, PLATS, ANB ' EVERYTHING USEFUL FOR THE INFORMATION OF AMATEUR SOCIETIES. NEW TO SAMUEL FRENCH, No. 122 Nassau Street. r/Ml Is 7 Entered according to Act of Congress, ia. the year 1866 BY O. A. ROORBACH, In the Clerk's Office of the District Court of the United States for the Southern District of ISTew York. i 4 CONTENTS. is •~*_« PAGE. ' Preface 5 Diagram and Explanation of Stage Directions 6 Introduction 7 The Company % . 9 The Manager 12 The Theatre 14 Scenery 18 Scene Painting 20 Stage Illusions and Effects 23 Pieces suitable for Private Representation 2G Of Acting 29 Dressing, Making Up, Properties, &c 33 The Prompter 37 Scene Plot of " The Brigand" 40 Rehearsals 42 The Audience 43 Theatrical Tradesmen 44 How to ' ' Get Up ' ' Theatricals in a Country House 45 Classification of a Company 49 Selected Scenes for Amateurs 51 List of Plays for Drawing- Room Representation 54 Rules of an Amateur Club 64 IV CONTENTS. TJU5E. Postal Arrangements 66 Private Theatricals 67 General List of appropriate Pieces for Amateur Performances 71 List of Pieces suited for Amateur Performances, with number of Male and Female Characters in each 76 Business Announcements of Theatrical Tradesmen, Agents, Teach- ers, &c 84 to 93 PREFACE. In presenting this little work to the public, there is no fear of trench- ing on vested interests or occupied ground. It is entirely new in object and treatment, and I am quite sure will be thankfully received by those for whose instruction and interest it is intended. The development of the movement in favor of Home Acting has been the anxious study and deliberate purpose of the Editor ; from a consci- entious conviction that, properly carried out, it would most importantly add to the general happiness of society ; while it is not easy to overrate the benefit in general demeanor and correctness of speech which it insures, or the opportunity it yields for a meeting of the sexes upon a neutral platform in which both appear to compete on equal terms, without favor or affectation, for the happiness of their friends, and the development of their own talents and accomplishments. Gaming and intoxication have disappeared from rational society. Home Acting can supply the interest of the one, and the exhilaration of the other, without their concomitant evils. The variety of pieces I have published, offer a satisfactory choice for the most scrupulous parent or pastor. Many or few, we have provided for all reasonable tastes, and how to dispose the banquet to the best advantage, these pages will, I trust, make sufficiently plain. I am deeply indebted for much valuable information, to "W. J. Sorrell's work on Drawing-Koom Theatricals, and also to a distinguished English Amateur, an officer in the British Indian army, for laws and rules governing English Dramatic Societies ; these, with the laws of American Amateurs, and selections of appropriate plays for performance, it is hoped by the Editor, (for many years favorably known as manager and director of Private Theatricals), will render the work most complete and desirable. With this idea and belief, he begs to subscribe himself the grateful servant of that public who have so warmly welcomed and generously responded to his labors. T. D. DIAGRAM AND EXPLANATION OF THE STAGE DIRECTIONS. The Actor is supposed to face the Audience. D. It. C. / R. 3 E. / R. 2 E. / r. 1 e. Scene. \ L. 3 E. \ .L. 2e. L. 1 E. l. Left. l. c. Left Center. l. 1 e. Left First Entrance. l. 2 e. Left Second Entrance l. 3 e. Left Third Entrance. l. u. e. Left Upper Entrance. (wherever the Scene may be.) D. l. c. Door Left Center. c. Center. r. Eight. it. 1 e. Eight First Entrance. r. 2 e. Eight Second Entrance. r. 3. e. Eight Third Entrance. r. u. e. Eight Upper Entrance. d. r. c. Door Eight Center. For full instructions how to express the various passions, actions, etc., see Book No. 1 of Denier' s Parlor Pantomimes. DRAWIKG-BOOM THEATRICALS. CHAPTER I. " The stage not only refines the manners, but it is the best teacher of morals, for it is the truest and most intelligible picture of life." — HazlitU INTRODUCTION. The extraordinary success of the public amateur performances that have taken place within the past few years must doubtless have led many families and coteries to turn their attention to Private Theatricals, as an excellent medium either for the amusement of friends or for the realization of a sum of money for charitable purposes. It may be equally true that many others would gladly seek amusement from this same source, did they not think that difficulties stand in their path, which require a greater expenditure of time, trouble and money, than they are willing to bestow in order to surmount them. To clear away those difficulties, or rather to prove that the majority of them exist only in idea, and to give advice, based on experience, in matters relating to Private Theatricals, is the object of this present work. It must, however, be distinctly understood that the aim is, to guide and instruct those amateurs who are content to metamorphose their drawing-rooms into Thespian courts, and also to aid those ambitious aspirants who are satisfied with nothing less than a " real theatre," with all its mysteries of flies, flats, borders, sets and wings. A little reflection will suffice to convince those not opposed to dramatic representations, that amateur acting is calculated to 8 amateur's hand-book. either amuse or "bemuse" an audience of rational, well-informed people, according to the amount of ability displayed by the act- ors, and the wisdom shown in selecting the pieces to be acted. I know of no pleasanter evening's amusement than is afforded by either witnessing or assisting in the performance of a spark- ling one-act comedy, played by some six or seven intelligent ladies and gentlemen, who, if they have not professional experi- ence, certainly understand and can appreciate the dialogue, and are utterly free from all those absurd professional conventionali- ties, redolent of anything but actual life, which, unhappily, are but too often met with on the public stage. On the other hand, I can conceive of nothing more hopelessly dull and tiresome than to witness a number of amateurs enacting a long five-act play, more especially a tragedy. We find, in such cases, that they have set themselves a task which taxes their physical and mental powers beyond the just limits of endurance ; as, from the number of characters, and the necessity of sustaining them with dramatic continuity, it is almost impossible to find in a circle of private friends an adequate amount of proper talent. It will hence arise that one, two, or even three parts may be well sustained, whilst the rest are either so painfully bad, or so intensely ludicrous, that the interest of the audience in the play is destroyed, and they vail their weariness in solemn silence, or vent it in derisive laughter. If amateurs will fold their Pegasian wings, and deign to give amusement by selecting those lighter pieces, which require nei- ther intense study nor the highest dramatic art to develop them, they will succeed in their efforts \ but if they will plunge into the fathomless depths of " the legitimate drama," which demands the best talent and the most laborious study to make it even presentable, they will most surely fail. It is not my intention to raise in these pages the oft mooted and much vexed question, as to what is, or is not, the legitimate drama ; all I seek to establish is that Private Theatricals may be made, either by judgment or a want of it, most amusing or most wearisome; and to prove that the representation of plays by amateurs forms a resource for many an hour, which cannot, per- amateur's hand-book. 9 haps, be more pleasurably spent. I propose to place before my readers a plan for their assistance and guidance, showing them bow to proceed in their task, regularly taking them into every department, and proving that their amusement is not ruinous to the pocket, while it must be owned that it is in some degree enriching to the mind. CHAPTER II. 1 All will be fair actors, no need of rare actors, Settle your characters, bustle away — *• James Smith, THE COMPANY. The art of acting is the holding the mirror up to nature, to reflect character, to delineate — by means of voice, manner, facial expression, and gesture — certain creations drawn by the dramatist from his knowledge of human nature, and clothed either in the garb of to-day or in that of a past age. The high- est aim of the actor is to identify himself with the character he is personating — to abstract himself from the real into the ideal. The more thoroughly he effects this, the more complete is the illusion ; and if it be perfectly carried out, the audience will for- get the actor in the impersonation. Of course it is not to be supposed that many can be found, in any circle of private life, who have sufficient genius to reach this point. Every person has, however, a certain amount of individuality, or strongly- defined mark of character, which causes him to differ from others, or, in fact, makes him what he is ; and even in a number of appa- rently extremely common-place people, a large amount of indi- viduality will be discovered, which is capable of being applied to dramatic purposes. On thinking over the specialities in the characters of your friends and acquaintances, it will be found that one is possessed 10 amateur's hand-book. of some kind of wit, another of humor, a third of shrewdness, a fourth is restless and irritable, a fifth is a good mimic, a sixth is phlegmatic, a seventh has a strong perception of character, and so on. Here, then, is your company ; for, as the drama deline- ates types of humanity, so can these friends and acquaintances be cast in parts which are analogous to their natural dispositions. In proposing to get up Private Theatricals, it will be found that many friends will willingly enter into the amusement; others, however, and perhaps those whom you most desire, may be difficult to obtain ; but patience, and humoring their foibles, may enable you at last to gain their consent, and so will your company be formed — resembling, probably, a fine stud of unbro- ken blood colts, needing training and discipline to make them in the least degree useful or efficient. Here, at the very threshold of the undertaking, I must enforce upon all concerned in Private Theatricals, that "Earnestness" must be their motto. They must enter into the spirit of the amusement — abandon them- selves, in short, to its fascinations, and endeavor to do their best ; otherwise the most disastrous results will follow : some will grow discontented with their parts, others will not attend rehearsals, and others again will not even take the trouble to learn their speeches; in short, if the actors show a want of interest, so sure- ly will a failure follow. It can be no great hardship to any per- son to enter con amove into a pleasant amusement, and if he do not intend to do so, nothing can possibly justify his undertaking a part, the ill acting of which may ruin a play and spoil the amusement of eighty or a hundred people. Difficulties will doubtless arise, when the piece to be acted has been selected, in distributing the parts ; for, in my experience of Private Theatricals, I have noticed in amateurs, and especially in those who have never acted before, a strong desire to play "something with nothing but kings," or, to use a common expression, every one is anxious to play first fiddle. Nearly all amateurs labor under the delusion that they can act " Hamlet " or " Richard the Third," whereas many of them are scarcely fitted to embody the smallest part in the lightest comedies. The man- ager, then — who must be selected at the very outset, and of whose amateur's hand-book. 11 duties I shall speak in the next chapter — must allot the parts. To aid him in this task let me distinctly state, to one and all, that every character in a well-constructed drama is important and necessary, and must be well played to render the piece com- plete. The smallest part may be made a character of, and earn its meed of applause ; and every one of intelligence will see that, in casting a piece, the manager is often called upon to sacrifice personal feelings, in order that he may secure, for the best parts, actors who have the ability necessary to adequately sustain them. If the selections be made on that just principle there should be no discontent evinced by those who are put into parts which claim a smaller share of the interest of the audience. Care must be taken, in distributing the parts of a play to amateurs, to give them characters which typify their own pecu- liarities, unless they have sufficient talent to cast them off for the time being. Thus, a rattling, vivacious part, should be given to those who possess those qualities in private life ; the phlegmatic man or woman will do admirably in dull, heavy parts, and so on through your list of characters. It must be borne in mind that the mere imitator, who seems at first sight to be one of the most useful acquisitions to a company, is the one to be most cautious of, as his mimicry is not real acting. A person who gives an excellent imitation of a well-known actor, if cast for one of that actor's parts, will play it as an imitation, which must, except in burlesques, give rise to comparisons anything but flattering to the amateur. The company having been formed, let me, in concluding this chapter, again impress upon all that it is essential to the success of their play that they enter earnestly into the task. I may go so far as to say that they should even regard it, for the time being, as work rather than as amusement ; that they have duties to discharge, which, in justice to the audience and to each other, should be performed to the best of their abilities. 12 amateur's hand-book. CHAPTEE III. * Theseus. — Where is our usual manager of mirth. 1 "What revels are in hand 1 Is there no play- To ease the anguish of a torturing hour ?" Midsummer NigUVs Dream y Act V. f Scene 1. THE MANAGER. Most important of all the personages in Private Theatricals is, or should be, the manager. The qualifications necessary to fit any one for the part are, a tolerably good knowledge of technical stage work, a sound idea of acting, great firmness and decision. The last named qualities are indispensable, for it must be remem- bered that subordination to the dictates of the manager is most essential 5 to enforce which, promptness and inflexibility are required on the part of that functionary. Every member of the company must bow to his judgment in respect to all matters of stage business; all difficulties concerning exits, entrances, and positions on the stage, are to be settled by his authority ; he is the dramatic autocrat, whose nod and voice are laws. The manager must instruct all : teach the actors to seize and bring out the strong points of their parts, check any undue rest- lessness, show them how to add appropriate gestures and expression to the words they are uttering, and to arrange tableaux and groups. It will be seen, then, that the qualities required in him are those of a good actor, to enable him to teach others ; and also a feeling and knowledge of art, as in character pieces harmonies of lines and contrasts of color are to be arranged, so that the eye of the audi- ence is not vexed, and a picture spoiled, by the juxtaposition of attitudes and colors which are mutually destructive of each other. Groupings are effective, if properly arranged ; and a manager must be careful that a tableau should be so disposed as to lead to the principal characters as the chief point for the eye to rest on. If there are no two separate points of real attraction to be dis- played on the stage, all the members of a group should be connect- AMATEL'It's HAND-BOOK. 13 eel to form one general whole, so that one figure could not be taken away without creating a void which requires to be filled up to complete the picture. In this case color plays an important part ; and, if possible, the center of the group should be bright in tints, and gradually fade off into well-assorted dark blues, browns and deep reds. The manager in a small company must also be the super- master, or the manager who allots and arranges the smaller parts, such as lords, ladies, peasants, servants, soldiers, &c, to fill which many persons will willingly lend their assistance. This duty requires some expenditure of time and trouble, but with a company of ladies and gentlemen who have made up their minds to do their best, it may be accomplished, and it should be the task of the manager, in the first instance, to induce his supernu- meraries to enter into the spirit of their parts — to make them, as far as possible, identify themselves with their characters, and, whether peasants or nobles, to appear in their action and gait to be either peasants or nobles. It is requisite for the manager to impress on supernumeraries that they are not to interfere with the main action of the play, but to regard themselves as the background of a living picture, which, while it aids and is necessary to the action in the fore- ground, is never to obtrude itself to the detriment of the chief features of the piece. When supernumeraries are called upon to express, by characteristic action, any emotion, such as surprise, fear, or exultation, care must be taken that no dull clockwork action is the result ; nothing can be more ludicrous than to see ten people, who are under the impress of surprise, simultaneously fling up their right arms, and strike an attitude with their left legs a little advanced. That is merely mechanical and conven- tional, whereas, if, under tuition of the manager, each individual expresses surprise by action in the manner which his nature dic- tates, the result will, with some management of the lines of the bodies, be life-like, startling, and picturesque. I cannot too strongly impress on the minds of amateurs the necessity that exists for the manager being an absolute monarch of the stage. Everything should be under his control : he should 14 amateur's hand-book. arrange rehearsals and enforce punctuality on the parts of the actors in attending them, and he should be careful to see that all properties and stage furniture are forthcoming and properly ar- ranged, so as to assist the actor and leave him nothing to do but to study and give effect to his part. He will require to exercise a great amount of tact in managing the company : one gentleman will probably have a strong objection to standing still ; one will thrust himself into undue prominence; another will persist in making himself resemble a tea-pot, with one hand on his hip and the other pointing heavenwards ; some will whisper, others will gabble, and others will drone like schoolboys oyer a task ; in short, it is probable he will find an apparent mountain of difficul- ties in his path ; but patience and perseverance will in the end remove it. A great secret to success in a manager is never to confess himself beaten, whatever the difficulty — always let him make up his mind to overcome it, and never allow his company to want faith in his abilities. He will probably find himself worried to death by every one — all will consider that their wants or grievances are of the greatest importance. Let him listen to all and advise all, and the interest and energy he evinces in the theatre will animate the rest and make everything go well. CHAPTEE IV. 1 Hang a curtain across the back drawing-room ; Block that staring mahogany door ; Make the book-room a carpenter's sawing-room ; Never mind, cut a hole in the floor." James Smith, THE THEATEE. Do not be in the least alarmed, my dear madam, about your charming new carpet, or your lovely satin wall paper ; far be it from my wish to inflict a stain on either. My dear sir, pray do not button up your pockets or lock up your check-book in fear; I assure you I will drain neither. I am no destroyer of your household goods — I am no thief who would rob you of untold amateur's hand-book. 15 gold; so do not grumble, good parents, when your charming daughters tell you that Private Theatricals are " such fun." If the house in which the performance is to take place possess two drawing-rooms, a complete theatre is at once formed ; if, on the other hand, only one room is available, a line of division must be made by means of a long piece of deal about one inch in thick- ness, three inches broad, and the length of the width of the room This piece must have a hole bored in it at each end, and then, when the depth of the stage has been settled, a hook must be affixed to opposite sides of the room at about two inches from the ceiling, on which the piece of wood is to be suspended. Next, have two upright supports made, about the same thick- ness and breadth as the first-named piece, and long enough to reach from the floor to the top piece, the under-part of which must rest on them to make the framework firm and steady ; and, according to the width of the room, the uprights are to be placed four or five feet from the wall on either side, to form wings for the concealment of the actors when off the stage. The cost of this framework, when fixed, will be about two or three dollars. The next article to be procured is several yards of calico, or some thicker material, of a rich maroon color. This is to be cut and fitted to fill up the vacant spaces between each upright and the wall, and is to be fastened to the top piece of wood with small tacks. If the material is made full, to hang in folds, it will present a more graceful appearance. The curtain is now to be provided, and it may be made of green baize, or dark green glazed calico doubled, up the back of which, along a strong tape, arc to be sewn rows of small brass curtain rings, each row being about two feet from the edge or side of the curtain and from each other, and the rings in each row are to be placed about six inch- es apart. The bottom of the curtain is to be made with a hem, the same as in common window-blinds, and in this is to be placed a round pole of deal, to cause the curtain to hang well and not sway about with the wind. Through the rings at the back of the curtain, cords are to run, which, being fastened to the pole at the bottom, pass through the rings to the top, and then over two pulleys or movable wheels inserted in the top piece of wood, 16 AMATEUR'S HAND-BOOK. and then ran on the top of that piece to the left-hand support, (from the stage) down the stage side of which they descend, and when the curtain is up are fastened to a hook in the support, about three feet from the floor. The curtain can be fixed to the top piece of wood by means of tacks. With respect to lighting the front part, or supplying foot-lights, • procure six, eight, or ten tin sconces, the backs of which, being highly polished, will reflect a strong light on the stage when placed in front of the curtain at regular distances apart, and over the candles which are burnt may be placed common round gas lamp glasses. Next procure some cheap wall-paper bordering, about six or seven inches in width, and containing plenty of bright color. Tack this in front of the two uprights and along the center length of the top piece of wood, so as to decorate the front of the stage ; and for this object any species of decoration which taste and fancy dictate may be employed. When completed, the entire cost of the whole portable theatre will not exceed fifteen dollars, and can all be put up and taken down in less than a quarter of an hour. Of course if the house possesses two drawing-rooms one can be made the stage, and the doors themselves will answer the pur- pose of a curtain, or a curtain may be made as before mentioned, and a piece of wood with two pulleys in it for the cords to run through may be screwed on the top of the molding of the frame- work above the doors, which, projecting from the wall, presents a ledge to receive it. Whether the portable theatre be fixed in one room or one of two rooms be made the stage, care should be taken that the part allotted for the latter have at least one door leading into it, and in the left-hand corner from the stage should be placed a chair, and, if there be sufficient space, a small table, for the use of the prompter — a most important personage, of whose functions and duties I shall treat hereafter. Care should be taken, if the rooms be not very lofty, that the actors are prevented from standing be- neath the framework of the folding doors, or the proscenium of the portable stage, as, if this be permitted, their height being great- amateur's hand-eook. 17 cr in proportion to that of the stage, they will appear ludicrously gigantic. If the whole spo.ee available for the stage be very small, a piece must be selected containing only two or three char- acters, as, if more are on the scene at the same time, it will appear crowded and confused, while the action and interest of the piece will materially sufier. The foregoing is the author's mode of providing the proscenium and curtain : but a more simple course is open for adoption, and I insert it. The framework cannot be more easily constructed, only the two uprights should be secured firmly to the floor ; an iron peg or common door-bolt should be affixed to the foot of each upright, and a corresponding socket made in the floor ; this will give a stability to the frame of the proscenium, which is in- dispensable. The cross-piece may be secured to the two upr:_ by a cord, or better still, by two pins, such as are used to secure the bars of shop shutters. I should recommend also a prosceni- um of gracefully shaped moreen ; the winter curtains of a draw- ing-room would do admirably — they can be tied in the proper positions ; nails are not at all required. The readiest, and gene- rally the most preferable course as to the curtain, would be to have an iron rod fixed along the cross-piece of wood, along which, on rings, the curtain 'may be drawn on or off, meeting, of course, in the center. Should an ascending curtain be preferred, a com- mon baize or merino of the width and length required must be provided, and secured to a light upper batten, to hook to or screw on the cross-piece of the proscenium : the lower part must be fastened to a roller a few inches longer than the curtain, and about three inches in diameter, to either end of which a sash-line must be nailed. This line must run through a small pulley fas- tened at each end of the batten, and descend on the left side of the stage, where the two lines must be tied together and fastened to a hook, very low in the left upright, to hold the curtain se- curely when raised. Gas is so universal that it may be made available with little expense in the majority of cases. An iron pipe with a number of 18 AMATEUR'S HAND-BOOK. jets may be ordered of any gas-fitter, and connected by means of an india-rubber tube running by the prompters side, and under bis control. Glass chimneys should be an indispensable adjunct to this arrangement. Where gas cannot be introduced I should recommend the pur- chase of a sufficient number of cheap lamps, with glass chimneys, which can be placed across the front of the stage, and will make a capital and safe float-light ; also one or two at each wing will be necessary, or the shadows of the performers will be constantly visible on the latter. As many as may be required can be. ar- ranged on a smooth board, and if a dark scene is requisite, a thin board on hinges can be easily constructed to rise or fall by a cord over which the prompter could have command. CHAPTER V. Puff. — " Ihen up curtain, and let us see "what our painters have don> for us.' Sheridan's Critic. SCENEEY. TThex I mention Scenery, I hear the sneers and derisive laugh- ter which are excited by the bare idea of such a thing in a drawing-room ; but if you have an amateur artist in the circle of your acquaintance, a man with an eye for color and effect, a good fellow who delights in large canvases, and, like poor Haydon, loves "to dash in the figures of my foreground,** Then we will have scenery ; for, noTwithstanding all that can be said about playing, in an ordinary apartment, pieces the scenes of which are laid in drawing-rooms, scenery is necessary — it is a part of the dramatic illusion, and scene-painting is an art in itself. In addi- tion, it frequently happens that the play selected demands certain arrangements of the stage, which the scene-painter alone can furnish. The first thing required is a painting-room, and any loft, shed, or outhouse will answer the purpose, (.'nee in the studio, all OK. 10 I is a tolera rf unbleached calico or light canvas, the colors, a good supply of size, and plenty of wh: : procured our implements, it is n; get the height and width of the ste. I Dths,*' or care to have them two feet wider thai: m he cut to tl . sewn together, an the wall of painting-room by means of I N ::: mix together whiten :ze to a tolerably good con- ill work freely, then with a whitewash brush coat the cali : form a priming or foundation for orked oil As bood as it is dry. design the d 3 with charcoal. . fall to work, painting in distemper, or mixin and also flake white to ma] end enable pass one lid be from, one foot and a half th, and of course weight of the room, and the borders or pieces to run across the top of the stage, from wing t more than a foot in depth, or they will dws age more n-riiier.:. ning and execution great degree upon the invention and fancy of the artis :. : jrmer he must be careful to foil in the book of the play, and in the latter he mnsl ;r to harmonize the :n the dres ;.:r:rs. As a guide to him in color fee his - : let m _ : .~ . the followin, from "Eckermann 7 ! satkxns with Goethe." He _. lerallythe scenes should have i (one :;-.- arable to every color of the dress, like Benther^s scenery, vrhich has more or less of a brownish tinge, and brings : of the color of the Lnr^s. If^ how. ( :> depart from so favorable an undecided tone, and to represent a red or yellow - nt, or a green g den, the actors should be 'id similar cole:- their dresses. If an actor in a red uniform : red room, the upper part of his body vanishes, and one :e seen; 20 amateur's hand-book. if, with the same dress, he enters a green garden, his legs vanish, and the upper part of his body is conspicuous. Thus I saw an actor in a white uniform and dark breeches, the upper part of whose body completely vanished in a white tent, while the legs disappeared against a dark background. Even when the scene- painter is obliged to have a red or yellow chamber, or a green garden or wood, these colors should be somewhat faint and hazy, that every dress in the foreground may be relieved, and produce the proper effect." Q The following extract from the English Penny Cyclopedia will be found to convey an excellent general view of the subject • "Scene Painting. " Beginning with what is technically called the drop-scene, as being the simplest of all, we have merely to remark that it is no more than a picture or single painted surface, let down by way of blind or curtain between the acts, so as to close up the opening of the proscenium. As it generally contin- ues to be used for an indefinite time — the one at Covent Gar- den has been there ever since the theatre was rebuilt (1809) — the drop is more carefully executed than back scenes, which, showy as they may be in effect, are required only for a season, and are at a much greater distance from the spectators. As far, too, as pictorial effect and truth of perspective are concerned, a drop shows itself to far greater advantage than other scenery, which is composed of different pieces constituting what is called a set of scenes. These consist of the narrow upright pieces called side-scenes or icings, of the narrow horizontal ones (Jiang ing-scenes or borders,) painted to imitate a sky or ceiling, but chiefly intend- ed to screen the space over the stage, and of the back-scene. Backs, again, are of two kinds, viz. : rolling-scenes, which are let down from above, and fiats, which are formed of two sliding- scenes strained upon framing, like the wings, and meeting each * Eckermann'* s Conversations with Goethe. Translated by John Oxenford. Vol. 2, page 237 amateur's hand-eoox. 21 other and uniting in the center. These are employed when what are term that both the background is seen and the actors can pass through ' them. They are commonly used for the representation of groves or forests, but sometimes for interiors with open arches. There are, besides, what are technically known as set-pieces — narrow scenes placed obliquely on one side of the stage when it is wanted to show a cottage or corner of a house with a practicable door in it. Lastly, there is box-scenery, as it is termed — a species of stage decoration very recently introduced, where, instead of the usual wings ranged one behind the other, there is a single scene on each side extending from front to back, so that the stage is com- pletely inclosed. By this means a more perfect representation of a room can be obtained than where wings are employed. " In fact, side-scenes or wings can be regarded as little better than so many detached screens absolutely necessary to shut out from view the space on each side of the stage, since in themselves they rather detract from than at all aid illusion and effect 5 more especially in interiors, where what should represent a continuous wall or surface on either side is broken into several pieces, which are, besides, placed parallel to the back-scene or flat, instead of at right angles to it. If the scenery be viewed exactly from the center, and from the true perspective distance, the defect thus occasioned is not very striking or offensive ; but if the spectator be near to the stage, or placed on one side of the house, the whole becomes more or less distorted, and the wings only so many dis- jointed fragments, so that all scenic illusion is destroyed; and should the back-scene be at a considerable distance, no part of it will be visible to those in the boxes next the proscenium, but merely the range of wings on one side and the gaps between them. " Scene-painting is executed in distemper — that is, with colors mixed up with size — the design being first made in a sketch. 22 amateur's hand-book. which is accurately laid down to scale, and from which the per- spective outlines are transferred to the larger surface, instead of beginning with dead coloring, and then gradually working up his picture, the artist puts in all his effects at once (as in fresco painting) — the full tone of the lights and shadows, finishing as he proceeds, and merely retouching those parts afterwards which require additional depth or brilliancy. In this kind of painting, bravura of execution and strikingness of effect are indispensable, and nature must be rather exaggerated than the contrary ; at the same time care must be taken lest mere gaudiness be substi- tuted for brilliancy and richness. Further, as much of the cos- tume of the piece depends upon him, it is important that the scene-painter should not only be well skilled in architectural delineation, but also well informed as to the styles of different countries and periods, so as to avoid those errors and anachronisms which are frequently committed, and which are sometimes so glaring that no beauty of execution can atone for them. " Much of the effect of scenery depends upon a skillful mode of lighting it; in which respect considerable improvements have taken place of late years, and the light is now occasionally thrown from above as well as from the sides and the footlights. A variety of mechanical contrivances have also been brought to great perfection, so as to imitate particular effects in the most deceptive manner, such as those of moonlight, where the moon breaks through the clouds and gleams upon the water, &c, changes of the sky from clear to stormy, or the contrary, the sudden glare of fire, &c." The artist should be careful to avoid, if the stage be small, attempting to paint back-scenes with much perspective in them, as the actors will frequently be in immediate contact with the scenes, which necessarily falsifies the perspective and presents an absurd picture to the audience. He should also avoid painting sky borders, as it would be most ridiculous to fix a strip of blue sky across a small stage at certainly not more than two to four feet above the heads of the actors 5 hence let his out-door borders, amateur's hand-eook. 23 which are connected with the wings, represent lattice-work with creeping plants or vines growing over it, or the branches of small trees, or arches, &c. In his landscape flats paint well-wooded scenes with plenty of bushes, ferns, &c. If apartments are to be represented, a painted window may be introduced, with a richly- colored curtain stretching half across it, but be careful not to paint articles of furniture. Of course if the painter be a true artist he will understand how to make all he does effective, and much must necessarily be left to his taste and judgment. lie must, however, be cautious to paint broadly, neither throwing away his time nor his effect by being too minute in his details. At the same time he must not mistake vacuity for breadth, nor paint too roughly ; let him use good masses of color, and always remember that his works are to be seen by candle-light, and through the medium of a very intense yellow ray. To enable him to judge of the effect of his work he should repeatedly re- move himself to the distance at which the audience will be placed from his scene, which will at once show whether he is painting too roughly or on too small a scale. With, respect to fixing the scenes I shall speak in the next chapter, and in quitting the sub- ject of scene painting let me impress upon the artist the neces- sity of his superintending the arrangement of the lights in the theatre. •CHAPTEE VI. " The. The best in this kind are but shadows ; and the worst are no worse if imagination amend them." — 3Iidsummer Night's Dream, STAGE ILLUSIONS AND EFFECTS. I piiorosE in this chapter to instruct my readers in the art of contriving those mechanical illusions and effects, which, at differ- ent periods of our lives, have excited our wonder and delight ; to tell them, in fact, how to terrify the audience by the vivid flash of mimic lightning, and the hoarse rumbling of the most artificial thunder. 24 AMATEUR ? S HAND-BOOK. I commence, however, with the machinery to be employed for fixing the scenery. The " cloths " or back scenes are, when painted, to be rolled up and small round poles fastened to the bot- tom of them ; the scenes are then to be taken down to the stage, and those which are required at the back are to be hung on hook?, driven into the cross battens which connect the scaffold of the stage and support the wings on each side, close to the ceiling. The cloths must next be unrolled and hung one over the other in the order they will be required. To change the scenes care must be taken that each succeeding scene is not in the same groove as the one preceding; that is to say, they must be at different distances from the audience. Thus, supposing the cloth of the first scene is at the back of the stage, the second should be placed on the connecting rods between the Second or third entrance. When the scene is to be changed two persons get on the steps at either side of the stage, untie the strings that fasten it up at either end, and unroll it ; the wings and bor- ders are managed in the same manner ; of course practice will en- able the work of scene-shifting to be performed with facility, and many little contrivances will be thought of to render it as com- plete as possible. Before leaving the subject of scenery, I may mention that if the space behind is not very large, pieces with changes of scene should not be selected ; but if plenty of room is to be had, then all kinds of scenic effects may be indulged in, even to trick changes of scene, such as are found in the " Romantic Idea," when the scene sud- denly changes from a ruin to a gothic castle, and then back again to ruins \ this can be effected on a small stage by means of a flap or flaps painted on both sides, worked and arranged precisely on the same principle as pantomime tricks, and can be worked hy small lines, entirely invisible to the audience. With respect to practicable doors, a good sized clothes-horse makes a very good substitute, having one of the flaps placed between two wings, and covered with painted calico. The space between the top of the door and the ceiling must, of course, be also filled up. I have next to treat of lighting and its effects. In addition to amateur's HAND-COOK. 25 the foot-lamps, it is also necessary to have lights near the wings, taking care to have them all protected with glasses. Sometimes it will be found necessary to produce the effect of moonlight, sunlight, sunset, and a greater or less amount of darkness ; and nothing can be easier to accomplish. To all the lights behind the scenes, have, in addition to the common white lamp glasses, for moonlight, blue glasses ; for sunlight, yellow 5 for sunset and for fairy land scenes, rose color. "With respect to applying these mediums to the foot-lamps, all that is necessary is to have long strips of these different colored glasses fitted in framework and stretching across the stage at the proscenium, and when not used, lying flat on the ground ; when wanted, let the one required be raised up so that the light shines through it on to the stage, and the desired effect is at once produced. To produce darkness, a thick piece of crape, doubled, may be fixed in a frame, and inter- posed between the foot-lights and the stage, and lamp-blacked glasses should be fitted on to the lights behind. Thunder is simulated by shaking a thin sheet of iron. Lightning is imitated with a powder called Lycopcedium flashed through a naked light on to the stage, which may be managed by blowing a small quantity of it through a tube on to the flame of a lamp ; or by means of a machine called in stage phraseology a Lycopcedium flash box, which can be purchased for a small sum of money ; powdered resin, if thrown through the flame of a candle, will produce the same effect. The noise of rain is produced by means of a long narrow box, crossed with irregular partitions, in which about half a pint of peas are confined ; by reversing the ends of this box rapidly or otherwise the due effect is obtained. A crash or the noise of breaking open a door is produced by means of a large watchman's rattle swung round briskly once or twice. The noise of break- ing windows, or the smash of crockery, which is often required in a farce, may be produced by means of several pieces of tin or broken china placed in a basket which is fastened down, and when the noise is wanted the basket is dashed down or shaken. 26 amateur's hand-book. CHAPTEE VII. ' Best of dramaticals, private Theatricals, All we want is to settle the play." — James /Smith. PISCES SUITABLE FOR PRIVATE REPRESENTATION. I have before expressed my entire disapproval of five-act plays for private performance, and have given reasons to justify my condemnation of them, but there may be amongst my readers some few legitimate skeptics, who still cling to "five long acts, and all to make us wiser;" therefore, I now propose to reiterate and enlarge upon the reasons I have adduced, and, I trust, make them so forcible that the question will be set at rest. Imprimis. — Most great dramatic works and long plays contain characters which display the passions at their highest and most striking points of development, requiring in the actors powers of delineating intelligibly and passionately, rage, fear, love, hatred, and revenge, in their utmost intensity; hence it is apparent that a deep study of the parts is demanded. For this is needed not only a memory to retain the words, but the power to conceive and carry out a consistent and truthful delineation of a character. Every word uttered must be weighed and delivered consistently with the human being the actor is personating, every expression of the face, every tone, every gesture, is, in fact, to be in conso- nance with the part. In short, to fill the characters in the high- est range of dramatic art requires not only a long course of study to attain the necessary stage proficiency, but natural talents, which but few possess, qualities which are rarely met with on or off the stage, and even when they exist require time, judgment, and ex- perience, to develop and ripen them so that they may be proper- ly used and not misapplied. Granting that the qualifications necessary for forming a good actor exist in one member of an amateur company, the very want of them in the other actors would* be more glaringly apparent by the strong contrast that must inevitably exist. Thus, then, an AMATEUR'S HAND-BOOK. . 27 audience would center its interest not on the drama, out on one particular member of the company, and they would be wearied to death when he was not on the stage ; in short, they could only see a great actor instead of an entire play. Again, the mere length of the parts in five-act plays is too much for the memories and physical powers of endurance of amateurs. How few persons do we find who can read blank verse as it should be read ; how very few can master a soliloquy, so as to deliver it without falling into a monotonous drone ; how few are there who essay long parts in a play who are not forced to have recourse to the prompter's friendly voice ; in short, if you wish to weary your friends, and utterly disgust them with Private Theatricals, collect your troupe, select Othello, distribute your parts, and mark how your gallant band will mangle, disfigure, bedaub, and utterly deface the noble tragedy. I advise for an evening's entertainment that either one, two, or three-act plays should be selected, or two short pieces, such as a petite comedie and a one-act farce, or a burlesque cut down. Pieces of the foregoing description are to be regarded almost in the light of dramatic sketches, in which no attempt is made to reflect human nature in its deepest workings, but the author is content to sieze sometimes its eccentricities, and at others, its commonplaces. If your company be large enough, select two short pieces, with a different set of persons in each. A list of pieces suitable for private representation is appended to this volume, which will be found to contain a number of small dramas, farces, pantomimes and burlesques, that are not difficult to act. Some, it will be seen, rely more upon intricacy of plot than upon the development of character ; others, again, are defi- cient in the former and rich in the latter ; while a third class is sparkling and witty in the dialogue. According to the nature of the ability possessed by the company, must one of these four classes be selected, always, however, bearing in mind that the deeper the interest of the plot, and the more involved are its workings, or the better the dialogue, the less uncertain will be the success 5 for if the plot be interesting, the audience will de- vote much attention to unraveling its mystery, or if the dialogue be 28 amateur's hand-book. racy and sparkling, its goodness will prevent the audience from judging the acting too critically. In most of the plays I have noted will be found characters which require an actor with humor, a quality very common in Americans. A rattling vivacious actor is also required ; one who can speak fast without gabbling, and who is easy and natural in his style of acting. A testy old gentleman is also needed, which gives a good opportunity for a clever impersonation of old age, by a young man. Sentimental lovers are likewise wanted, and the gentlemen who undertake these parts must be careful not to. fall into sentiment- ality ; impassionate swains are also needed, who must not mistake rant for force. Young ladies are required, of all orders and classes, sentimental, heroical, arch, vivacious, dashing, pensive, fast, slow, all in charming attires, and there are also hosts of little round- capped, cherry-ribboned, apron-pocketed waiting women, who are desperately in loVe with Sam, and favor the loves of Emily and Frederick, the plotters against gouty Sir Harry, and his horrible fox-hunting friend, Sir Blazeaway Reynard. All these parts can be easily filled by the young ladies of the company, but when I come to staid mammas, and elderly back-biting spinsters, in truth, my pen fails me, and I leave the settlement of the cast to the good nature of the clever ladies who are willing to make themselves old and disagreeable, " for this night only." I strongly advise " cutting " plays, or shortening them, by taking out parts of the dialogue. This is rather a delicate opera- tion, and must be entrusted to the manager. In performing this part of his duties, he must be careful not to take away any dialogue which is necessary for the proper development of the plot, but all long speeches may generally be compressed with safety, although it must be understood that cutting does not mean slashing recklessly at the author's work, but gently remov- ing a line or a few words here and there, so as to close up the dialogue, and make the piece go sharply. Any underplots, that do not affect the main story of a play, may, however, be safely reduced, or even omitted altogether ; as I conceive no more fatal error can be committed, than to call the attention of an audience away from the principal action to pay attention to a minor one. amateur's hand-book. 2y which runs throughout the piece without being in any way connect- ed with its chief interest. Most of the burlesques named require curtailing, and the pruning knife may be exercised to the extent of reducing the majority of them by at least one-third. By this means very many pieces, which at iirst sight seem impracticable, will become easy and desirable in their new form. If any member of the company, or friend, can concoct tolerably good verse, I strongly advise a prologue to be written and deliv- ered, which should be pertinent, and contain some strongly pointed allusions to the entertainment, company, host and host- ess, &c. ; and if some one can translate and dress up some little trifle from the French, so much the better, as the company will then be very complete, containing not only actors and scene- painter, but an author and a poet. CHAPTEE VIII. Ham. "Be not too tame, neither ; but let your o\ni discretion be your tutor ; suit the action to the word, the word to the action ; with the special observance that you o'erstep not the modesty of nature."— Hamlet. OF ACTING. It is not my intention to devote this chapter to an essay on the art of acting. I simply wish to offer a few words of advice on the subject for the guidance of amateurs. When the parts are distributed, the actor should sit down with the book of the play, and read the whole of the drama through two or three times, so as to master the idea of the author, and become thoroughly acquainted with the piece. By so doing he will discover the relationship that exists between his part and the other characters, and be enabled to assign to it the degree of prominence it is to occupy. Then let him study the conception of his part, and settle in what manner it is to be delineated, so that a character may be presented to the audience consistent throughout. The next step is to learn the. words, and to do this it will be 30 AMATEUR'S HAND-BOOK. well to copy them out, together with the " cues," or the last few words uttered by the actor who speaks immediately before you, as it is not only necessary to learn the words to be spoken, but also the cues, so as to be certain when to commence your own speeches. It is also a great assistance to mark your part in the printed copy of the play, and not only the words, but also the business, as the books will be referred to rather frequently at + he first two or three rehearsals. As the actor is mastering the text, let him pause and consider the actions and expression that should accompany its delivery, and for both these purposes a looking-glass will be of much ser- vice; it will prevent grimacings, and correct any tendency to stiff, awkward motions and half action with the arms, which are great faults with amateurs, who are fond of moving their limbs with marionette convulsiveness. In acting, the action should rather come after or follow the words, than accompany them, which enables the audience to see and appreciate its meaning. Action should never appear forced, but the actor must endeavor to render it easily and naturally; and, while action should be at once bold, decided, and not wavering, it must not become too prononce, as, if that be the case, the actor will be constantly striking attitudes, which, if indulged in, except in tableaux, will give him a style of acting that is commonly associated with over- the-water melo-dramatic ruffians. The actor is always to remember that he is playing before an audience, but not at it. His business is with the stage ; he is, for the time being, not himself, but a different individual, whose interests, objects, friends and enemies, are only on the stage — he has nothing in common with the rest of the world, and the more he ignores the existence of the audience, the more natural will be his acting ; in short, he is to regard himself as a figure in a picture, and to recollect that the proscenium is the frame which is his limit. At rehearsals, however, when the actor is creating his part, it is necessary to remember he will have to act to amuse ; he must, therefore, be careful to arrange that all he says and does are intelligible to the spectator^ and by frequently rehearsing, and amateur's hand-book. 31 deeply studying his part in connection with the whole play, what- ever he does will become easy and natural to him. That which is most imperatively demanded in amateur actors, is earnestness of purpose ; let but the actor enter into the spirit of the play with all the enthusiasm he is capable of — let him but endeavor to do his best, and if he has any dramatic talent what- ever, the effect he produces must give rise to pleasurable emotion?. I cannot impress too strongly upon my readers, the necessity of regarding the drama they are to act, as a work of art, which is to be looked at by the entire company as a whole. If this view be not taken, the play, instead of being represented as an entire work, will appear broken up into parts, which, like an unfitted puzzle map, is simply a mass of unconnected pieces, neither pleasant nor profitable to regard. t Every play contains certain characters which are of greater or lesser importance, and must be rendered by the actor so that each maintains the place it is intended to occupy by the dramatist, and thus represent the lights and shades, without which, the work cannot be ranked as an art production. Such being the case, I again say, let all study their characters so as to make them form a part of a whole, each being complete in itself so far as regards its rendering by the actor, but still as only a portion of an entire drama ; thus, every amateur taking a character in a piece must not expect to enact a part in which is centered the chief interest ; lie must, however, bear in mind, that, no matter how trifling the character allotted to him, he is still a portion of a whole, and by subduing or heightening his acting, according to the demands of the story, he adds to the general efl i It is very needful that amateurs be taught to stand still on the s: nothing is more wearing than to see an actor who has a perpetual restlessness hi hi- Legp j the rait and bearing should be that of the assume:" Id man, let the walk be : of an old man ; if an irritable person, short, quick strides :id be taken; and so on. Amateurs must never, unless they are very sharp, gag an audience, or, in other words, play at i : introducing some absurdities of their own, as by doing so they to all intents and purposes destroy the stage illusion and the interest 32 amateur's hand-book. of the drama. Of course, in burlesque, if your poet can put a few lines or a song bearing indirectly or directly upon the audience, or some members of the " set " to which you belong, great fun is produced. The mention of burlesques leads me to consider their acting; and I agree with Charles Lamb in considering that in pieces of this class the actor may depart from the rule of regard- ing the play without reference to the audience, and establish a cort of tacit understanding with it, taking those before the cur- tain partly into his confidence, and regarding them as privileged individuals, who are worthy of trust. This, however, must be carefully done, and never get beyond a kind of divided fellowship. In burlesques, I think the acting should be highly colored, and earnestly exaggerated ; thus, kings should be terribly magnificent, overpo\veringly cruel; young princes and prineesses should be most deeply in love, most romantically passionate — in short, bur- lesque acting ought to be, like other acting, seen through a micro- scope, equally true, but magnified into a grotesque kind of gran- deur. Let me, before concluding this chapter, say a few words to those "kind friends" who volunteer for the very small or even supernumerary parts. Never be dissatisfied with your charac- ters; if you are, throw them up at once. If, however, you undertake them, enter con amore into everything; make your- self useful ; never be above your work ; and you will then earn and receive your share of applause, with those who have played the principal parts. I have frequently heard great praise award- ed to actors who have played the most trifling parts when the acting has been careful and finished. If an actor has only three words to utter, or if he is only to be on the stage ten minutes throughout the entire piece, it surely behooves him all the more in the one case to deliver the words to the best of his ability, and in the other to show himself an artist by his action, gestures, and postures, although his mouth be irrevocably closed by the will of the dramatist. To all I say, remember that when on the stage they are there to act ; hence, even when not speaking, it is still necessary to act, and with good-meaning by-play fill up the parts, always amateur's hand-book. 33 bearing in mind, however, when up the stage, not to let that by- play interfere with the business which is going on in the fore- ground. At the same time, let hands, face, and body act, not himself, but the character he presents. Thus will the actor well embody the dramatist's idea, and amuse the audience, which it is his business to send away well satisfied with the performance. CHAPTER IX. Bottom. "I will discharge it in either your straw-colored beard, your orange- ;awney beard, your purple-in-grain beard, or your French crown-color beard, your perfect yellow." — Midsummer Night's Dream. Quince. " In the meantime, I will draw a bill of properties such as our play wants." — Idem. DRESSING, MAKING- TIP, PROPERTIES, &c. One of the multifarious duties to be performed by amateurs is the selection of their dresses. And here, again, I must insist upon each actor and actress regarding himself or herself not ego- tistically, but simply as a part of a whole ; for in theatrical cos- tumes color is the most important object demanding attention, and it can either be made grateful or distasteful to the eye, in proportion to the presence or absence of harmony in its Mendings and juxtapositions. To secure a pleasing effect, each actor is not to settle for himself in what dress he shall appear, but a commit- tee of taste should be appointed to decide upon the colors of the costumes to be worn by the whole corps. As an instance of the result of a want of care in the selection of colors on the stage, I may cite the two Cardinals in Henry YIIL, at one of our New York theatres. Wolsey wore a scarlet moire-antique robe, and Campeius a scarlet woolen robe of much greater intensity and depth of color, so that when the two were side by side on the stage, the robe of the former appeared pink, while that of the lat- ter was a more intense scarlet. Thus "Wolsey's dress, by not presenting the distinctive color of cardinals — scarlet — became unmeaning and false. 34 AMATEUR'S HAND-BOOK. Let then a council of taste be held, the artist being" elected as President, so that the prevailing tones of the scenery and the dresses may harmonize. As I believe that my readers will find warnings of service to them, let me give them another example of how an effect may be destroyed by a want of care. Supposing the dress of the principal character of a play be scarlet ; it fol- lows that, if green is not on the stage in the dresses of others of the performers, the eye, upon being withdrawn from the scarlet, will see every other color more or less tinged with green, and consequently impaired ; hence it is necessary to juxtapose the latter with the former, in order to keep the visual organ in its natural state. The character of this work will not permit of my treating at any length upon the laws of contrasts of color, so that I cannot give my reasons for selecting the following, as producing agreeable results, but my readers may rest assured that the combinations will prove pleasing to the eye. Thus, I recommend red and green — blue and orange — yellow and violet — green-blue and red-orange — yellow-green and violet-red — blue-violet and orange-yellow. These are the most brilliant colors which can be used on the stage, and these blendings of them will be found the best, as neither color loses any of its tone or brilliancy. Care must, how- ever, be taken, that the colors are of equal intensity, so that neither shall be weakened by the juxtaposition. In arranging colors on the stage, in dress, it is necessary not to place too violent contrasts before the audience ; but care should be taken that a similarity of shades or tints prevail, in order to insure harmony; that is to say, if deep colors be employed in some of the dresses, such as deep reds, dark blues, or browns, the rest must not be very light greens, or sky blues. " In wearing character dresses, consciousness of having on a strange costume is a great defect, as it gives to actors the appearance of people of the 19th century masquerading in clothes of another period ; to avoid this inartistic result, the actors should inure themselves to their fancy dresses ; the gentlemen must learn to wear swords without endangering their legs, to let their cloaks hang gracefully over their shoulders, and to endeavor to walk as amateur's bajcd-book. 35 _3ir boots had been made for them ; -earing of y dress should, as far as possible, indicate the character. h respect to the dresses, the least troublesome plan of procur- :hem will be to a theatrical costumers ; but in giving the order, it is necessary that the m i^on Tumes of the proper colors and -fashion, and as fr looking as possible. -at one estimate she cover the whole charge, extras included. The DQSf wiO the quality and description of dresses required; those which have seen better days, can be hired at a surprisingly low figure. If^ on the other hand, it is determined to give a series of representations, and it is thought desirable to establish an amateur wardrobe, colored merinos, cheap silks, :!:>f::L. frajfoeni, ribbons, old cloth: n and altered, will be of immense service, and for the more decorative portion- ::" Che dresses, theatrical trim- ming shops aell all kinds of sham silver and gold lace, stars, glit- tering buttons, and past: a very trifling :::o that a wardrobe which is really useful and serviceable, may be formed for a very small sum of money. For the style of fancy dresses, Lactfs : Plamd&s Series of L om,d H-s:. tames will enable sufficient precision as to fashion and d Making up the face and head is a great point, and fa this pur- pose are required wigs, beards, and mpstadbes, r:uge, pearl pow- der, and sepia, or Indian ink, I rith a hare's foot or two, .he proper applicati::: ge. wigs can either be purchased or hire itrical perruquier, who will attend on the Bfening •:: :_;- performance, and not only fit on the wigs, : : at make n : rs. \ ::.:ie ;-::.. must *: : given before the performan : e . and "_ the period and of the colors required. If, ho 1 iga are not needed. fin* the o:epting for one or two of the actors, who must find their own, amateurs will Lave to make \: their : - e the following kjnts for their guidance. I,: ileinthe face? :.nd in applying il be careful- 36 amateur's hand-book. ly laid on the skin with a hare's foot, and not be made to look too obvious ; it should be placed well under the eyes, as it imparts to them a brilliant sparkling appearance ; pearl powder may be judiciously applied to the forehead, neck, arms and hands, to whiten them. If a comic face be wanted, the rouge should be placed on the tip of the nose, or down it in a streak, also laid on the cheekbones, or across the forehead. This, however, must not be overdone. In removing paint from the skin, it should not be washed off, but cold cream rubbed on the face, and then the whole wiped off with a dry towel. In making up the face of an old man, in a bald wig, the natural skin should be colored to match the artificial skin of the wig, as nearly as possible. To represent the traces of age, that is to say, to give to a young person the appearance of an old one, use sepia, or Indian ink, which must be applied with a camel's hair brush. It is necessary to deepen, with the brush and sepia, the lines run- ning down from the nose, the furrows across the forehead, the crow's feet about the eyes, and the lines in the chin; in fact, to deepen all the lines in the face. This is a most delicate operation, and requires much care in its execution, more especially on a small stage, because if the lines are too strongly marked, they will look like what they really are — paint. The best plan to pursue, is, for an actor, when making up before a glass, to have a very strong light about the glass, and in the room, and then re- tire from the glass to the distance at which he will be placed on the stage from the nearest portion of the audience, which will enable him to judge whether he has produced the desired effect. In fact, in everything connected with private theatricals it is requi- site to conceal the stage trickery, in order to convey as complete an idea of reality as is possible, to the audience ; this is very de- sirable in the matter of wigs, so that they be made to suit the complexions of the wearers, or vice versa. If a sick or emaciated appearance is wanted, whiting and sepia are required; the natural color of the face should be destroyed, by means of the former, while the latter is to be painted under the eyes, to give them a sunken look, and also to deepen the lines of the face, to add a wan appearance to the performer. amateur's hand-book. 37 For artificial beards and moustaches, made-up ones on wires may be bought, to fasten on the ears, or they may be formed of crape hair, which is stuck on the face with liquid glue. That admirable comedian, Mr. Charles, maintains that he can paint a far more effective moustache than any artist in hair can manufac- ture. There are many other minor points in connection with dress- ing and making-up, which, however, I must leave to the discretion or sagacity of amateurs, who will speedily acquire a knowledge of them, by experience and observation. CHAPTER X. " Hold ! prompter, hold ! a word before your nonsense ; I'd speak a word or two, to ease my conscience." — Goldsmith. THE PROMPTER. Nothing can possibly be done in private theatricals without a prompter ; he is the rock of confidence to the actors — the stage Mentor, whose friendly voice re-assures the weak, and checks the impetuous stream of talk of the flighty ; let me then warn my readers to be very careful in their selection of this officer — he should be a man ever attentive to his business, of much patience and much endurance, especially at rehearsals. The business of the prompter may be divided into four heads : Prompting. Entrances. Business or Action of the Stage. Properties and Scenery. The above duties must be well performed, for much depends upon them, and the success of the piece may suffer considerably by want of care on the part of the prompter • let us then com- mence with some hints for the pleasure and profit of this unseen official. Imprimis, — Mr. Prompter, take your place on the stage at the first rehearsal at the l. corner of the proscenium, leaving the first 38 AMATEUll's HAND-BOOK. entrance clear (the l. side is usually the p. s. or prompt side, but if the green room is on the right hand of the stage, the r. becomes the p. s. of that theatre) ; have a small table before you, and fur- nish yourself with pens, ink and paper ; open your book of the play, which you have previously carefully perused, and at the same time marked with the proper calls, as thus : a length (or 42 lines) before an entrance, with a pen make a figure on the margin, surrounded with a circle, to render it more conspicuous, say (1, or the first call, would be at the beginning of the piece,) and so progress numerically until the end of the act. The second and subsequent acts commencing each with as in the first act. Also, prepare a slip of paper, on which the figures are endorsed, with other particulars, thus (we will sup- pose Little Toddlekins to be the piece) : 1. Susan to begin. ' (broom) Brownsmith, ready. Littlepop, ready to speak off, l. 2. Amanthis. Susan. 3. ^OMBE,^^^^^ 4. Amanthis. Susan, with flowers. And so on to the end of the piece. This is the entrance plot, which is handed to the call-boy, who is the prompter's deputy, and stands near him during the play ; and on his calling to him " One," the boy proceeds to find Susan, Brownsmith and Littlepop, whom he severally calls (usually by their proper names, ) and waits an anstoer from each. amateur's hand-book. 39 that lie may be assured they have noticed him — ne also takes each actor the properties marked in his call, and returns rapidly to his 'post at the prompter's side; upon the signal " Two," the same process is repeated, which is continued until the termination of the piece. The prompter must also make a list of all the properties or articles needed, such as letters, wine, tea equipages, tra} r s of provisions, pistols to be fired, hat-boxes, trunks, etc., etc., and he must note on the list whether the articles are to be placed on the stage, or to be carried on by an actor ; if the latter be the case, he must add the name of the performer, and when that person is to enter with the property the article must be delivered to the call- boy, who will place it in the actor's hands. A specimen of the . regular Scene and Property Plot of The Brigand is annexed: BKXGAKD. PROPERTIES. ACT I. Scene 1. — Carbine, pistols, stiletto, dice and dice-box, purse and whistle for Massaroni ; carbines and pistols for Brigands ; flask with wine, and horn at rock, l., for Maria; practicable long staff, with gold pieces in it, for Mcoli. Scene 2. — Portfolios for Theodore and Albert ; stiletto for Maria. Scene 3. — Whips to crack, r. u. e. ; baskets of provisions for female peasantry ; money and trinkets for Brigands. ACT II. Scene 1. — Large easy chair on c. ; morocco case, with brilliants, for Prince B. Scene 3. — Portrait of female, concealed by red curtain, hanging over sliding panel, l. ; card table, l., morocco case, with pair of rich bracelets, cards, candelabra with lighted candles, and a guitar on— ^ four chairs around table ; on r. a table — cards, candelabra with light- ■ ed candles on — chairs ; paintings hung around chamber, three letters for Massaroni ; refreshments — wine, etc. , for servants to offer guests ; rouleaus of money on tables ; jeweled snuff-box for Count Carrafa ; Theodore's sketch-book, with crayon sketch of Massaroni for Ottavia ; miniature case for Massaroni ; eight guns for soldiers, four sure fire ; blood ready at 1 e. l. for Massaroni ; crucifix for Maria. 40 AMATEUR'S HAND-BOOK. BRIGAND. Wood. Wood. Garden. Hall. Fancy. ACT I. Horizon (mist, which clears away after first chorus) ir Rocks, set r. and l., intermingled with trees and shrubs, in 3d and 4th en- trances. Large oak tree on brink of precipice, set c. ; branches of tree stretching over an abyss, r. ; frag- ments of rock under tree, c. ; piece of slate sunk in bank, c. [Note. — This scene should be a very ef- fective one, if properly set, and is entirely dependent for its effect upon the taste of the Stage Manager and his assistants, com- bined with the size of the stage and the resources of the theater as regards scenery, &c. , &c. Managers are referred to No. 1 of Eastlake's series of pictures, viz. : "The Italian Brigand Chief Reposing, 17 &c, for the situations of the characters at ri- sing of curtain, and to No. 2 of the same series, "The Wife of a Brigand Chief loatching the result of a Battle, " &c.,for the close of a scene. — Ed. Ruins of a Roman temple and distant country in Same as Scene First in ACT II. Terrace. in Corridor. in Handsome apartment; folding doors, c. E. ; windows down to floor each side of folding doors ; sliding panel, l. ; further up l. a window a few feet from the ground with heavy bars ; two doors, r. ; all the doors and win- dows to fasten. in Backed by garden. in It is necessary for the prompter also to make, or to see that the properties are exactly what they should be, in appearance All J. - \D-EOOK. and order. Thus, if a 1 nted, lie should fold one np ready ; if a pistol is to be tired, he should not only procure that weapon, but place ■ d cap on it (it will be found that the report caused by a cap will be quite loud enough for pr: theatricals), and ail similar du: rm. doors -^e. ringing beils, firi: _ : J the thunder, lightning, and rain, tramping for crowds, shrieking for horrified ;;-.:";.;;. :m.T...::i::_: : ; ;::$: ^:o:;:f 1 :::iir:i5. ::; >l::r:. ?•:.-■:::: : ;■ all business of _e prompter is a most respon- person in private theatricals — the great star of official, in his produce of prompter, proper, should care- fully foil the play, reading to himself n :rt an actor is at a loss, let him read out, and km but disti:; the needed words, and two or three follow- Ind at rehearsal that the promp: always ready to assist them, they will act with greater con- Udence, and really stand in little need of his assistance. He . not be too hurried m his prompting, but allow rime for business and act±_:. me, in conclusion, advise the pron- uss k study the ehnr. as ftbeactOEE k : study :_eir parts. 7 Ids he will find it of the most essential service. It will _im to see that some performers are quick, and only require ^e nervous, and want almost prompting; whilst others, again, are slow, and need, perhaps, half a sentence to enable them to proceed with their parts the prompter follows this advice, he will find his own work I:_ ened, and at the same time he will be taking a w the shoulders of others. 42 AMATEUR'S HAND-BOOK. CHAPTER XL iuiNCE.— " Come, sit down every mother's son, and rehearse your parts. " Shakespeare. Puff.— ""Well, pretty well— but not quite perfect. So, ladies and gentlemen, you please, we'll rehearse this piece again to-morrow. " Sheridan. REHEARSALS. The rehearsals are called as follows : a notice in the annexed form is affixed to the walls of your temporary green room, or sent to the different members of the company. O.A.LL. Monday, 3d September, 1866. 5 o'clock. "NOT A BAD J UDGE." At — 122 Nassau Street. C. Sharp, \ Stage Manager. You read this notice, ladies and gentlemen, and let us hope that at the time appointed (ten minutes' grace is allowed for the dif- ference of clocks,) we shall have the pleasure of seeing you; some very nervous ; a great many asserting that they shall never be able to get through, and all declaring that they do not know a single word of their parts. The manager appears very important, and apparently highly charged with business for prompter, scene painter, scene shifters, and everybody concerned. The prompter settles into his place in the corner — it is a quarter to five, and the two principal actors 'have not made their appearance. Listen! a knock ! welcome ! welcome ! — the missing ones arrive. Now " Clear, clear, ladies and gentlemen, if you please. Do clear the amateur's hand-book. 43 stage. Thank you, sir, you have just placed yourself in the way. Now, Mr. Trelawny, we are quite ready," and off we go. Certainly our progress is not rapid ; every entrance, every exit, has to be arranged — all the dialogue has to be gone over, possibly two or three times. You find that the action } r ou have prided yourself on, or the delivery you thought so good, will not do ; your arms are unmanageable, your legs are perverse, you run up against each other, you turn away from the audience, your speeches fall flat — in fact, at a first rehearsal, everything appears to go wrong. At last, something like order is established, and the piece in the end begins to assume a definite form, while the manager, understanding the deficiencies and excellencies of his company, will take care at future rehearsals to eradicate errors, and make the actors work well together. For the peices I have chosen, I should recommend at least six or eight rehearsals, in addition to private ones between the principal actors, so that all may be perfect in their parts, and I particularly advise that the last rehearsal should be a dress one, as it not only accustoms the actors to their dresses, but also to each other in their strange costumes. CHAPTER XII. Puff.— " Now, you know there mil be a cry of down ! down! Hats off! Silence!" Sheridan. THE AUDIENCE. It is but a step from all the noise, bustle and confusion of behind the scenes, to the quiet of before the curtain, where I find the audience sitting in expectation of the play ; and before that commences, let me address a word or two to the well-dressed individuals around me. Remember, ladies and gentlemen com- posing the audience, you have your duties to perform, your parts to play. Be it your care to extinguish in your mind all hyper- criticism ; do not expect too much of your friends — ever bear in 44 . amateur's hand-book. mind they are amateurs, who are about to hold the mirror up to nature; therefore, be careful not to sully the glass with the breath of ill-nature. Cheer the laborers on with well-timed applause, and as their intent is to amuse, contentedly accept what is offered, and neither condemn nor despise because you have here- tofore received a richer gift at other hands. Nothing can be more killing than a dull audience ; therefore, oh, audience, wreathe your faces in smiles when the intent is to raise pleasant laughter, and make the house exceeding merry with the cheerful music of your applauding hands. Many persons having a great desire to get up private theatri- cals are often prevented from so doing, from not being able to purchase or hire the necessary properties, costumes, wigs, &c, required to produce them in a proper manner ; and all this arises from not knowing the places of business of the various Theatrical Tradesmen, who, as a general thing, do not advertise their goods, as merchants in other professions do, but content themselves with being found and patronised by regular actors and actresses, and totally ignore the general public, who very often require both their goods and services. Our agent has prevailed on all the principal theatrical trades- men to insert advertisements setting forth their business, wares, &c, in the concluding pages of this work, and we would advise our readers to carefully peruse them, and select those who will supply their wants. All of them being long and favorably known in their several departments of trade, we confidently recommend them, and assure our readers they will be dealt with liberally and honestly. Properties, Masks, &o. R. Cutler, Barnum's Museum, New York. John G. Williams, Old Bowery Theatre, New York. Theatrical Hosiery and Tights. Vanderlip & Taylor, 96 Bowery, New York. R. B. Kent (late Gamer's,) 202 Bowery, New York. ok. 45 -ieigal Goods, L Shannon & Miller. 52 Mai d rk. Horstniari E li _n, 8 Maiden L.. ^eymour, 1 " _ York. 1 rk. W. J. Bo*:: Richard Bamton. nd 293 Bowery. I Paul De Spotte, 15 W Yrk. Tork. Corm rk. Frank Ei . . ision Str>: e iter of Da: Geo. W. Charles, Hooley^s Opera House, Brooklyn. H. Y. 1 TTTHBITflT Y - Y Peterschen, Howard Athenaeum, Boston, Mass. W. Thompson, New Bowery Theatre . Y. Y. Horace Waters & Son, 481 Broad" York. Prismatic L::-zt=. ilson, Banram's Muse m Y :>rk. J:ser.L S-inirrs. 17 / 1 :—-y;- Y-.-I :!: Books, Picture L Boorbach. 1__ rk. It yon will listen to me for half an hour, I will show you how _ t rim a doll : .e in a melancholy moping state of ennui, into as: palace of amusement and fun. And surely, all will con- i transformati«i worth makic- r5 been boxed up in the country. 46 amateur's hand-book. and attacked with that hypochondriac disease, nothing to do ? What a dreadful state of mind occurs in such cases ; unsatisfactory to all, excepting to the enemy of mankind, who is doubtless de- lighted at the growing feeling that is created, destructive of the order of peace and good- will to all men. I am not going to argue the case whether theatricals are hurt- ful to mankind, because such an idea has exploded long since, ex- cepting amongst ignorant or superstitious people ; I shall merely give a few instructions to American ladies and gentlemen how to amuse themselves in a dull country house, and if they abuse the instructions, all that can be said is, that they are not what I took them for — American ladies and gentlemen. The first question : How can a theatrical company be formed ? Now, nothing can be easier. Mind, I am not writing instructions for any extraordinary talent — for a juvenile Forrest, or an incipi- ent Miss Cushman ; but for ordinary ladies and gentlemen who live in, or visit at, country houses. Why, with one actor, or actress, a company may be formed. A company of one would be rather a bull, however — the one actor must act a monologue, as a speech from Shakespeare, the " Chap- ter on Noses," the lines on "Nothing to Wear," one of the " Ingoldsby Legends," a ballad of Bon Gaultier's, or a more finish- ed affair, like the entertainments of Charles Mathews, the late Albert Smith, Arthur Sketchley, and others. With two to assist, all will necessarily be better ; especially if one of the two be a lady. In such a case, scenes can not only be performed, but also complete plays; for instance, "A Morning Call," " Love and Rain," or " Personation." With three persons a selection of pieces becomes easier still. " A Silent Woman," " Which shall I Marry ?" and the dreadfully hackneyed " Box and Cox " always go well in country houses. The old-fashioned, easy, yet perpetually laughter-creating and successful " Bombastes Furioso " is a sample of plays for four characters. As the number of the company increases, so, also, is it easier to find complete plays to suit them. Therefore, there is no difficulty in forming a company. " Where there is a will, there is a way." amateur's hand-book. 47 Neither is there more trouble in making a stage. Many persons think that the room must be nearly pulled down, the walls pierced to receive wooden frame? for the scenes., and devastation to a greater or less extent produced. Xow, although a good planked stage is very comfortable for the actors, and raised seats better for the audience, these things are not really necessary. I would fit up a room for Theatricals, without any further damages than placing two large, handsome gilt-headed nails in the walls to sup- port the curtain, and even these nails may be done without in many instances, by attaching the curtains to curtain-poles, etc. So many plays contain but one scene, and that a drawing-room one, that ordinary furniture may be used ; and in cases where more is necessary, the old-fashioned method in use in Shakes- peare's time, of pinning a placard to the curtain, as, i; THIS IS A STREET IX VENICE," may be resorted to. I do not say that I should advise doing without proper scenes when they can be arranged in any way, but am now merely showing how some obstacles are no obstacles at all. The formation of dresses for Theatricals is only a pleasant oc- cupation for the ladies, who, as a general rule, are not lazy when there is anything for them to do ; and gentlemen, likewise, will have some excitement in thinking whether their calves are fit for exposure to the gaze of the multitude, in pink stockings, or how they will look in iron-gray or white wigs. The opportunity of showing themselves off in fancy dresses will be a great induce- ment for ladies to get up Private Theatricals. Ladies, pray for- give me, the idea is not my own — I borrowed it from a poet, who said, {i When ladies are both young and fair, They Lave the gift to lmov""i: V : And the manager of the Theatricals should act upon this idea, and choose what are called " dressy pieces. 5 ' A play, in the eye of an actor, is merely an animated picture, and picturesque dresses and correct grouping are essential to success. Most ;: dressy plays ; * are those of the time of Louis XIY. and Charles II., when wigs and pink silk stockings were the order of the day. Ladies in patches look well, and the dress of gentle- 48 amateur's hand-book. men of that period is pretty, but there is one drawback — gentle- men who wear powder or long wigs must shave. Fancy " old Rowley " with a beard. But there are other dressy pieces — mili- tary plays, parlor pantomimes, and pastoral comedies, farces and burlesques. " Bombastes " is a dressy piece, and being a burlesque, the beard might be worn ; but all actors should have clean faces as a rule; expression is more visible to the audience when a man is shaved. The costume of Disiafina is pretty, and makes a young lady very fascinating. The music, too, in this play, is easy and jolly. Too much pains cannot be taken in what is called " casting the pieces," or making such an arrangement of the forces under your command that no power be lost ; making the most of good actors and actresses, and giving bad ones little or nothing to do. In the same way that you play at whist, when you never throw away a trump if a small card will answer the purpose. One of your first operations, therefore, will be to find out which are your trump cards — who have acted before, and who have not. Amongst those who have acted, you must now discover what they are " strong " in ; what kinds of character they are equal to. Amongst those who have not previously performed, you must find out if any are likely to turn out actors. Do not have too ^nany ladies performing. A preponderance of fair beauties is an embarass de riches; like a bouquet all roses, which you know would be improved by a profuse addition of green leaves. Two or three gentlemen to one lady is a good division of the sexes on the stage. In arranging your company it will be as well to have in your mind's eye the ordinary classification of professional actors, as by so doing, you will not only find it easier to cast plays, but it will also assist each person in discovering what they are fit for, and call attention to the philosopher's fundamental maxim : " Know thyself!" amateur's hand-book. 49 &tes$xfttniion jof a^ompartij. NOX-ACTORS. Acting and Stage Treasurer, Property-Man, Manager, Prompter, Leader of Orchestra. ACTORS. Men Tragedians, Light Comedians, Low Comedians, Walking Gentlemen, Old Men, Servants, Soldiers, eta Women. Tragedians, Singing Chambermaids, First or High Comedians, Old Women, Walking Ladies, Servants, Peasants, etc. With professionals, the divisions of parts is sometimes greater than this ; but I have named enough for amateurs. I will give a few remarks regarding each of these. The Manager should have the entire arrangement of every- thing, on and off the stage. If possible, he should have a good knowledge of stage business, but should never act himself, because he will have but little time to attend to both affairs ; and to pre- vent favoritism in casting the pieces. If the master of the house, so much the better ; his orders are sure to be obeyed. Treasurer. — This gentleman should be a steady, old non-actor, who can see to all payments. Property-Man. — It is best to employ a tradesman for this office — a handy carpenter for instance. It is the property-man's busi- ness to provide all the furniture of the stage, from tables to paper pies. He should look after the scenes, unless you can spare a gentleman as scene-painter. Prompter. — This is a most ungracious part, and should be under- taken by a non-actor. The Tragedian must be the Macready of the party, and ought to be an experienced actor. He will find but little to do if entire plays are performed, as but few will give him a suitable character, excepting long five-act tragedies, which are simply impossible with 50 amateur's hand-book. amateurs. If scenes only are played, Mr. Tragedian will have many opportunities. The choice should be from Bulwer's or Sheridan Knowles' plays, rather than from hackneyed Shakes- peare. But there is a lower style of acting for the tragedian — melodrama. This is much easier and more effective. Scenes of this kind will be found in plays of the "blood and thunder" school; such as " The Wreck Ashore," " The Bent Day," "Luke the Laborer," etc. The Light Comedian is easily suited, either in entire plays or scenes. " Used Up," " A Wonderful Woman," " Intrigue," "Raising the Wind," "Morning Call," "Delicate Ground," "Trying It On," etc., etc. For the Loio Comedian, there is a very wide range of parts ; nearly all farces are written for a low comedian. So he may choose out of all those by Morton, Selby, Stirling, Coyne, etc. The country plow-boys and eccentric parts in old comedies, such as Dr. Pangloss in " The Heir-at-Law," as well as Frenchmen, Dutchmen, etc., fall to the lot of the low comedian. Walking Gentlemen are in great request in farces, being in general those parts which the light comedian refuses, as not be- ing good enough for him. Old Men. — Amateurs do not like playing old men. It runs against their vanity to appear old before their time. However, some good-natured individuals must be persuaded to assist, by performing elderly parts. There is nothing that " tells " better with an audience, than the characters of " old men," if anything like respectably performed. But few plays are written for old men; but there are some. " Grandfather Whitehead " is one of the best. A Lady Tragedian can rarely be suited in an entire piece, but in scenes from Sheridan Knowles' and Bulwer's plays she can have many opportunities. " A Curious Case," and " Time Tries All," will give her and the male tragedian a small opening for the display of their powers. The Lady Comedian has a better chance. Nearly all comic dramas have a character of this sort. Constance, in " The Love Chase," and Lady, Gay Spanker, are specimens from five-act plays AMATEUR'S HAND-BOOK. 51 of this kind. Mrs. Chilllngton, in "A Morning Call," Pauline, in "Delicate Ground," are examples from short comedies. The Soubrette or Chambermaid. — Mrs. John Wood's parts are of this kind. They may be found ad libitum in farces, as Betsy Baker; Chintz, in "The Unfinished Gentleman 3" Margery, in "The Rough Diamond; Fanny Fact, in "Time Tries All," etc. Many admirable parts were written for Madame Vestris. Ger- trude, in "The Loan of a Lover;" and Lisette, in "Swiss Cot- tage." Ellen, in "The Intrigue;" Distaffina, in "Bombastes Furioso ;" and many of the modern burlesques contain parts of this kind. Old Women. — No plays are written expressly for old women ; in fact, they are treated with as little respect on the stage, as off; and yet they cannot be done without, in either place. There is nothing to be said about them, excepting that they are wanted, and must be found. I will now give you a description of a few scenes for selection^ with the style of the characters, so that it may at once be seen which will suit best. It is needless for me to say that all the plays I mention may be obtained through any respectable bookseller. j&kcfoir Sanes fax %\mimx&. A WORD TOURNAMENT. FROM "A MOENING CALL." Dramatis Personce. Sir Edward Ardent (Light Comedian). Mrs. Chillis gton (Lady Comedian). Commence page 4, from— "Mrs. C. So, my gentleman, I am to surrender in less than a week," to page 10 — "Sir E. There will come a day of reckoning." This scene is a quiet piece of " chaff" between Sir Edward Ardent and Mrs. Chillington, in consequence of Sir Edward having made a bet that he would woo and win the widow, Mrs. C, within a week, and the knowledge of the bet having come to the lady's ears. 52 amateur's hand-book. TOM TACT AND FANNY FACT. FROM "TIME TRIES ALL " Dramatis Persona. Tom Tact (Low Comedian). Fanny Fact (Chambermaid). Commencing Act 1, Scene 1, page 9, from— "Enter Tom Tact d. l. c." to page 10 — "The other in the savings' bank." This is an amusing little conversation which takes place be- tween the couple at their first interview. Tom has doubts about the expense of a sweetheart. THE RIVALS 5 STRUGGLE. A TABLEAU FROM "THE WRECK ASHORE." Dramatis Personce. Walter Barnard (A Tragedian— virtuous). Miles Bertram \A Tragedian — villainous). Jemmy Starling (Low Comedian— Plow-Boy). Commence in Scene 1, Act 1, page 12, from — " A gun is fired at l. u. e., to page 14— (" darting a look of fury at Walter.") This is a sensation scene, and requires some little practice. When well managed, it is very effective. It is the meeting of the two rivals, when the villainous one forces the virtuous one into a quarrel, and taking an unfair advantage, is about to mur- der young Virtuous with a hatchet, when he is rescued by the opportune arrival of Jemmy Starling. A YOUNG LADY WITHOUT ACCOMPLISHMENTS. FROM "PERFECTION." Dramatis Personal. Charles Paragon (Light Comedian). Kate O'Brien (Lady Comedian). Susan (Chambermaid). Commence from Scene 4, page 17— " Servant shows in Charles and exit r." to page 21— "to a fraction of a woman." Charles Paragon, who has insisted that his wife shall have every perfection, falls in love with his father's ward, who says she is without accomplishments. He proposes, nevertheless, and then discovers she has a cork leg ! THE DREGS OF POVERTY. FROM "THE RENT BAY." Dramatis Personce. Martin Heywood (Tragedian). Rachel Heywood (Lady Tragedian). amateur's hand-book. 53 Commence from the opening of Scene 3, Act 1, to— "and leave this place for- ever." This is a severe little bit of melodrama for actor and actress. Martin is on the eve of being turned out of the home of his fathers on " Rent Day.* 5 He is nearly mad with despair, and his wife tries to soften his anguish. IMPROPER LOVE-MAKING. FEOM "BETSY BAKER." Dramatis Personal. Mb. Marmaduke Mouser (Low Comedian). Mr. Crummy (Light Comedian or Walking Gentleman). Betsy Baker (Chambermaid). Commence from page 6, from — *'Crum. Too attentive by half," &c, to page 13, ending — " Too late from Mrs. Major-General Jones." This scene.is glorious fun. Crummy pays Betsy to make love to Mouser ; she carries it so far, that Mouser absolutely makes love to her. THE QUARREL SCENE. FROM "THE HUNCHBACK." Dramatis Persona?. Master Walter (Tragedian). Sir Thomas Clifford (Tragedian). Master Wilford ) &££? \ (diking Gentlemen). HOLDWELL ) The whole of Scene 1, Act 1. Master Walter, the " Hunchback," is insulted by Master Wilford and his friends. Clifford will not let Master Walter fight, and he is at first very angry with Clifford, but afterwards is pleased with him. FASCINATION. FROM "THE VICTOR VANQUISHED." Dramatis Persona. Charles XII. (played by Tragedian or Old Man). Baron de Gortz (played by Low Comedian or by Old Man). Ink a (Lady Comedian). Commence from page 13— "Charles. I have been fooling," &c. to page 19, at Bottom — " A life of far more value than my own." The plot of the scene is, that Inka plays her powers of fascina- tion upon Charles XIL, to induce him to sign the pardon of her lover. The character of Inka is a very favorite one with ladies. It is a charming little part, and the dress very picturesque. 54 ^"^- amateur's hand-book. TIRED OF THE WORLD. FROM "THE BLIGHTED BEING." Dramatis Personaz. Job "Wort (Low Comedian). Ned Spanker (Light Comedian) . Commence from page 7— "Spanker goes up to table bij r," &c, and ending page 10 — " Can you trifle thus with a misery like mine ?" The fun of this scene is the ludicrousness of Job Wort, who fancies he is tired of. the world. The liveliness of Ned is a cap- ital foil for him. THE TIGER AND THE MAID. FROM "THE UNFINISHED GENTLEMAN." Dramatis Personos. Jem Miller (Low Comedian). Chintz (Chambermaid). The whole of Scene 1. This is a nice little scene, that requires quiet acting, and always goes well. It is nothing more than an ordinary meeting of lovers, who have a partiality for the use of such words as " valetudinarious and hoppycondropical." These are a few scenes which will give you an idea how selec- tions should be made. It would be no trouble to me to take five hundred extracts of the same kind, but this is not the place to do so. I will now give you a classification of a few entire plays, with an account of their character, so that it will be at once seen whether they are fit for the strength of the Drawing-Room The- atrical Company. Q 3&»t oi pngs far grafei«g-|lam« lUprmniatfon:. TWO CHARACTERS EACH. TWO IN THE MORNING. Contains one low comedian and one light comedian. Only one scene — a bed-room. A very easy play. No. 1, ROUND THE CORNER. Eor one low comedian and one light comedian. One scene — a modern room. An easy play. JLMATEUR ? S HAND-BOOK. 55 CONJUGAL LESSON. One low comedian and a eharuberm aid's pai\. This is a bed- room scene, and might in some houses be objected to. MORNING CALL. A most elegant little play, all enacted in a fashionable drawing- room. It is merely a long u chaffy' conversation between a lady and a gentleman. It requires rather good acting to make it ;; go :? briskly. A LADY AND A GENTLEMAN IN A PECULIARLY PERPLEXING PREDICAMENT. The two characters, a low comedian and a chambermaid (by the use of the word chambermaid, I do not mean that the charac- ter is that of a chambermaid, but that it is played by the lady who is engaged in professional theatres to play chambermaid's or female low comedy part) are obliged to occupy the same room in an inn. This play might be objected to in some country houses. A MOST UNWARRANTABLE INTRUSION. Two low comedy characters, one of which should be a fat old man. Scene — a merchant's drawing-room. LOVE AND RAIN. An effective little modern comedv for a ladv and srentleraan. THREE CHAEACTEES. BOX AND COX. Two low comedians and one old woman. One scene — a lodg- ing house bed-room. Play very easy, but requires two very good low comedians to balance the want of novelty, as it is so well known. A SILENT TTOMAN. A capital little piece for an elderly gentleman, a young one, and a ladv DELICATE GROUND. A light comedian, a walking gentleman, and a lady light co- lian. This is one of the best plays that can be performed in a drawing-room. The scene is easily managed, and the costumes very pretty. Time — French Republic. Citizen Sang Froid 5G amateur's hand-book. and Pauline require good acting. The other man, Alphonse, is a silly fool : a very ungracious part. WHICH SHALL I MARRY? A good little piece for two comedians and a soubrette, Dut must have a set scene. THE VICTOR VANQUISHED. Two characters, which may be played by any two, cither tragedian, light comedian, old man, or low comedian. The lady, too, Ikla, may be either given to a lady comedian or chamber- maid. A capital drawing-room play ; very dressy. SENT TO THE TOWER. A dress farce for three males. TAMING A TIGER. An excellent farce for an irascible old man, a vivacious young gentleman, and a smart servant. ANGEL OF THE ATTIC. ~ tragedian, a low comedian, and a lady tragedian. One scene — an attic. Dresses — time of the Revolution in France. This is a rather serious little play. FOUR CHARACTERS. BETSY BAKER. A low comedian, a light comedian, a chambermaid, and a lady comedian. This is a capital fares. One scene : a drawing-room. Mouser and Betsy Baker are very favorite characters. BOMBASTES FURIOSO. Three singing low comedians and one singing chambermaid. Dresses very fine, grand, and funny. Scenery changes rather frequently, so it is difficult, although there are no set scenes re- quired. A capital play, but has the fault of being hackneyed THE INTRIGUE. Two light comedians, one low comedian with songs, and one singing chambermaid. Scenery easy. Period — fifty years since. VILLIKENS AND HIS DINAH. Three iow comedians with songs, and one singing chambermaid. This is a burlesque. Scenery easy. Dresses, gorgeous and ad libitum. amateur's hand-book. 57 ONLY A HALF-PEXXY. An old man, a low comedian, a lady comedian, and a chamber- maid. This is a modern farce, depending upon the exertions of the low comedian. Scene easy. FIVE CHARACTERS. OUR WIFE. A tragedian, althougn not a serious character, a light or low comedian, and an old man. Two ladies ; one must be very pretty and fascinating, and the other her plainer sister. One scene rather troublesome to manage. Dresses very showy and pretty. An excellent drawing-room play. THE SEXTIXEL. A tragedian, but not a tragic part, a light comedian, an old man, a low comedian who sings, and a capital singing part for a lady. Scenery rather troublesome. Soldiers required in the play, which gives it a pretty look. A CURIOUS CASE. One tragedian, one light comedian, two walking gentlemen, and one lady tragedian. This is a rather serious little drama. Scenery easy : modern drawing-room. A BLIGHTED BEIXG. Two low comedians, a light comedian, an Irishman, and cham- bermaid. Scenery easy : one modern room. CAPTAIX OF THE "WATCH. One light comedian, one walking gentleman, one old man, a lady comedian, and a chambermaid. This is a pretty little comic drama ; but the scenery is rather difficult. SWISS SWAIXS. A light comedian with tenor songs, a low comedian, also with songs, an old man, an old woman, and a singing chambermaid. A capital little comedy, very suitable when singing parts are re- quired. Dresses pretty ; a set scene, rather difficult for a draw- ing-room. AS LIKE AS TWO PEAS. Two low comedians, one walking gentleman, and two chamber- maids. A very good modern farce. Scenery easy. 58 AMATEUR 5 S HAND-BOOK. DONE ON BOTH SIDES. One old man, one light comedian, one low comedian, one old woman, and one chambermaid. A capital farce. All the char- acters are good ; it was written for Charles Mathews, Buckstone, and Frank Mathews. Scene : a modern small parlor. THE SPITALFIELDS WEAVER. A tragedian, a low comedian, a light comedian, a walking gen- tleman, and a lady tragedian. A very easy burletta. There is a ball-room scene, which could be better managed in a large coun- try house than on the stage. WHITEBAIT AT GREENWICH. One low comedian, one old man, one light comedian, one old wo- man, and one chambermaid. A capital modern farce : scenery easy. COOL AS A CUCUMBER. A light comedian, an old man, a walking gentleman, a lady co- median, and a-- chambermaid. A capital little farce. Scene — a modern drawing-room. DID YOU EVER SEND YOUR WIFE TO CAMBERWELL? A low comedian, an old man, two chambermaids, and one old woman. A very rattling, easy, modern farce. AN AFFAIR OF HONOR. A good laughable piece for three gentlemen and two ladies. SIX CHAEACTERS. THE JACOBITE. One tragedian, but not a very tragic part, one light comedian or walking gentleman, one low comedian, one lady comedian, one old woman, and one chambermaid. This is a nice little comic drama. Time, George II. Scenery rather difficult. A LOAN OF A LOYER. One walking gentleman, one singing low comedian, two old men, one lady comedian, and a singing chambermaid. This is a pretty little drama. Scenery easy, in Holland. Gertrude has a picturesque dress. A PHENOMENON IN A SMOCK FROCK. Two old men, two low comedians, a countryman and good part, the other a servant, a lady comedian, and a chambermaid. amateur's hand-book. 59 A WONDERFUL WOMAN. Two light comedians, one walking gentleman, one low comedi- an, one lady comedian, and one chambermaid. This is a capital play. Dresses magnificent — time of Louis XI Y. But the scenery is rather difficult. NAVAL ENGAGEMENTS. Two old men, one light comedian, one Irishman, one old woman, and one lady comedian. This is a good little comedy, but the scenes require frequently shifting. ■ x ANYTHING FOR A CHANGE. Two old men, one light comedian, two lady comedians, and one chambermaid. This is a capital play for a private house. There is but one scene — a modern drawing-room, and the dresses are those of the present day. TRYING IT ON. One light comedian, one walking gentleman, one oia man, one old lady, one lady comedian, and one chambermaid. Another modern farce, well adapted to the drawing-room. A DAUGHTER TO MARRY. A good modern farce for four males and two females. LITTLE TODDLEKINS. One light comedian, one old man, one walking gentleman, one lady comedian, and two chambermaids. The fun of this play is now-a-days generally increased by giving the part of Am an this, " Little Toddlekins," to some stout gentleman who has no beard or whiskers, and who is dressed up as a woman, with the most outre crinoline, bustle, etc. A THUMPING LEGACY. One old man, one low comedian, one tragedian made comic, two walking gentlemen, and one chambermaid. This is one of the best farces ever written. Scenery easy. Dresses pretty. JOHN DOBBS. One Old man, one light comedian, one low comedian, one walk- ing gentleman, and two lady comedians. A capital farce, with only one scene — a modern drawing-room. 60 amateur's hand-book. THE TWO BONNYCASTLES. One old man, one low comedian, one light comedian, one cham- bermaid, and two lady comedians. This is an excellent farce, and requires but one modern room. The foregoing selections of scenes and plays arc amply sufficient to enable the promoter of any theatricals in a country house to choose suitable pieces, according to the strength of the company. The weight of the play should rest on the best actor. In the olden 4imes, pieces were generally equally divided • but now-a- days they are written for one individual. I will give another arrangement of choice for you. If your best actor is a Tragedian, select to play " The Curious Case," " The Spitalfields Weaver," or " The Angel of the Attic." If a Light Comedian, play either " Two in the Morning," " No. 1 Round the Corner," " Morning Call," " Delicate Ground," "Our Wife," " The Captain of the Watch," " Cool as a Cucum- ber," " A Wonderful Woman," " Anything for a Change," " Try- ing it On," or " Little Toddlekins." If a Low Comedian, choose for him either " John Dobbs," "Betsy Baker," "A Thumping Legacy," "The Jacobite," "Phe- nomenon in a Smock Frock," " Whitebait at Greenwich," " Did you ever send your Wife to Camberwell ?" " Done on Both Sides," " As Like as Two Peas," or "Box and Cox." If a Lady Tragedian, there is no good part for her but in " A Curious Case," or "An Angel in the Attic." For a Lady Comedian, you may select from " A Morning Call," " Delicate Ground," " The Victor Vanquished," " Our Wife," " Captain of the Watch," or " A Wonderful Woman." If a Chambermaid, let it be one of the following: "Betsy Baker" or " Little Toddlekins." A Singing Chambermaid will find the best parts in " Bom- bastes Furioso," " The Sentinel," " The Intrigue," " The Loan of a Lover," " Swiss Swains," and in " Villikins and his Dinah." When there are several good actors, such a selection must be made as to give them all good parts. Bather attempt easy scenes and plays than difficult ones, and amateur's hand-book. 61 those that contain but one scene in preference to those that re- quire many. Dressy plays also should be preferred to those of the present day. The aim in lighting a theatre is to have as much glare on the stage as possible, and as little as can be done with for the audi- ence part of the room. On each side of the wall, in front of the curtain, at a distance of about five feet from the level of the stage, large lamps should be placed, so as to throw light on the faces of the actors. This is especially necessary if footlights are used, as they are apt to throw a shade under the eyes of an actor if lie approaches them. Painting and whiting the face is, of course, necessary ; but it' must be done in a less degree than usual on the stage, on account of the nearness of the audience. The two principal rules for an actor are : First, Be perfect in your part ; and Second, Speak out. Those who have not played previously should only be allowed a small part at first. This, however, cannot always be managed in a private house, where the ambitious tyro can revel in Shakes- peare's most difficult parts, if he desire it. In choosing dresses, greater care should be used in a gentle- man's mansion than is usual on the stage, so that there should be no such anachronism as actors wearing spectacles before they were invented, or silk stockings before the time of Elizabeth. Dresses should, of course, be as picturesque as possible ; and, if you have an option, always give the principal character to a pretty girl, when she evinces talent, and dress her in the most attractive way. Do not wait until the last moment before the dresses are got ready. Always have a " dress rehearsal," with none but actors present, prior to the grand night. This " dress rehearsal " cannot be done without. It will find out many faults of omission and commis- sion, and will often enable an actor to show that he cannot play a part, which will give the manager time to take it away from him, and give it to some one who will perform it better. Have perfect rehearsals without the book. Let the actor " take the word from the prompter," rather than read it from his 62 AMATEUll's HAND-BOOK. part. See that the rehearsals are regularly attended. Keep the, lazy ones to their work. See that the plays are acted slowly. Most amateurs play too fast ; they do not give their audience time to hear one sentence completed before they start another. Neither do they wait until the person addressing them has finished, but off they start, and give the answer before the question is quite out of the asker's mouth. They run about the stage too much. You cannot get amateurs to stand still ; but they must fidget from this side to that, perpetually wash their hands in the air, or balance them- selves first on one leg and then on the other. Make the audience part of the theatre as comfortable as possi- ble. If the audience have cold toes, or are perspiring at every pore, they will be severe on the performers, and fancy the annoy- ances they feel are due to the poor actors. An easy-chair makes a looker-on very comfortable, and there is but one fault against it — it induces sleep. Music should be played, and cups of tea or coffee passed round between the acts. Clearing away the chairs and benches from the theatre, and dancing there after the performance, forms a very pleasant sequel to the entertainment. In choosing a room for theatricals, the largest, of course, should be selected; but there are other considerations also to be attend- ed to. At the stage end there should be a door on each side, so that actors maybe able, to come on right or left, without crossing the stage. Again, the room for the theatre should be near the dressing-room, as it will not do to be running all over the house for the actors who are keeping the stage waiting. Nobody should be allowed behind the scenes excepting actors. This rule is difficult to enforce, but it should be strictly adhered to, nevertheless. As much secrecy as possible should be used regarding the per- formance. Keep the audience in the dark until the curtain is pulled up. This mystery will cause much supposition, question- ing, and excitement, and will enhance the desire to witness the entertainment. amateur's hand-book. 63 All the men should wear wigs, taking care to try them on pre- viously. There will be no difficulty in obtaining them from Xew York by express, &c. ; in fact, it is important that all dresses, as well as wigs, should be tried on as early as they can be procured. The same painstaking that will be used to "get up Acting Charades" would produce first-rate Theatricals. And, besides, what is the difference between the two ? If one is sinful so is the other ; and yet many families think "Acting Charades" an in- nocent amusement, whilst a similar performance under the name of " Theatricals " is looked upon as a " deadly sin." Charades, too, have the disadvantage of being more difficult, the actor having to coin the words as well as the acting. And words so coined can hardly be deemed superior to those of Shakespeare, Sheridan, or Bulwer Lytton. I will now give a few short rules to be rigidly attended to by amateur actors. 1. Be perfect in your part. 2. Speak up. 3. Standstill. 4. Do not speak until the person addressed has finished. 5. Speak slowly. 6. Never u rant." 7. Face the audience. 8. Be correctly dressed. 9. Do not attempt too much, either in selecting difficult char- acters or plays. 10. Hire the assistance of a professional actor if difficult plays be attempted. 64 amateur's hand-book. [The following will serve as a "basis for the formation of the Regulations of any Amateur Association, which may be modified as circumstances require.] NEW YORK AMATEUR DRAMATIC AND MUSICAL CLUB. IncobpoPvAted January 2, 1866. RULES. 1. Tliat this Glub shall consist of Twenty Acting Members (inclusive of the Managers and Secretary, and exclusive of La- dies.) 2. That each Acting Member shall pay an Entrance Fee of $1, and a Weekly Subscription of 25 cents. 3. That Ladies shall become members of the Club on signing these rules ; but shall be exempt from all pecuniary matters, ex- cept in procuring ordinary modern dresses when required., 4. Following are the Officers hereby appointed : Acting Manager Mr. E. A. Stansbury. Stage Manager »« J. B. Wade. Hon. Secretary and Treasurer " F. A. Henderson. The office of Musical Director to be disposed of at the discre- tion of the Managers. 5. That the Managers shall choose the dramas to be played, have the casting of the characters, and likewise the whole man- agement of the affairs of the Club entirely under their control. The decision to be binding on all Members, whether present or not. 6. That each Officer, whether appointed by these rules or by the Managers, shall have the department assigned to him entirely under his control. 7. That Acting Members shall attend each weekly meeting, special meeting, and rehearsal. Any Member being unable to attend, must give previous notice to the Secretary ; in default of so doing he will be fined the sum of 50 cents. amateur's HA>sD-EOOK. G5 S. That the meetings of the Members take place at the ap- pointed Club Room at seven, p. m., business commencing punctual- ly, at ha Members attending later than the half-hour, unless giving previous notice, will be fined 25 cents. Nio Member will be pea < bring any friend to any rehearsal or meeting, (except with the view of introducing him as a member.) un- less by permission of the Managers. 9. That all the fees, fines and subscriptions go to the funds of the Club, to defray its expenses. 10. That the expenses of each performance shall be borne equally amongst the Gentlemen Acting Members, amongst whom all profits arising from performances shall be equally shared. 11. That Acting Mtmbers shall be expected to play the smaller parts, in any piece to be played by the Club, at the discretion of rers. 12. That tickets given out for the purpose of sale, shall be ac- counted for in writ! og, m the day appointed by the Secretary, before the performance takes place, and in the event of any tickets so given out not being returned, or satisfactorily accounted for, such tickets shall be deemed as sold, and shall be paid for by the Member or other person to whom the said tickets shall have been given out. 13. That all Members must procure their own books, and all act by those published by Mr.. S. Fnz:::?:. 122 Nassau Street, Xew York. When cue-cards are prepared for any piece, they only, on all occasions, must be the guide for exits, entrances, etc.. where they differ from the book. 14. That any infringement of these roles shall subject the Member so breaking the same to be expelled from the Club, either at the decision of the Managers, or by * 15. T feudl prepare, at the end of each month. a Balance Sheet, and present the same to the Club. 1C>. All Members must sign these ro3 ring: the Club, a month's notice being necessary, should any member be desirous of leaving the Club. IxmxiAxr :d, 1866. 66 amateur's hand-book. POSTAL ARRANGEMENTS. All plays are supplied by Mr. French or his Agents, post free. If postage stamps or a post order accompany the letter, the com- mission will always be executed by return — but it is absolutely necessary to remit the amount, as without it no order is desired or received. Books are always dispatched by return of post — unless unpub- lished or out of print, in which case a notice and catalogue will be sent, and a new choice of plays can be had, or the money re- turned. Orders contingent on approval or exchange, are not desired. Seldom a day passes without letters being forwarded, urging the instantaneous dispatch of some play or plays, without the writer giving his or her name or address, and very often wanting both. A very brief time should exist between the receipt of the order and its despatch — that time is needlessly protracted by the diftuseness, vagueness, and illegibility of much of our correspond- ence. If the wishes of the Editor could have weight with his patrons, he would much like to receive something like the follow- ing (with date, title, name, and address changed for those of the party sending it, and written plainly) : — Sik, Jan. 2, 1866. Please to forward — Box and Cox \ r^n„ m ^* Rivals \ ( - tliles °- f No. 1, Parlor Pantomimes j **** or P la ^ (Por which 55 cts. is inclosed,) To ( Mr. (Name) < Mrs. , or ( Miss 10 High Street, (■Address) Monkstown, Ohio. g^" Please to Note. 1. Money, Stamps or Post-Office Order must accompany each request for Books, the value sent to be specified. 2. The directions, address and name, to be as brief and clear as possible, and plainly written. 3. There is no charge for Postage. 4. No book can be exchanged. 5. Not to conclude that every play is printed ; the proportion truly being— one printed, for 200 not. 6. All letters requiring an answer must contain a stamp for return postage, or it will not be noticed. amateur's hand-book. 67 [From the Pall Mali Gazette, February, 18C6.] " Eve:* since my first appearance on any stage, I have always agreed with M. de Castellane that ■ De tous les plaisirs ou le coeur n'y entre pour rien jour, la comedie est lc premier ; J and so it always is when one docs it for its own sake and to entertain one's audience. It is sad that London and its environs, cither from pride, or fashion, or something or other, are always de- prived of this amusement." So writes Miss Berry, in 1837. Had she lived to complete her century, instead of being prema- turely cut off in her ninetieth year, she would have seen the sub- ject of her regret removed, for certainly, of late years, London and its environs have had no reason to complain of being deprived of what amusement is to be got out of private theatricals. Con- sidering that few plays can be enacted, as in the schools of St. Cyr, by women alone, that men in London are generally fully occupied, and that the representation of the simplest little piece demands a considerable amount of preparation and rehearsal, it is rather surprising that amateur plays are so frequent than that they are so rare. Agreeing, as we do, with Miss Berry and her French friend, as to the pleasantness of the pastime, and observ- ing a growing taste for it, we have often wished it might be pursued in a more artistic spirit, we will not say a more pains- taking spirit, for a great deal of pains is really often taken in getting up these entertainments, though not always as well be- stowed as it might be. The study of histrionic art might be quite as beneficial to the youth of England, as that of any of the ordinary routine of ac- complishments. It would teach them two things in which they are too often deficient : to speak their own language properly, not hissing it through their teeth, or snuffling, and swallowing half their words ; and to stand and move with ease. It might also assist in dispelling some of that troublesome self-consciousness, arising more from vanity than modesty, which is well named mauvaise lionte, and which renders some shy, others impudent, but makes all who are afflicted by it awkward. But at present the amateur actor, much as he seems to enjoy the practice of the Oo - AMATEUR'S 2TANIKBOOK. art, can hardly be said to study it at all ; the utmost he does generally is to study some artist Instead of setting-to to get a full comprehension of the intention of his author, and form a clear conception of the character he has to play, he goes to see how So-and-so does it at the Haymarket or the Adelphi, and copies it as closely as he can, often successfully enough. But it is after all but a copy of a copy. We have known a whole corps of dramatic amateurs put themselves under the guidance of some accomplished master of the profession, not to be taught his art, but to be crammed or coached in one particular play. Every look, movement, and intonation was learned and got by heart, and faithfully reproduced 5 and the necessary result was that the per- formance was stiff, cold, and uninteresting. No one was thinking of his part or his character, but of how Mr. Threestars told him to say this and to do that. It is just what Mr. Ptuskin warns the amateur draughtsman to avoid. " Look at nature, and see how it affects your mind. Do not be thinking how So-and-so told you to do sky or to do grass" The Theatre Royal Back Drawing-Room is, in London, of so limited a size that there are not many plays which can conveni- ently be performed in it. Our genuine comedies have too many characters. Dramas of action require space and scenery. So the choice lies between farces and comedies de salon — episodes of real life — for which we seem to have no English name. This being the case, it is always a matter of amazement to us that the first thing to be done is to circumscribe the given space as much as possible by the introduction of a miniature theatre. When actors wish to represent scenes from genteel every-day life on the stage,' their object, and the difficulty they have to overcome, is to make it look like a drawing-room. Now, the object of the amateur seems to be to make the drawing-room look like a stage. When he has already four walls, doors, windows, fireplace, all "real and proper," as Mr. Swiveller says, why in the world should he put up pasteboard imitations of them ? If two exits are neces- sary, and are not always found ready to our hands, this can be remedied by a couple of screens, and elbow-room, always a great desideratum, gained thereby. Amateur actors object to this sim- plicity of decoration, on the score that they are too much at amateur's hand-book. 69 home in it, that there is no illusion ; forgetting that to the spec- tators there is no possible illusion in the pasteboard room they erect for themselves, which has the effect of making its inhab- itants look preternaturallv big. The conditions of a public the- atre and an ordinary room are so different, that the attempt to produce illusion by means of scenery, should, as much as possible, be avoided. Real artists, like Levassor and John Parry, feel thi so strongly, that they prefer to dispense with these adjuncts almost entirely, and we have heard the same advice given br- others of great note in the profession. Those who give merely a few hours of their leisure, now and then, to the pursuit of an art, can never hope to compete, in point of execution, with those who make it the study and busi- ness of their lives. But it does not follow that they may not possess equal natural talent and aptitude. Gentlemen and ladies of intelligence, general education, and cultivated taste are likely, on the contrary, to snatch a grace beyond the reach of art, if they will only depend a little more upon themselves and trust to their instincts. " The amateurs run us very hard as long as they confine themselves to sketches," we have heard remarked by more than one of our greatest modern painters. A sketch, if faithful, is the rescript of an immediate impression made upon the mind ; but an attempt at a finished picture brings out all the technical weakness and ignorance. TTould that the amateur actors would take the hint, and give us lively sketches instead of stiff and stilted copies ! Spontaneousness is, above all others, the quality which gives its peculiar charm to the work of ama- teurs ; and this is deliberately flung away by all who condescend to mere mimicry. Xo critic, speaking of a public performer would make it a theme of laudation, that he sang or acted so ex- actly like another that one could hardly tell the difference 5 yet this is considered the highest compliment by most amateurs. It is one thing to resemble a great artist, and another to mimic him. Mimicry can never succeed in representing anything but the mannerisms, which is as much as to say the faults of its pro- totype, for the reason that all which is really great in him must come from intention, and that the copyist has not that intention. 70 amateur's hand-book. The actor certainly labors under the disadvantage of being only the interpreter of another's thoughts ; but this he shares with the musical performer. The music is played or sung, as the drama is acted, by many others ; yet we find each may stamp it with his own individuality. Let the amateur actor, then, se- lect, with what discrimination he may, from among the plays already known to the public; but give the time and labor he now expends on learning the tricks of some favorite model in the profession, to forming his own conception, and a style of his own. He must not flatter himself, however, that he will be able to do this on the spur of the moment ; he will find it, at first, as much more difficult than his old practice, as the painting an original picture is more difficult than copying one. He will have to study acting, instead of confining his observations to one actor ; and to do so with advantage, he must use all his intelligence and powers of discrimination. But he will also find it much more interest- ing ; and when he has succeeded in making a character his own, he will probably succeed in representing it with ease and fidelity. CONCLUSION. Thisbe. And farewell, friends ; Thus Thisbe ends — Adieu, adieu, adieu ! Shakespeare. I have now arrived at the "beginning of the end," having performed my promise, and initiated the reader into all the mys- teries of an amateur performance, taken him into all the depart- ments, and given him, I believe, some useful hints for his guidance. Such as the little book is, I give it the world, trusting that its perusal may contribute to getting up an amusement which, if properly performed, must give pleasure. My task, if I can call writing so small a collection of gossiping hints a task, is accomplished ; and all I have to do is to get my readers about me, and range them in a row for the tag of the piece, for the moral to adorn the play — and here it is : Paint it in your brain in letters of gold, when you attempt Private Theatricals ; it is the sure signal to success ; nothing can be done well without it ; it is all in all to the amateur; it is Earnestness. Again and again I say to one and all : Be in earnest, and you must succeed. " Ring, ding, ding." CURTAIN FALLS. J AMATEUR'S HAND-BOOK. 71 ©jeneral ipsi OF APPROPRIATE PIECES FOR AMATEUR PERFORMANCE, With the number of Characters required with each. PIECES FOH MALE CHARACTERS ONLY. 15 Number One Round the Corner 15 cents Two Gents in a Fix 25 ' Unwarrantable Intrusion 15 Two in the Morning j ( Translations from the Good Night's Rest [ same Original) Taming a Tiger 25 Sent to the Tower 15 Fast Train 25 Two Gay Deceivers 25 Sylvester Daggerwood 20 Left the Stage 25 Guy Faux (Comic Reciter, Part 4j 25 Pyramus and Thisbe (Comic Reciter, Part 5). .25 Rival Pages (on the public stage, the two Pages ) 9 - are represented by Females in Male attire, ) Roman Actor 25 Race for a Dinner 20 for 2 characters. 2 10 10 SERIO-COMIC DRAMAS, For Male Characters only. Price 40 cents. Pari 1. — Joseph in Egypt— a Sacred Drama. . f '.for 6 characters. Harvest Storm — a Domestic Drama ; 9 ^ ~\" Cross of St. John — a Serious Drama 13 \ * Blind Boy— a Melo-drama : 10 " 72 amateur's hand-book. COMIC DRAMAS FOR COLLEGE, CAMP AND CABIN. CONSISTING OF PIECES WITHOUT FEMALE CHARACTERS. Selected and Adapted by the Editor. Price 40 cents each Part. Part 1. — Spanking Legacy for 5 characters. Furnished Apartments 5 Spectre Bridegroom 6 A Martyr to Science 4 Illustrious Stranger 8 Part 2. — Smoked Miser 6 Sleeping Draught . 9 Cherry Bounce 6 All at Coventry I 9 Part 3. — Make your Wills 7 Review 8 Fortune's Frolic 8 D'ye Know Me Now ? 5 Babes in the Wood 7 (To be continued.) MASSEY'S EXHIBITION RECITER, In Two Parts, 30 cents each. Part "* — Guy Fawkes for 5 characters. Man with Carpet-Bag 11 " White Horse of the Peppers 8 " Mesmerism 7 " &c, &c. Part 2 — Love and Jealousy for 6 characters. Irish Tutor 5 " Bombastes 8 " School for Orators 9 " &c, &c. amateur's hand-book. 73 BROUGH'S BURLESQUE DRAMAS, Price 40 cents, containing King Alfred and the Cakes for 4 characters. William Tell . 7 " Orpheus and Eurydice 6 " LACY'S COMIC RECITER, Five Parts, at 25 cents each. Contains — in addition to a great variety of approved Recitations, Tales, Stump Speeches, Dialogues, &c. — a selection of Opening Addresses, Prologues and Epilogues, which, with slight alteration, may be adapted to any locality or circumstances. LACY'S DRAMATIC RECITER, 25 cents. An excellent collection of Serious Recitations, Dialogues, Ad- dresses, etc. • At Oxford, Cambridge, and other leading Colleges and Institu- tions, female assistance must be dispensed with. Almost all the modern Burlesques are well suited for performance under this restriction, and few need to be told that such representations have generally been attended with most satisfactory results. MISS KEATIXG'S DRAMAS FOR BOYS, Price 40 cents, contains the following Original Pieces. 1. Plot of Potzentausend — a Comic Drama for 10 characters. 2. Incog — a Farce 7 " 3. Poor Relation — a Comic Drama 7 " 4. The Talisman— a Drama 7 " 74 amateur's hand-book. LADIES' PLAYS. Mr. Lacy lias published two Shilling Books, (to be continued,) containing Dramas with Female characters only; and it is a source of sincere pleasure for him to know how much harmless enjoyment has accrued from his idea of introducing this little Work — which has received the sanction of very high religious authorities. Price 40 cents each. Part 1. — 1. School for Daughters — Comedy, in 3 Acts . . 14 characters. 2. Mrs. Willis' Will— a Farce 5 3. Duchess of Mansfelt — a Comic Drama 7 * ' - Part 2. — 1. Slighted Treasures — a Petite Comedy 4 " 2. A Slight Mistake— a Farce 5 " 3. La Kosiere — a Comedy 10 " 4. Who's to Inherit ? — a Comedy 9 " Part 3 will contain — FOUR ORIGINAL PLAYS, By Miss Keating. LACY'S FAIRY PLAYS AND HOME BURLESQUES. By Miss Keating. — Price 25 cents each. 1. Beauty and the Beast. 2. Blue Beard. 3. White Cat. 4. Cinderella. 5. Yellow Dwarf. 6. Aladdin. 7. Puss in Boots. 8. Little Red Riding Hood. 9. Sleeping Beauty. 10. AliBaba. The object of this Publication is to present a series of easy Ex- travaganzas, altogether independent of scenic aid, unobjectionable in language, and thoroughly adapted to secure a joyous evening to Actors and Spectators. AMATEUR'S HAND-BOOK. / 3 THE SERIES OF CHARADE PLAYS, At 40 cents each, Will also be found exceedingly well adapted for Family Per- formance, as they are shorter than any play- and from the variety of incidents and characters (each syllable, of course, forming the groundwork of the plot, and being an entire little drama), they afford opportunities for the enlistment of all ages in the dramatis persona t MISS KEATIXG'S CHARADE DRAMAS FOR THE DRATTIXG-ROOM. Partly in Verse. 2 Parts, at 40 cents each. Part L— 1. Blue Beard. 2. Photon. 8. Cataline. 4. Guy Faux. Part H. — 1. Counterplot. 2. Blindfold. 3. Outlaw. 4. Sleeping Draught. MISS KEATIXG'S PLAYS FOR THE PARLOR. Party in Verse. 2 Parts, at 40 cents each. Part I. — 1. Banditti. I Part H. — 1. Nightingale. 2. Aladdin. 2. Matchlock. 3. Inspector. 3. Rebellion. 4. Xightniare. MISS PICKERING'S CHARADES FOR ACTIXG. Are all for Modern Costume, and in Prose. Price 40 cents each. 1. Honielv. 8. Candidate. o. Final. 2. Backbiting. 4. Mistake. SIX CHARADES. By W. H. SMITH. Price 40 cents. 1. Outrage. 3. Plaintiff. 5. Counterplot. 2. Courtship. 4. Coastguard. 6. Blue Beard. MISS FRANCIS 5 CHARADE DRAMAS. One French and Three English. Price 40 cents. 1. Woodman. 3. Chapeau. 2. Kenilworth. 4. Chatterbox. 76 AMATEUR'S HAND-BOOK. WM tff Jie«8' SUITED FOR AMATEUR PERFORMANCE, WITH THE NUMBER OF MALE AND FEMALE CHARACTERS IN EACH. * In these pieces the Lady assumes Male attire (c) Means costume or powder pieces. A figure affixed denotes the number of Acts. One Character. — One Female. Unprotected Female. 15 cts. Two Characters. — One Male and one Female. -Antony and Cleopatra. 15 cts. Conjugal Lesson. 15 cts. Forty Winks: 25 cts. Household Fairy. 25 cts. Locked in with a Lady. 25 cts. Locked Out. 25 cts. Loye and Eain. 25 cts. Man that follows the Ladies. 25 cts. Morning Call. 15 cts. Opposite Neighbors. 15 cts. -•Pair of Pigeons. 25 cts. Personation. 15 cts. "Rifle Volunteer. 25 cts. Three Characters.— Two Males and One Female, 15 cts. or, The Angel of the Attic (c). Book III., Chapter I. Subterfuge. 15 cts. Box and Cox. 15 cts. Change of System. 25 cts. Delicate Ground (c). 15 cts. "Devilish Good Joke (c). 15 cts. Love in Humble Life (c). 15 cts. My Wife's Diary. 25 cts. Pierette, musical piece. 25 cts. Silent Woman, A. 25 cts. State Prisoner (c). 25 cts. Victor Vanquished (c). 15 cts. Wanted, a Young Lady. 25 cts. Which shall I Marry ? 25 cts. Two Females and one Male. Good Little Wife, A. 25 cts. Soldier's Courtship, A. 15 cts. Lady and Gentleman in a Perplex- ing Predicament. 15 cts. Four Characters. — Two Males and Two Females. Betsy Baker. 15 cts. Comedy and Tragedy. 15 cts. Cosy Couple. 25 cts. Doubtful Victory, A. 25 cts. Fairy's Father. 25 cts. Give a Dog a Bad Name. 25 cts. Kiss in the Dark, A. 15 cts. Laughing Hyena. 15 cts. "My Wife's Out. 25 cts. Only a Halfpenny. 25 cts. Terrible Secret, A. 25 cts. Under the Rose. 25 cts. Who Killed Cock Robin ? 15 cts. -Young Widow. 15 cts. AxMATEUR'S HAND-BOOK. 77 Three Males and One Female. Ample Apology, An. 25 cts. Comical Countess (c).f 25 cts Lucky Hit, A (c).f 15 cts. i:: -Faint Heart did Win Fair Lady, (c). 25 cts. Intrigue. 25 cts. Jeanne tte's Wedding, musical piece (c). 25 cts. Love and Charity. 25 cts. Love in Humble Life. 15 cts. Maid with Milking Pail (c). 15 cts< Matrimony (c). 15 cts. Our New Man. 25 cts. Patient Penelope, musical extrava- ganza (c). 25 cts. Romance under Difficulties. 15 cts. Villikins and Dinah, burlesque (c). 25 cts. Was I to Blame ? 25 cts. Wooing in Jest. 25 cts. Woman's the Devil. 25 cts. Five Characters — Three Male and Two Female. Affair of Honor, An. 20 cts. Aged 40. 25 cts. Area Belle. 25 cts. As Like as Two Peas. 25 cts. A. S. S. 25 cts. Aunt Charlotte's Maid. 25 cts. Barber and Bravo. 25 cts. Bonnie Fish Wife. 25 cts. Borrowed Feathers. 25 cts. Cantab, The. 25 cts. Capital Match, A. 25 cts. Cool as a Cucumber. 15 cts. Cousin Peter (c). 25 cts. Cousin Tom. 25 cts. Day after the Wedding. 15 cts. Decided Case, A. 15 cts. Desperate Game, A. 25 cts. Done on Both Sides. 25 cts. Don't- Judge by Appearances. 25 cts. Eclipsing the Son. 25 cts. Good for Evil, serio-comic, 2. 25 cts. Head of the Family. 25 cts. Heads or Tails. 15 cts. His Excellency. 25 cts. Ladies' Battle, 3. 15 cts. Lottery Ticket. 15 cts. Lover's Quarrels (c). 25 cts. Maid of Croissey, 2 (c). 15 cts. Model of a Wife, A. 25 cts. Mistress of the Mill.f 25 cts. Windmill (c).f 25 cts. My First Fit of the Gout. 25 cts. Nabob for an Hour. 25 cts. Naval Engagements. 15 cts. On the Sly. 25 cts. Perfection. 15 cts. Queen of Arragon (c). 25 cts. Rights and Wrongs of Woman. 25 cts. Sarah's Young Man. 25 cts. Somebody Else (c). 15 cts. Storm in a Tea Cup. 25 cts. Three Cuckoos (c). 25 cts. To Oblige Benson. 15 cts. -Tom Noddy's Secret (c). 15 cts. Turn Him Out. 15 cts. Two Friends, drama, 2. 15 cts. Ugly Customer, An. 25 cts. Very Serious Affair, A. 25 cts. Whitebait at Greenwich. 15 cts. Who Speaks First. 15 cts. Youthful Queen, 2 (c). 15 cts. Four Males and One Female. Blue Devils. 15 cts. Caught by the Cuff. 25 cts. Cherry Bounce. 25 cts. Curious Case, A. 25 cts. Day after the Fair. 15 cts. Family Failing. 15 cts. Fearful Tragedy in 7 Dials. 25 cts. I've Eaten My Friend. 25 cts. Match Making. 25 cts. Monsieur Jaques. 25 cts. Mrs. Green's Snug Little Business. 25 cts. Only a Clod. 25 cts. Painter of Ghent, drama, 1 (c). 25c. t Translations from samo original. 78 AMATEUR'S HAND-BOOK. Paul Pry Married. 25 cts. Kule of Three. 25 cts. Sentinel, musical farce (c). 35 cts. Ticket of Leave. 25 cts. Two Heads better than One. 25 cts. Wilful Ward. 25 cts. Two Males and Three Females. Box & Cox Married. 15 cts. Christmas Boxes. 25 cts. In for a Holiday. 25 cts. Maid of Honor, (c). 25 cts. Poor Pillicoddy. 15 cts. Pretty Piece of Business, A. 15 cts. Twice Told Tale, A. 15 cts. Widow Bewitched. 25 cts. Six Characters. — Two Males and Four Females. ~\>pping the Question. 15 cents. Three Males and Three Females. Anything for a Change. 25 cts. Bristol Diamonds. 25 cts. Brother Ben. 25 cts. Dowager (c). 15 cts. Dying for Love. 15 cts. Flies in the Web, 3. 25 cts. Goose with the Golden Eggs. 25 cts. Handsome Husband, A. 25 cts. House or the Home. 25 cts. Humpbacked Lover. 20 cts. Jacobite (c). 15 cts. Lesson in Love, 3. 25 cts. Little Toddlekins. 15 cts. Lodgings for Single Gents. 25 cts. Love's Telegraph, 3 (c). 25 cts. Mistaken Story, A. 25 cts. More Precious than Gold. 25 cts. Mrs. White. 25 cts. My Dress Boots. 25 cts. My Husband's Ghost. 15 cts. My Neighbor's Wife. 15 cts. My Wife's Come. 25 cts. Nothing to Nurse. 15 cts. Observation and Flirtation. 25 cts. Orange Blossoms. 25 cts. Short and Sweet. 25 cts. Silent System. 25 cents. Spirit of the Ehine, 2, musical piece. 25 cts. Stock Exchange. 25 cts. Sunshine Through Clouds. 25 cts. Too Much of a Good Thing. 25 cts. Trying it on. 15 cts. Two Bonnycastles. 15 cts. Vandyke Brown. 25 cts. Yery Suspicious. 25 cts. Your Life's in Danger (c). 25 cts. Four Males and Two Females. B. B. 25 cts. Behind Time. 25 cts. Captain of the Watch (c). 15 cts. Charles II., 2 (c). 15 cts. Conquering Game. 25 cts. Double-Bedded Boom. 15 cts. ^Double Dummy. 25 cts. Douglas, tragedy, 5 (c). 15 cts. Fascinating Individual. 15 cts. Founded on Facts. 25 cts. Four Sisters. 25 cts. Grimshaw, Bagshaw and Brad- shaw. 15 cts. Grist to the Mill, 2 (c). 15 cts. Hi's Excellency. 25 cts. . Irish Tutor. 15 cts. I've Written to Brown. 25 cts. John Wopps. 25 cts. Kill or Cure. 15 cts. Little Savage. 25 cts. Living too Fast. 25 cts. Match in the Dark. 15 cts. Model Husband. 25 cts. New Footman. 15 cts. Nursey Chick weed. 25 cts. Petticoat Government. 25 cts. Phenomenon in Smock Frock. 15 cts. amateur's hand-book. 79 Poor Cousin Walter (c). 25 cts. Keal and Ideal. 25 cts. Rough Diamond. 15 cts. Secret. 15 cts. Siamese Twins. 15 cts. Slasher and Crasher. 15 cts. Station House. 25 cts. Thirty-three Next Birthday. 25 cts. Who do they take Me for ? 25 cts. Five Males and One Female. Cherry Bounce. 25 cts. Chesterfield Thurskin. 25 cts. Done Brown. 25 cts. Good for Nothing. 15 cts. Lucky Hit (c). 15 cts. Power and Principle 3 (c). Practical Man. 25 cts. Ptetained for the Defense. Tooth Ache (c). 25 cts. Wicked Wife (c). 25 cts. 25 cts. 25 cts. Seven Characters. — Four Males and Three Females. Bowled Out. 25 cts. Brother Bill and Me. 25 cts. Clockmaker's Hat. 15 cts. Dearest Mamma. 25 cts. Did I Dream it. 25 cts. Englishman's House is His Castle. 25 cts. Green-Eyed Monster, 2. 20 cts. Husband to Order, 2 (c). 25 cts. John Smith. 25 cts. Mad as Hatter. 25 cts. Miller of Mansfield (c). 25 cts. My Wife's Dentist. 25 cts. My Wife's Second Floor. 25 cts. Nice Quiet Day. 25 cts. Nine Points of the Law. 25 cts. Object of Interest. 15 cts. Of Age To-morrow. 20 cts. Old Trusty. 25 cts. Peace and Quiet. 25 cts. Quaker, operetta, 2. 20 cts. Railroad Station. 25 cts. Rifle and How to Use It. 25 cts. Samuel in Search of Himself. 25 cts. Second Love, 3. 15 cts. Splendid Investment. 25 cts. Spring and Autumn. 15 cts. Take Care of Dowb. 25 cts. Ticklish Times (c). 15 cts. Tom Thumb (c). 20 cts. Urgent Private Affairs. 25 cts. Wandering Minstrel. 15 cts. Who's My Husband. 25 cts. William Thompson. 20 cts. Woodcock's Little Game. 25 cts. Alcestis Travestie (c) Better Half. 25 cts. Chimney Corner, 2. 25 cts. Delusion. f 15 cts. Dream of Delusion, f 15 cts. Duchess or Nothing (c). 25 cts. First Night. 15 cts. Fish out of Water. 25 cts. Irish Tiger. 15 cts. Jeweler of St. James' , 3 (c). 25 cts. Two Males and Five Females. Cruel to be "Kind. Five Males and Two Females. . 25 cts. John Dobbs. 25 cts. John Jones. 25 cts. King and I (c). 25 cts. Lady and the Devil, 2 (c) Lend Me Five Shillings. Loan of a Lover (c). 15 cts. Maid or Wife. 20 cts. Make your Wills. 15 cts. Nothing Venture, etc., 2, (c). 25 cts. 15 cts. 15 cts. translations from same original. 80 AMATEUR'S HAND-BOOK. Old Honesty, 2. 25 cts. Old Phil's Birthday, 2 (c). 25 cts. Separate Maintenance. 25 cts. Slasher and Crasher. 15 cts. Spectre Bridegroom. 15 cts. State Secrets (c). 15 cts. Village Lawyer. 15 cts. Wedding Day. 15 cts. Wilful Murder. 25 cts Three Males and Four Females. Allow Me to Apologize. 25 cts. Domestic Economy. 25 cts. Everybody's Friend, 3. 25 cts. Hard Struggle. 15 cts. Ici on Parle Francais. 15 cts. Jack's Delight. 25 cts. Laurence's Love Suit, 2. 25 cts. Love is Blind. 25 cts. Marriage a Lottery. 25 cts. My Aunt's Husband. 25 cts. Simpson & Co. 15 cts. Six Males and One Female. Brigand of Calabria (c). 25 cts. Caught by the Ears. 25 cts. Chaos is Come Again. 35 cts. Diamond Cut Diamond. 25 cts. Hunting a Turtle. 25 cts. Thrice Married. 25 cts. x Turned Head. 15 cts. / Turkish Bath. 25 cts. Eight Characters. — Two Males and Six Females, How's your Uncle ? 25 cts. Three Males and Five Females. Last of the Pigtails. 15 cts. Four Males and Four Females. Brother and Sister (c). 25 cts. Deaf as a Post. 15 cts. How will they get out of it. 25 cts. Love in Livery. 15 cts. Music hath Charms. 25 cts. My Sister Kate and my Man Tom. 25 Cts. ■ ^- ■-y**4f Quiet Family. 15 cts. Two Polts. 25 cts. ., Five Males and Three Females. Attic Story. 20 cts. Bachelor's Buttons. 25 cts. Balance of Comfort. 25 cts. Boots at Swan. 15 cts. Cavalier, drama, 3 (c). 25 cts. Census. 25 cts. Forest Keeper, 2 (c). 25 cts. Goose with the Golden Eggs. 25 cts. If the Cap Fits. Jacket of Blue. Joconde, 2 (c). Loan of a Wife. 25 cts. 25 cts. 20 cts. 25 cts. Lost Diamond, drama, 2. 25 cts. Lover by Proxy. 15 cts. Pipkin's Rustic Retreat. 25 cts. Post Boy, 2. 25 cts. P. P. 15 cts. Quiet Day, A. 25 cts. Rendezvous. 15 cts. Sergeant's Wedding. 25 cts. Stage Struck. 15 cts. Sudden Thoughts. 15 cts. Turning the Tables. 25 cts. Twice Killed. 25 cts. Who's my Husband ? 25 cts. Wonderful Woman, 2 (c). 25 cts. Young England. 25 cts. AMATEUR'S HAND-BOOK. 81 Six Males and Two Females. Animal Magnetism (c). 15cts. Bachelor Arts, 2. 15 cts. Cabinet Question. 25 cts. Dead Shot. 15 cts. Doing Banting. 25 cts. Douglas Travestie (c). 25 cts. Dowager, The. 15 cts. Faint Heart Never Won Fair Lady. 15 cts. Fitzsmith, of Fitzsmyth Hall, 25 cts. Floating Beacon, 2 (c). 15 cts. Follies of a Night, 2 (c). 15 cts. Frederick of Prussia (c). 25 cts. Hopeless Passion (c). 25 cts. Jocrisse, the Juggler, 3. 25 cts. John of Paris, (c). 20 cts. King Rene' s Daughter (c) . 15 cts. Man and the Marquis (c). 20 cts. Married Bachelor. 15 cts. Midnight Watch (c). 25 cts. Mummy. 15 cts. My Wife's Husband. 15 cts. Our Wife, 2 (c). 15 cts. Porter's Knot, 2. 25 cts. Review. 15 cts. Rival Valets. 20 cts. She Would and He Wouldn't, 2 (c). 25 cts. Sink or Swim, 2. 25 cts. Time Tries All, 2. 15 cts. Tobit's Dog, The (c). 50 cts. Trumpeter' s Wedding (c) . 25 cW Uncle Zachary. 25 cts. Weathercock. 15 cts. What Have I Done ? 25 cts. Where There's a Will There's a Way (c). 25 cts. Seven Males and One Female. Thumping Legacy (c). 15 cts. Two Galley Slaves, drama, 2. 20 cts. Harvest Storm, drama. 25 cts. I'll be Your Second. 25 cts. Lancers. 25 cts. Payable on Demand, 2. 25 cts. Nine Characters. — Three Males and Six Females. Court of Oberon (c). 25 cts. | Mischief Making. 15 cts. Four Males and Five Females. From Village to Court, 2(c). 25 cts. Five Males and Four Females. Omnibus. 15 cts. Race for a Widow. 25 cts Appearances. 25 cts. War to the Knife, 3. 25 cts. Crossing the Line (c). 15 cts. Lesson for Gentlemen. 25 cts. Six Males and Three Females. Bamboozling. 15 cts. Birthplace of Podgers. 25 cts. Faces in the Fire, 3. 25 cts. Fortune's Frolic. 15 cts. Friend in Need, 2. 25 cts. Gamester, tragedy, 5 (c). 15 cts. Honesty the Best Policy, drama, 2 (c). 20 cts. Hush Money. 25 cts. Irish Doctor. 15 cts Irishman in London. Irish Post. 15 cts. Mendicant, drama, 2. Midnight Hour, 2(c). My Heart's Idol, 2. 25 cts. Spare Bed. 20 cts. Tit for Tat, 2. 25 cts. Veteran of 102 (c). 25 cts. 15 cts. 20 cts. 20 cts. 82 AMATEUR'S HAND-BOOK. Seven Males and Two Females. Amateurs and Actors. 15 cts. Artful Dodge. 25 cts. Blue Beard, Byron (c). 25 cts. Charles XII., 2(c). 15 cts. Illustrious Stranger (c). 15 cts. Innkeeper of Abbey ville, melo- drama, 2 (c). 15 cts. Intimate Friend. 25 cts. Next of Kin. 25 cts. Paul Pry, 2. 15 cts. Point of Honor, play, 3 (c) . 20 cts. Kaising the Wind, 15 cts. Review. 15 cts. St. Patrick's Day. 20 cts. Eight Males and One Female. 'Twould Puzzle a Conjurer (c). 15 cts. To Paris and Back for £5. 15 cts. Eddystone Elf, mevo-arama, 2 (c). 20 cts. Ten Characters. — Five Males and Five Females. Everybody's Husband. 20 cts. Love and Hunger. 25 cts. Married Life, 3. 15 cts. My Preserver. 25 cts. Old Story. 25 cts. Playing with Fire, 3. 25 cts. Serious Family, 3. 15 cts. Six Males and Four Females. Adopted Child, drama, 2 (c). 15 cts. Memoirs of the Devil ; or, the Black Book of Ronquerolles, 3 (c). 25 cts. My Fellow Clerk. 15 cts Regular Fix, A. 15 cts. Therese, drama, 3 (c). 15 cts. Seven Males and Three Females. Aggravating Sam. 25 cts. Alive and Merry. 25 cts. Barbarissa, tragedy, 5 (c). 20 cts. Broken Sword, drama, 2 (c). 15 Chain of Guilt, 3 (c). 20 cts. Crock of Gold, drama, 3 (c) . 25 cts. False and Constant, 2. 25 cts. Lucky Stars (c). 25 cts. Master's Rival, 2. 20 cts. Muleteer of Toledo (c). 25 cts. Night in the Bastile, drama, 3 (c). 25 cts. Pride of the Market, 2 (c). 15 cts. Steeplechase. 25 cts. Turn Out, musical farce. 20 cts. Eight Males and Two Females. All at Coventry. 20 cts. Bandit, Blind Mine, drama, 2 (c) 25 cts. Chang Ching (c). 25 cts. Comfortable Lodgings. 20 cts. Corporal's Wedding. 25 cts. Cramond Brig (c). 20 cts. Don Caesar, 3 (c). 15 cts. Man with the Carpet-Bag. 20 cts, Othello Travestie (c). 25 cts. Point of Honor (c). 20 cts. Robert Macaire, 2 (c). 15 cts. Self Accusation, drama, 2 (c). Still Waters, 3. % 15 cts. Unfinished Gent. 15 cts 25 Eleven Characters. — Six Males and Five Females. Delicate Attentions. 25 cts. Love Knot. 15 cts. No Followers. 25 cts. No Song, no Supper, musical farce, 2(c). 20 cts. -.::.,::v:.*i basi - S3 Seven Mala -nala. Charcoal Burner, drama, 3, (c). 15 : Don't Lend Your Umbrella. 2. Hicrh Life Belo* • _ ) cts. Mr. and Mrs. Pringle. 20 cts. - 15 : _' Plot and Counter: Roll of the Drum, drama, 3 (c). Males and Three Females, Barark Johnson, drama. 25 cts. f E 3 (c). Cure for the Heart-ache, 3. 15 cts. Lucky Stars (e). Death Token, dranvi. 3 (e). i a Father and Son. drama, 2 (c 1 5 Haunted Inn. /arc*. 2 /"; :\ir Males and Seven Females. Too Much for Good Nature. 25 cts. \ Milliner's Holiday. S Nine Males and Tico Females. Not a Bad Judr:. 2(c). 1" J/j/es on J On* Female. "inice Preserved, tragedy, 5 (c). 15 Plays with Twelve Characters and upwards. c] 15 cents, ■ •:•■ 15 Belphegor, drama, 3 (c) 15 Bird in Hand, comic drama, 3 (c) _ 6 Black Domino, comic drama, 3 (c) 25 Bride of Ludgate, comedy {e) S90 2 ■ ■;•; 15 Brut'i : : IS Castle Spectre, play, 3 (c) . .15 Cato. 7r2/; c -.ay ' 20 Iren in the Wood, 2 (c) 15 :mic drama, 2 (c) 15 Damon and Pythias. j?Zay, 5 (c) 1 ' -•" /OTW 1 . Ella Rosenberg, drama, 2 (c) 15 Eag&] 20 . - . : : .' - '.' zma, 3 (e) 20 :mer. drama, 3 (c) Happiest Day of my Life 20 Hoiieymc po, rwmrfy, 3 or 5 (c) I' Be Dog- 15 Housekeeper, corr^iy. Z 25 Hu^ihbaik. pla$ .5 : 15 Hundred Pound Note, farce 20 cpicar 3 *' Male. -: eaMte. ente. 8 4 10 3 12 4 9 3 7 6 10 2 10 2 12 4 3 2 4 8 4 4 4 3 10 3 10 6 12 4 - 4 S 4 * % 4 10 3 3 12 Q 9 3 84 amateur's hand-book. Hunter of Alps, comic drama, 2 (c) 20 cents 9 Husband for an Hour, drama, 2 (c) 15 Iron Chest, play, 5 (c) . . .* 15 Jealous Wife, comedy, 3 (c) 15 John Stafford, drama, 3 (c) 25 Julius Csesar, tragedy, 5 (c) 15 Katherine and Petruchio, comedy, 3 (c). . . .15 Lady of the Lake, drama, 3 (c) 15 Last Man, drama, 2 (c) 15 London Assurance, comedy, 5 15 Lord Darnley, drama, 2 (c) 25 Married Daughters, comic drama, 2 25 Monsieur Tonson, farce, 2 15 Nervous Man, farce, 2 15 Past Ten O'clock, farce 20 Peggy Green, farce, 1 25 Poor Gentleman, comedy, 3 (c) 15 Prisoner of War, comedy, 2 (c) 25 Eivals, comedy, 6 (c) 15 Robber's Wife, drama 15 Schoolfellows, comedy, 2 (c) 25 Shepherd Derwent Vale, drama, 3 (c) 20 She Stoops to Conquer, comedy, 3 or 5 (c) . .15 Speed the Plough, comedy, 3 (c) 15 Teddy the Tiler,/arce, 15 Victims, comedy, 3 15 X. Y. Z., farce. ....20 Male. Female ilts 9 4 * 8 4 < 10 4 » 10 4 1 12 2 ' 21 2 f 10 3 1 11 4 1 9 3 * 10 3 < 12 2 1 5 8 1 10 3 1 10 4 ' 9 3 < 3 10 ' 10 4 1 10 5 ' 8 4 « 10 1 ' 10 3 1 10 2 < 10 3 1 10 4 < 6 8 1 9 6 < 11 4 BURLESQUES AND EXTRAVAGANZAS. The following list comprises those pieces least dependent on scenic effects, and which can be performed with or without fe- male aid. Costumes will be requisite in all of them. The music of the great majority can be hired of any theatrical manager. Alcestis 25 cents Alfred the Great .25 Ali Baba ; or Thirty-nine Thieves 25 Alonzo the Brave ; or Faust and Imogene.25 Amoroso, King of Little Britain 20 Babes in the Wood 25 Babes in the Wood, comic, part 3. 50 Billy Taylor 20 Blue Beard (Byron) 25 Bombastes Furioso 15 Calypso 25 Chang-Ching Fou 25 Chrononhotonthologos 20 Cinderella (Byron). 25 Male. Female nts 5 2 ' 11 3 ' 8 4 « 7 ! 5 2 ' 7 4 4 7 1 9 1 4 6 3 ' 5 1 4 3 4 ' 8 2 < 8 5 ' 6 4 AMATEUR'S HAND-BOOK. . 85 Dido 25 c Douglas Travestie 25 Emani 25 Esmeralda 25 Fair Rosamond 25 Faust (Burlesque) 25 Golden Fleece 25 1 ' Grin ' ' Bushes 25 Hamlet Travestie 25 Ivanhoe 25 Ixion 25 King Alfred and the Cakes (BrougKs bur- lesque) . 40 Lady of Lyons (Byron) 25 L' Africaine 25 La ! Sonnambula ! (Byron) 25 Lord Lovel and Lady Nancy Bell 25 Loves of Lord Bateman and Fair Sophia. .25 Macbeth TTavestie (Byron) 25 Mazeppa 25 Mazourka 25 Miller and his Men 25 Miss Eily O'Connor < . 25 Norma Travestie 25 Nymph of Lurleyberg 25 Orpheus and Eurydice (BrougKs burlesque) .40 Orpheus and Eurydice 25 Orptieus in the Havmarket 25 Othello Travestie .* 25 Patient Penelope 25 Prince Amabel 25 Quadrupeds 25 Richard ye in 25 Robin Hood (Burnand) 25 Robinson Crusoe ) /r , . ^ . , . A Ark Jocrisse&Lisette \ (^emng Entertainment) . A0 Rumplestiltskin 25 Timour the Tartar 25 Tom Thumb 20 The Motto 25 Villikins and Dinah 25 William Tell (Brough's burlesques) 40 Male. Female. 9 6 o 8 3 9 4 8 4 7 2 YYYYY 5 4 15 2 9 2 6 L0 3 1 7 3 6 4 7 5 6 1 6 3 13 2 8 3 6 3 8 2 6 3 3 3 9 3 5 1 6 3 -. 5 7 8 2 3 1 10 6 YYYYY.12 3 18 5 (10 1 •— 1 2 1 . 4 3 7 3 YYYYY. 9 3 3 1 7 SENSATION SERIES. Very short, but very astonishing Jfelo-dramas, suited for Fetes. 1. The Blazing Burgee. 25 cts. I 5. Domestic Hearthstone. 25 cts. 2. The Port-Admiral. 25 cts. | 6. Pretty Jane. 25 cts. 3. Braganzio the Brigand. 25 cts. j 7. Alice* the Mvsterv. 25 cts. 4. The Tyrant, the Slave, the Vic- j 8. Rose of Sthiging'Nettle Farm, tim, and the Tar. 25 cts. 25 cts. 86 ADVERTISEMENTS. TONY DENIER'S Parlor Pantomimes, OR, PAW* ^mmmmi fax ®U until § qm$, BY TONY DENIER, Esq., TJie World-Renowned Comic Pantomimist. In Ten Parts. Price 25 cents each. No. V. No. I. A Memoir of the Author. By Syl- vester Bleeker, Esq. How to Express the Various Pas- sions, Actions, etc. The Four Lovers; or > Les Rivales* Rendezvous. The Frisky Cobbler, or, The Eival Artisans. No. II. The Eise and Progress of Panto- mime. The Schoolmaster ; or, The School in an Uproar. Belle Of Madrid ; or, a Muleteer's Bride. La Statue Blanche ; or, The Lovers' Stratagem. No. III. M. Dechalumeau; or, The Birthday Pete. The Demon Lover ; or, The Fright- ened Family. Eobert Macaire ; or, Les Deux Fu- gitifs. No. IY. Jocko, the Brazilian Ape; or, The Mischievous Monkey. The Conscript *, or, How to Avoid the Draft. The Magic Flute ; or, The Magician's Spell. The Vivandiere ; or, The Daughter of the Regiment. Dame Trot and her Comical Cat J or, The Misfortunes of Johnny Green- No. YI. Godenski ; or, The Skaters of "Wilnau. The Enchanted Horn; or, The "Pitches' Gift. No. YII. The Soldier for Love ; or, A Hero in Spite of Himself. Simon's Mishaps ; or, The Hungarian Rendezvous. No. Yin. The Village Ghost; or, Love and Murder both Found Out. The Fairies' Frolic; or, The Good "Wife's Three Wishes. No. LX. The Bose Of Sharon ; or, The Unlucky Fisherman. Pongo, the Intelligent Ape, and the Unfortunate Overseer. No. X. Mons.Toupet, the Dancing Barber; or, Love and Lather. Vol au Vent and the Millers; or, A Night's Adventures. Copies of the above will be sent by mail, on receipt of price, by SAMUEL FRENCH, PUBLISHER, 122 Nassau Street, New York. ADVERTISEMENTS. 87 PROPERTIES. Helmets, Slielis, Sworts, shears, Furniture, PANTOMIME TRICKS, Masks, Heads, Trick Fireworks. and everything appertaining to the Stage, including Calcium and Prismatic Lights, and Fires of all Colors for Parties wishing correct Models of Pantomime Tricks, or any of the above- named articles, will please address either B. CTJTLEB, or, ) , L. w _ WM. WILSON, j Barnum s Museum, N. Y. Or, to JOHN G. "WILLIAMS, Old Bowery Theatre, N. Y. All orders attended to with neatness and dispatch. To the Theatrical Profession. YANDERLIP &, TAYLOR, Importers & Manufacturers of THEATEIOAL HOSIERY, No. 96 Bowery, New Yorle. Constantly^ hand and made to order, SILK, WORSTED & COTTON TIGHTS, of every description. All orders by mail, or otherwise, will receive prompt attention and be sent by Express to any address. Impersonator of Female Character, Prima Danseur, and Burlesque Prima Donna, Has opportunities for a few more pupils, who wish instruction in Stage, Fancy or Ball-Boom dancing. For terms, address G. "W. CHARLES, Hooley's Opera House, Brooklyn, N. Y. Mnsic Furnished for Amateur Performances. The incidental MUSIC to all PLAYS advertised in this Book, to be had of ■JP. -W- PETERSCHEISr, Leader of Orchestra of Howard Athenseum Boston, Mass. ADVERTISEMENTS. O^ FOURTH AYENUE. TVholelesale and retail dealer in BOOKS, MUSIC, PINE STATIONERY, MUSI- CAL INSTRUMENTS, IMPORTED and DOMESTIC TOILET GOODS, BEAD "WORK, BEAUTIFUL EAGLE FEATHER FANS, made by the Indians, DESKS, SATCHELS, GAMES, &c. ALL NEW PUBLICATIONS. A large assortment of AMERICAN, ENGLISH and FRENCH PLAYS. Orders solicited, and Goods sent to any part of the world. BURNTON'S, 92 Fourth Avenue, and 298 Bowery, N. Y. FRANK RIVERS & CO., Dramatic, Mulclljflrtian Costume, and PURCHASING AGENCY, £J5 West Houston Street, JN"e>v York. OFFICE HOURS FEOM 9 A. M., TO 6 P. M. MES. TAYLOR, No. 6 BLEECKER STREET, Three Doors from Bowery, N E\A/ YORK Fancy Costumes Made to Order. 1 k nm Boot & Shoe Maker, No. 270 Bowery, New York. N. B.— Everything required by the different branches of the Dramatic, Eques- trian and Gymnastic Profession, made to order, and Expressed to any part of the United States and British Provinces. Managers of Theatres and Gymnastic Institutes dealt with on liberal terms. ADVERTISEMENTS. 89 SHANNON &> MILLER, Importers of, and "Wholesale and Retail Dealers in MATERIALS, AND ALL KINDS OF GOLD AND SELTER TRIMMINGS, No. 32 Maiden Lane, N. Y. Goods sent C. 0. D. to any part of the United States or Canada. B. B. KENT'S THEATRICAL HOSIERY, 202 Bowery, New York, FORMERLY GARNER'S ESTABLISHMENT, 344 Bowery, INT. *Y*. All kinds of THEATRICAL and CIRCUS CLOTHING constantly on hand and made to orde PAUL LE SPOTTE, (FROM PARIS,) THEATRICAL WIG MAZER, IS West Houston Street, A few doors off Broadway, ; NEW YORK. BRONZE MEDAL OBTAINED IN PARIS, 1855. A nice assortment of THEATRICAL WIGS always on hand; also Curls, Beards, Skull Caps, Whiskers, Moustaches, etc. Theatres furnished -with Wigs at short notice. Character and Comic Wigs to hire to Amateurs. MINSTREL AND FRIGHT WIGS. Notice.— We manufacture no other but THEATRICAL WIGS, to -which particular branch of the business we devoted our time for the last ten years, in Paris and New York, Latest Improvements applied to all goods. Goods sent to all parts of the Union. "W\ J". STANTON, COSTUMER, isr:E"w bowery the A-Tre. Theatrical dresses and costumes of the most elaborate description made to order; also costumes for BAL MASQUES. RESIDENCE. 302 BROOME STREET, NEW YORK, Gr. W. TIXOJMLF&OTX, wmmwmsBmm mw s&>©ottiot« Ladies and Gentlemen fitted for any position in the Theatrical Profession, and engagements procured when proficient. Address G-. TV. THOMPSON, New Bowery Theatre, New York. 00 ADVERTISEMENTS. SEYMOUR'S 152 CANAL STREET, NEW YORK. Patronised by the Elite of the American Beau Monde. COSTUMES of the most Elaborate and Varied description, for BAL MASQUE, CHURCH, SCHOOL and PRIVATE TABLEAUX. MASONIC, ODD FELLOW and SONS OF TEMPER- ANCE REGALIA. SWORDS, WIGS, JEWELS and TIGHTS. Tableaux Arranged, and Private Theatricals Directed. .A.- O- JONES, THEATRICAL | j WIG MAKER, No. 9 fF&ivirtgton St., ( Near Bowery,) New fork, ECOIRSTM^JNT BROS. & ALLIEN MANUFACTURERS AND IMPORTERS OF MILITARY & THEATRICAL GOODS. Gold and Silver Lama Cloths, L.aces, Stage Jewelry, <&c. No. 8 3IA.IDEN I.A.NE, NEW YOBK. The Art of Beating the Tambourine Made Easy ■will be sent, pre-paid, to any address, on receipt of $1 10, giving complete instruc- tions, so that any one may, in a short time, learn to Beat the Tambourine, in the most scientific manner. Address all letters to S. GUNTON & CO., Jacksonville, Morgan Co., Illinois. DRAMATBC PHOTOGRAPHS. PHOTOGRAPHS OF ALL THE PBINCIPAL Actors, Actresses, Opera Singers, Danseuses, Minstrels, R PRICE £5 CENTS EACH. $3 PER DOZEN. Send stamp for Catalogue. Address 0. A, R00RBACH, 122 Nassau St., N. Y. ADVERTISEMENTS. 91 HORACE WATERS' G- ■& EAT Bmsltml Sitoftliiltmsml t No. 481 BROADWAY, NEW YORK. ( PIANOS, MELODEONS, CABINET ORG-ANS SHEET MUSIC, MUSIC BOOKS, And all kinds of Musical Instruments and Musical Merchandise, at the lowest rates, wholesale and retail. Second-hand Pianos and Melodeons at great bargains. Prices, $60, $75, $100, $125, $150, $175, $200, and $225. New 7-octave Pianos for $250 and upward. Pianos and Melodeons to let, and rent allowed if purchased. Monthly payments received for the same. The Horace Waters Pianos and Melodeons are AS FIXE and DURABLE In- struments as are made. Warranted for FIVE years. Prices greatly reduced for cash. TESTIMONIALS. The Horace "Waters Pianos are known as among the very best.— JV. Y. Evan- gelist. We can speak of the merits of the Horace Waters Pianos from personal knowl- edge, as being of the very best quality. — Christian Intelligencer. The Horace Waters Pianos are built of the best and most thoroughly seasoned material. — Advocate and Journal. Waters' Pianos and Melodeons challenge comparison with the finest made anvwhere in the country. — Home Journal. Our friends will find a*t Mr. Waters' store the very best assortment of Music and of Pianos to be found in the United States. — Graham's Magazine. Schedule of prices of instruments and Catalogue of Sheet Music, and any Musio published in the United States, mailed free. Sheet Music, a little soiled, at \% cents per page. Sabbath School, and other books, published by Horace Waters. Sabbatli School Bell, No, 1, (850,000 copies issued.) Sabbath School Bell, No. 2, Choral Harp, The Diadem. PRICES: Paper Covers, $3 per doz. ; Boards, $3 60 ; Cloth Embossed, Gilt, $4 20. BELLS, Nos. 1 and 2, in one Volume, $G 60 per dozen ; Cloth Embossed, Gilt, $7 20 per doz. DAY SCHOOL BELL, for Public Schools and Seminaries, Paper Covers, $3 60 per doz. ; Board Covers, $4 20 ; Cloth, $4 80. THE CHRISTIAN MELODIST. A new Revival Hymn and Tune Book. Price, $3 per doz ; Boards, $3 60. Manufactory and Warerooms, 481 Broadway, New York. 92 ADVERTISEMENTS. k OONN3EK, & OO.'S THEATRICAL AGENCY, J^HNTD COSTUME DEPOT. EIIHUWIQ) TQ> 534 i^HDW, Qw@s?t© BARNUIN'8 MStUlGfii. Situations procured for Artistes at all times. Instruction given, and pupils placed upon the stage with dispatch. Denier' s Parlor Pantomimes, Play Books, and all Theatrical Works forwarded to any address on receipt of price. JAMES CONNER & CO. TDE3IE^l.TK,IC^.JL. GOODS, Yiz. : WARDROBES, SWORDS, LACE, SPANGLES, COLORED FIRES, PLAYS, and everything required by Theatrical Artists, sent to any part of the world. Private and School Exhibitions, Private Theatricals, Tableaux, etc. For any of the above, address TONY DENIER, Care of S. French, 122 Nassau Street. EVERYBODY'S FRIEND Contains the Lady's Guide to Beauty ; Parlor Theatricals ; the Parlor Magician ; How to Make all kinds of Liquors without the use of poisonous articles ; How to Make all kinds of Powders, Rouges, Salts, Curling Fluids, Hair Dyes, etc. ; How to Make the Whiskers and Moustache grow; Fortune Teller, etc., etc. Price 25 cents. SHORT-HAND WITHOUT A MASTER, By which the nature of taking down Sermons, Lectures, Speeches, Trials, etc.* may be attained in a few hours. Fifty-third edition, with supplement. Price 25 cents. JOE MILLER, Jr. A Book crammed full of Jokes, Comical Stories, Witty Sayings, Funny Puns, Laughable Conundrums, Humorous Poetry. Price 10 cents. VEBTTRILOCtUISM MADE EASY, And the Second Sight Mystery, as practiced by Re beet Heller and others, fully explained. Price 15 cents. THE BOOK OF WONDERS, Tells how to make CIDER without apples, or any other fruit. It also contain^ the Hunter's Secret, how to catch Fish and all kinds of Game ; How to make al 1 kinds of Liquors, all kinds of Onguents and Curling Fluids ; Gambling Exposed > Ventriloquism Made Easy ; Information of Importance to Ladies, etc., etc., etc* Price 25 cents. FIVE HUNDRED PHOTOGRAPHS OF THE MOST PROM- INENT PERSONS OF THE AGE, Embracing Actors, Actresses, Opera Singers, Officers of the Army and Navy, Statesmen, Authors, Artists, Clergymen, Kings, Queens, etc., etc., all on one card. Price 25 cents. Either of the above will be sent by mail, postpaid, on receipt of the price, by 0. A. K00RBACH, 122 Nassau Street, New York. Send stamp for Catalogue of Books, Photographs, Games, etc. ADVERTISEMENTS. 93 DRAMATIC WORKS. THE DRAMATIC RECITER. A collection of Comic and Serious Legends, Tales, Dialogues, and Selections from Plays. Part 1. Price 40 cts. COMIC DRAMAS, FOR COLLEGE, CAMP OR CABIN. A collection of Origi- nal and Approved Plays, for Male Characters only. Parts 1, 2 and 3. 40 cts. each. SENSATION DRAMAS, FOR THE BACK DRAWING-ROOM. By Henry J. Byron. With 48 Illustrations, by William Brunton. Price 40 cts. DRAMAS, FOR COLLEGE, CAMP OR CABIN. ' Serio-Comic Plays, for Male Characters only. Price 40 cts. MASSEFS EXHIBITION RECITER, AND DRAWING-ROOM ENTERTAIN- MENTS. Being Choice Recitations in prose and verse, together with an Unique collection of Petite Comedies, Dramas and Farces, adapted for the use of Schools and Families. By Charles Massey, Professor of Elocution at Burlington Col- lege, N. J., and Mechanics' Society School, New York City. Two numbers, 30 cts. per number. The two numbers, bound in cloth, school style, 75 cts. WORKS SPECIALLY ARRANGED FOR THE USE OF SCHOOLS, COLLEGES AND PRITATE ENTERTAINMENTS. An Evening's Entertainment. An Original Comedy, a Burlesque and Farce. 40 cts. Charades in Action, by the Brothers Mayhew. 40 cts. Punch and Judy, (illustrated). 40 cts. Life of a Showman, by David P. Miller. 40 cts. Joe Miller's own Jest Book. 40 cts. Oxberry's Chronology of English Stage. 40 cts. Shakspeare's Proverbs, bv Miss Cow- din Clark. 30 cts. Playgoer's Journal, three parts ; each 30 cts. Drams for the Drawing-Room, by Miss Keating. 2 parts. Each, 40 cts. Plays for the Parlor, by Mias Keating. 40 cts. Charade Dramas in French and En- glish, by Miss Francis. 40 cts. Six Charade Plays, by W. H. Smith. 40 cts. Acting Charades, by Miss Pickering. 40 cts. Drama for Boys, (male characters only), by Miss Keating. 40 cts. Home Plays for Ladies, (female char- acters only), three parts each. 40 cts. Burlesque Dramas, by B. B. Brough. 40 cts. LACY'S DRAMATIC COSTUMES. (Now Publishing.) Sixty-six parts ready, each containing six splendidly colored plates. Price $1 00 each. Sold only in sets. ELOCUTION ; ITS PRINCIPLES AND PRACTICE. Being a Complete Manual of the Art of Speaking. By Henry Innes. Cloth, boards, $1 00. THE MODERN SPEAKER. With a practical essay on Elocution, and the best collection of Recitations ever published. In three parts ; each 25 cts. PLANCHE'S COSTUMES. Price $1 00. THE GUIDE TO THE STAGE. By Leman Francis Rede. Containing clear and full directions for obtaining Theatrical Engagements, with complete and valuable instructions for beginners, relative to salaries, rules, manner of going through rehearsals, securing proper dresses, conduct at first appearance, etc. To which is added a list of the principal English and American Theatres. Edited and adapted to the American Stage, by Francis C. Wemyss. Price 15 cts. Copies of the above sent free of postage, on receipt of price, by SAMUEL FRENCH, No. 122 Nassau St., New York. CRITICISMS AND DRAMATIC ESSAYS On tlie Eng-lisli Stage. By William Hazlltt. Price $2 50. 1 vol., cloth, Comprising— Actors and Acting. Dramatic Poetry. Minor Theatres ; Strolling Players. Mr. Elliston. Mr. Matthews at Home. Kean's Shylock, Kichard III., Ham- let, Iago, Coriolanus, etc. Mrs. Siddons. Mr. Kemble. Modern Comedy. Play-going ; some of our Old Actors. Adaptation of Scott's Novels. Farren, Terry, Jones, Liston* Miss O'Neill's Juliet. 44 4 ' Elwina. 11 u Retirement. Mr. Macready's Performances, etc., etc. HUSTON'S L8FE AND ENTERPRISES. By George Raymond. Illustrated with Portrait and Engravings on Steel, from designs by Phiz, Cruickshank, etc. $1 50. * { This is a very entertaining memoir of one of the most gentlemanly, accomplished, and versatile actors "who adorned the English Stage. The life of R. W. Elliston, unlike that of the majority of his professional brethren, affords ample material for a readable book, and this volume presents indubitable proof of that fact." — Post. THE DRAMATIC WORKS OF JOHN MARSTON. Reprinted from the original edition, "with Notes, and some account of his Life and Writings. By J. 0. Halliwell, F.R.S., F.S.A. 3 Vols., 12mo, Cloth. $10. 00. 11 A poet of distinguished ability in his own day, no less admired for the versatility of his genius in tragedy and comedy than dreaded for the poignancy of his satire ; in the former department the colleague of Johnson, in the latter the antagonist of Hall."— Rev. P. HcdL SHERIDAN KN0WLES' DRAMATIC WORKS. Containing Cains Gracchus. Virginius, William Tell, Alfred the Great, Hunch- back, The Wife, Beggar of Be#mal Green, The Daughter, Love Chase, Woman's Wit, Maid of Mariendorpt, Love, John of Procida, Old Maids, The Rose of Arragon, and The Secretary. » Vols. Steel Portrait. $6.00. A RECORD OF THE BOSTON STAGE From the earliest period to 1853, drawn from the most authentic sources, re- lating to Theatricals, Performers, and the Profession ; interspersed with Anecdotes. By W. W. Clapp, Jr. 1 Vol., 12mo, Cloth. Price $1 25. j@®= Any of the above will be sent by mail, postage paid, on receipt of price. Send Cash Orders to O. A. ROOKBAOH, Jr., 122 Nassau Street, New York. PARLOR TRICKS WITH CARDS. Containing explanations of all the Tricks and Deceptions with Playing Cards ever invented ; embracing Tricks with Cards performed bv rht of Hand, bv the aid of Memory, Mental Calculation ancl Arrangement of Cards, by the aid of Confederacy, and Tricks per- formed by the aid of Prepared Cards. The whole illustrated and made plain and easy. "With. Seventy Engravings. Price 50 cts. , PARLOR .THEATRICALS? OR, TVENTXEI^ EA^XIXG THEATRICU^S. Containing Acting Proverbs. Dramatic Charades. Acting Charades, or Drawing-room Pantomimes, Musical Burlesques. Tableaux Vivants, etc., etc., with Instructions for Amateurs ; hoi tract a - e and Curtain ; how to get up Costumes and Properties ; on the Making-up of Characters; Exits. Entrances, how to arrange Tableaux, etc. Illustrated, Price 50 cts. > THE GREAT WIZAED OF.THE NORTH'S HAND-BOOK OF NATTTKAL^ MAGIC Being a series of the newest Tricks of Deception, arrangedfor amateurs and lovers of the art, etc. Bv Peofzssoe J. H. Axbebsoh. Eightv- fifth Edition. , Price 25 cts. BOOK OF 500 CURIOUS PUZZLES. Containing a large collection of entertaining Paradoxes,' Perplexing Deceptions in Numbers, and Amusing Tricks in Geometry.^ Illus- trated with a great variety of Engravings. Price 30 cents. J8S- Either of the above sent bv mail, postage paid, on receipt of the price. Address orders to O. A. ROORBACK, 122 Xassau Street, _V. r. THE MAG-ICIAN'S OWN BOOK; A COMPLETE GUIDE TO THE ART OF CONJURING. Being a Hand-book of Parlor Magic, and containing several hundred amusing Magical, Magnetical, Electrical and Chemical Experi- ments. Astonishing Transmutations, Wonderful Sleigh t-of-H and and Card Tricks, Curious and Perplexing Puzzles, Quaint and En- tertaining Tricks and Questions in Numbers, Secret Writing ex- plained, Sleights and Subtleties in Legerdemain, etc., together with all the most noted Tricks of Modern Performers. Illustrated with over 500 Wood Engravings. 12mo, cloth, gilt side and back stamp, 400 pages. Here is the whole process made simple of man- ipulating the cards, and performing tricks with sleight of hand. Price $1 5 3. THE PARLOR MAGICIAN; OE, ONE HUNDBED THICKS FOB THE DKAWING-KOOM. Containing an extensive and miscellaneous collection of Conjuring and Legerdemain ; Sleights with Dice, Dominoes, Cards, Ribbons, Rings, Eruit, Coin, Balls, Handkerchiefs, etc., all of which may be Performed in the Parlor or Drawing-room, without the aid of any apparatus ; also embracing a choice variety of Curious Deceptions which may be performed with the aid of simple apparatus ; the whole illustrated and clearly explained, with 121 Engravings. Price 50 ets. THE SECRET OUT; OE, ONE THOUSAND THICKS WITH CAEDS. A book which explains all the Trieks and Deceptions with Playing Cards ever known or invented. This book contains, in addition to its nu- merous Card Tricks above described, full and easily understood ex- planations of some two hundred and forty of the most curious, amusing and interesting sleight-of-hand tricks ever invented, and which are illustrated by Engravings to make each Trick under- stood with ease. Illustrated by about 300 Engravings, and bound in a handsome gilt binding. It contains about 4£0 pages. Price $150. THE SOCIABLE; OE, ONE THOUSAND AND ONE HOME AMUSEMENTS. Containing Acting Proverbs, Dramatic Charades, Acting Charades, or Drawing-room Pantomimes, Musical Burlesques, TableauxVivants, Parlor Games, Games of Action, Forfeits, Science in Sport and Parlor Magic, and a choice collection of curious Mental and Me- chanical Puzzles, etc. Illustrated with nearly 300 Engravings and Diagrams, the whole being a fund of never-ending entertainment. By the author of " The Magician's Own Book." Nearly 400 pages 12mo, cloth, gilt side stamp. Price $1 50. JKSr Either of the above sent by mail, postage paid, on receipt of the price. Address orders to O- -£l. ROOIR.IB.A.OIEI, 122 Nassau St., 1ST. Y. (Catalogue continued from second page of cover.) '.OL. XLI. the Pirate's Legacy rThe Charcoal Burner ! Adelgitha I Sen or Yaliente i Forest Rose i Dnke's Daughter Camilla's Husband .eld VOL. XLII. 329 Ticket of Leave Man 330 Fool's Revenge 331 O'N'eilthe Great 332 Handy Andy 333 Pirate of the Isles 334 Fanchon 335 Little Barefoot 336 Wild Irish Girl VOL. XLIII. 337 Pearl of Savov 338 Dead Heart Hamlet, in Three Ac The Oath of Office Gunle & Gulpit Bound Volumes, containing Eight Plays $1 25 The Guide to the Stage, by Lemax Thomas Rede. Containing Clear and Full Directions for obtaining Theatrical Engagements, with complete and valuable instructions for beginners, relative to salaries, rules, man- ner of goiu? through Rehearsals. securing proper dresses, conduct at a first appearance, &c, Ac. To which is added a list of the principal English and American Theatres. Edited and adapted tbe American Stage bv Francis C Vkmtss. Pnce 15 Cents. Massey's Exhibition Reciter and Drawing: Room Entertainments. Being choice Recitations in prose and verse. Together with an unique collection of Petite Comedies, Dramas and Farces, adapted for the use of Schools and Families. By Charles Massey, Professor of Elocution at Burlington College, N. J., and Me- chanics* Society School, Xew York City. Two numbers per number, The Two numbers, bound in cloth, School style Dramas for the Drawing: Room, by Miss Keating Plays for the Parlor, by Miss Keating Acting: Charades, by Miss Pickering Joe Miller's Own Jest Book Life of a Showman, by David Prince Miller Punch, and Judy, Illustrated Comic Dramas, for College, Camp, or Cabin, (Male Characters only,). Dramas for Boys, (Male Characters only,) by Miss Keating Home Plays for Ladies, (Female Characters only.) complete in 2 parts each An Evening's Entertainment, an original Comedy, a Burlesque and Farce Shakspeare's Proverbs, by Mrs. Cowdin Clarke Playgoer's Journal, 3 parts each 30 75 40 40 40 40 40 40 40 40 40 40 30 30 THE ETHIOPIAN DRAMA. Uncle Jeff. The Mischievous Nigrg-er. The Black Shoemaker. The Magic Penny. The Wreck. Oh, Hush ! or, The Vir- ginny Cupids. The Portrait Painter. The Hoprof Fashion. Bone Squash.. The Virginia Mummy. Thieves at the Mill. Comedy of Errors. The above Dramas have been produced with the utmost care, not only to the correctness to the test, but to ail the Stage Directions, Properties, and other minutiae, pertaining to their being properly placed on the Stage. Although these Dramas are specially adapted for Ethiopian entertainments, they are well fitted for Private Theatricals. D£^~ NOTICE.— Our i ng to the continued increase in price of Press "Work, Paper and Binding, toe shall be obliged to charge Fifteen Cents at Retail, for the Standard and Minor Drama.— January 1st, 1864. Any of the above sent by Mail or Express on receipt of price. SAMUEL FRENCH, Publisher, 122 Nassau Street, (Up Stairs.) Agent for Lacy's, Cumberland's, and Webster's English Play?. No. 1. Robert Make-Airs. No. 14. 2. Box and Cox. 15. 3. Mazeppa. 16. 4. United States Mail. 17. 5. The Coopers. 18. 6. Old Dad's Cabin. 19. 7. The Rival Lovers. 8. The Sham Doctor. 20. 9. Jolly Miilers. 21. 10. Villikins and his Dinnah. 22. 11. The Q,uaek Doctor. 23. 12. The Mystic Spell. 24. 13. The Black Statue. 25. inSSSX 0F CONGRESS F f EN £Hly20T3i™4:MAn Stfjftjk*"* 73IrelanI^ndfmerica (lift OtfJKL *** L- ™h Will. V 1 The Irish Attorney 2 Boots at the Swan 3 How to pay the Rent 4 The Loan of a Lover 5 The Dead Shot I 6 His Last Legs 7 The Invisible Prince I 8 The Golden Farmer i VOL. II. j 9 Pride of the Market 10 Used Up ! 1 1 The Irish Tutor 12 The Barrack Room 1 3 Luke the Laborer 14 Beauty and the Beast 15 St. Patrick's Eve 16 Captain of the Watch VOL. HI. 17 The Secret [ pe rs In Z hite Horse of tQ e Pep 19 The Jacobite 20 The Bottle 21 Box and Cox 22 Bamboozling 23 Widow's Victim 24 Robert Macaire vol, iy. 25 Secret Service 26 Oniaibus 27 Irish Lion 28 Maid of Croissy 29 The Old Guard !| 30 Raising the Wind 31 Slasher and Crasher | 32 Naval Engagements < VOL. V. 33 Cocknies in California 34 Who Speaka First 35 Bombastes Furioso 36 Macbeth Travestie 37 Irish Ambassador 38 Delicate Ground 39 The Weathercock [Gold 40 All that Glitters is Not VOL. VI. 41 Grimshaw, Bagshaw and Bradshaw 42 Rough Diamond 43 Bloomer Costume 44 TwoBonnycaslles 45 Born to Good Buck 46 Kiss in the Dark I jurer fJ'Twmld Puzzle a Con- 48 Kill or Cure 73 Ireland and America jl45 ColuUbus * IX ' | 2l7 CrJ n Jt' XXYUh 16T PSS- 4^S-£aSmo C k S^SS^Z Five Pounds 77 That Blessed Baby 78 Our Gal 79 Swiss Cottage 80 Young Widow VOL. XI. 81 O'Flannigan and the Fa- 82 Irish Post i r i es 83 My Neighbor's Wife 1 84 Irish Tiger 85 P. P., or Man and Tiger 86 To Oblige Benson 87 State Secrets 88 Irish Yankee 149 r-™,? * m \ m A Mat(:h ™ the Dark 149 Comedy and Tragedy 222 Advice to Husbands 150 Opposite Neighbors 99a hso««,„„ m_r__ an