Price 25 Cents DENISON'S ACTING PLAYS Partial List off Successful and Popular Plays. Large CataloRue Free. DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, 2% hrs (35c) 8 8 Abbu San of Old Japan, 2 acts, 2 hrs (35c) 15 All a Mistake, 3 acts, 2 hrs. (35c) 4 4 All on Account of Polly, 3 acts, 2% hrs (35c) 6 10 And Home Came Ted, 3 acts, 2% hrs (50c) 6 6 Arizona Cowboy, 4 acts, 2^ hrs (35c) 7 5 Assisted by Sadie, 4 acts, 2J/^ hrs (50c) 6 6 As a Woman Thinketh, 3 acts, 2^ hrs (35c) 9 7 At the End of the Rainbow, 3 acts, 2J4 hrs (35c) 6 14 Bettv's Last Bet, 3 acts, 2^ hrs (50c) 5 6 Black Heifer, 3 acts, 2 hrs. (25c) 9 3 Boy Scout Hero, 2 acts, 1J4 hrs. (25c) 17 Boy Scouts' Good Turn, 3 acts, Hi hrs (25c) 16 2 Busy Liar, 3 acts, 254 h. (25c) 7 4 Cabin Courtship, 3 acts, 2 hrs. (35c) 5 4 Call of Wohelo, -3 acts, 154 hrs ,.(25c) 10 Civil Servige, 3 acts, 2% hrs. (35c) 6 5 Clubbing a Husband, 3 acts, 2 hrs (35c) 12 College Town, 3 acts, 2^ hi-s (35c) 9 8 Deacon Dubbs, 3 acts, 2^4 hrs. (35c) .^.55 Deacon Entangled, 3 acts, 2 hrs. (3Sc) 6 4 Dream of Oueen Esther, 3 acts, 2'4 hrs (35c) 3 16 Dream That Came True, 3 acts. 2J4 hrs (35c) .6.i3 Early Bird, 3 acts, 2^ hrs. (35c) 7 7 Editor-in-Chief, 1 hr. . . . (25c) 10 Empty HousCj 3 acts and epi- logue, 2J4 hrs (35c) 6 8 Evervvouth, 3 acts, 154 h. (25c) 7 6 Fifty-Fifty, 3 acts, 254 hrs. (50c) 5 5 For the Love of Johnny, 3 acts, 254 hrs (50c) 6 3 Fun on the Podunk Limited, 154 hrs (30c) 9 14 Fun Revue, 2 hrs. . . . . (35c) Optnl. Gettin' Acquainted, 25 min. (3Sc) 1 2 Gold Bug. 4 acts. 254 hrs. . (50c) 7 7 M. F. Her Honor, the Mayor, 3 acts, 2 hrs. (35c) 3 S High Brown Breach of Prom- ise, 1 hr (30c) 16 Indian Days, 1 hr (50c) S 2 In Hot Tamale Land, 2 acts, 2 hrs (35c) 6 4 Jayville Junction, 154 hrs. (30c) 14 17 Kicked Out of (Tollege, 3 acts, 254 hrs (35c) 10 9 Kingdom of Heart's Content, 3 acts, 254 hrs (35c) 6 12 Laughing (Zure, 2 acts, 1^ hrs. (35c) 4 S Lie That Jack Built, 1 act, 30 min. (35c) 2 2 Lighthouse Nan, 3 acts, 254 hrs (35c) 5 4 Little Clodhopper, 3 acts, 2 hrs (35c) 3 4 Mary's Millions, 3 acts, 254 hrs (50c) 5 6 Mirandy's Minstrels. ... (30c) Optnl. Mrs. Tubbs of Shantytown, 3 acts, 254 hrs (35c) 4 7 My Irish Rose, 3 acts, 2^4 hrs. (35c) 6 6 Old Maids, 3 acts, 2 hrs.. . (50c) 5 8 Old School at Hick'ry Holler, 154 hrs .• (30c) 12 9 Poor Married Man, 3 acts, 2 hrs (35c) 4 4 Prairie Rose, 4 acts, 2'/^ h.(35c) 7 4 Reail Thing After All, 3 acts, 254 hrs (35c) 7 9 Royal Cut-Up, 2 acts, 2 hrs. (35c) 7 3 Rustic Romeo, 2 acts, 254 hrs (3Sc)10 12 Ruth in a Rush, 3 acts, 2 54 hrs (3Sc) 5 7 Safety First, 3 acts, 254 hrs (35c) 5 S Southern Cinderella, 3 acts, 2 hrs :.(35,c) 7 Spell of the Image, 3 acts, 254 hrs (3Sc)10 10 Star Bright, 3 acts, 2% h. (35c) 6 5 Thread of Destiny, 3 acts, 254 hrs. (35c) 9 16 Trial of Hearts, 4 acts, 254 hrs. (35c) 6 18 Tripto Storyiand, 154 hrs.(25c) 17 23 Under Blue Skies, 4 acts, 2 hrs (35c) 7 10 Way Down Along, Prologue and 2 acts, 2 hrs (35c) 7 3 When Smith Stepped Out, 3 acts, 2 hrs (50c) 4 4 When the Clock Strikes Twelve, 3 acts, 254 hrs (35c) 8 20 Whose Little Bride Are You? 3 acts. 254 hrs (50c) 5 5 Winning Widow, 2 acts, 1J4 hrs. (25c) 2 4 Zarne'uetn. 2 acts. 2 hrs. ■ . (35c) 7 4 T. S. DENISON &COMPANY, Publishers, 623 S. Wabash Ave. .Chicago GIMME THEM PAPERS! SOME SYNCOPATED SOB STUFF BY FREDERICK G. JOHNSON AUTHOR OF The FootUght Revue," "The Fun Revue," "At Harmony Junction,^' "Foiled, By Heck!" "Good Morning, Teacher" "Such Ignorance!" "Hozv to Stage a Minstrel Show," etc. "To make me laugh, you must play tragedy, ' ' CHICAGO T. S. DENISON & COMPANY Publishers GIMME THEM PAPERS! NOTICE Production of this play is free to amateurs, but all pro- fessional rights are reserved. COPYRIGHT, 1922. BY FREDERICK G. JOHNSON Made in U. S. A. -.«r GIMME THEM PAPERS! CHARACTERS. Harry Ham me The Handsome Hero Willie Wynne The Wicked Willain Cherub Chubb The Cherished Child Patricia Punque The Perfect Peach Velma Vail The Vicious Vamp Scene — Oh, Here and There. Time — Decidedly Raggy. Place — The Crool, Crool World. Time of Playing — About Tiventy Minutes. NOTE TO DIRECTOR. These directions are for production in a theatre with good scenic equipment. The play can be efifectively presented, however, on any platform, with no scenery whatever. In that case the stage should be set as for "Act Two," with, a table, a chair or two, and a rug. The changing of the easel signs tells the story. Whether or not scenery is used, there should be no waits between the "acts." The action is continuous from start to finish. If printed programs are used, do not indicate the "acts" thereon. The easel signs are intended to get a laugh as they are shown from time to time, and must therefore not be revealed beforehand. .3 4 GIMME THEM PAPERS! CHARACTERS AND COSTUMES. Harry — A fashion-plate hero ; rather ruddy make-up ; eyelashes beaded, cupid's-bow mouth ; wears handsome busi- ness suit, of blue serge or other informal material, and neat straw hat ; or he may affect the cheap ultra-swell, and wear loud checked suit with immense panama hat having a gaudy band ; hair pompadoured and sleek always, except for "rough-house" scene in "Act Two." Willie — An old-time villain ; thin face, pale make-up, small black moustache; wears — of course! — evening clothes, silk hat, caped overcoat (optional) ; smokes cigarettes in- cessantly. Cherub — Preferably played by a stout man with a deep voice ; long, curly wig and romper costume ; large clumsy shoes ; a thorough mixture of clumsy kid and tough guy ; or can be played by a thin man in silly rube style of make- up and costume ; the more absurd the better ; is always gawky and incongruous ; shouts all his lines. Patricia — Pretty girl, preferably a blonde ; wears beau- tiful clo'thes, but affects "simple country" style ; may wear hair in a braid, with large ribbon ; beautiful scarf for driven- from-home scene. Velma — Pretty girl, preferably a tall, slender brunette, with Spanish type of make-up; wears a gorgeous evening gown, snaky and clinging, typical vampire style ; affects all the sinuous and sinister mannerisms of the type. PROPERTIES. Harry — Pistol ; long rope. Willie — Handful of paper snow; cigarettes; matches; pistol ; two money bags, filled. Cherub — Cigarette ; matches ; bottle. Patricia — Large handkerchief for gag. Velma — Clothes tree with lantern. Stage Props — Easel and five signs ; hammer on table ; toy train and string laid across stage ; crash box and wood splintering effect ; train eff'ect ; table, two chairs, rug, hat tree, red lantern. GIMME THEAI PAPERS! 5 NOTE TO PLAYERS. First of all, learn your lines thoroughly, and be familiar with your cues, so that you can pick them up promptly. A second's delay in keeping the dialogue going along in its pe- culiar meter will put the whole thing out of tempo and destroy the raggy rhythm which is the keynote of the piece. This does not mean that the lines should be delivered in a sing-song style, but that the syncopated motif must be main-, tained. Deliver your lines colorfully, and enter into the spirit of your part. Make the action real, and work for big melo- dramatic value. The audience should be left to do all the laughing. Forget the absurdity of the play. Take it in all seriousness. Rehearse it until it no longer seems funny. Have at least one rehearsal with spectators who have not read the plav, to learn to guard against laughing when the audience does. Some of the lines are long, and others are short. These are, respectively, "cut-time" and "long-time" lines. The first few rehearsals will serve to show how these lines should be delivered in order to keep in the tempo. These changes in meter and beat contribute largely to the humorous syn- copated efifect of the piece. STAGE DIRECTIONS. Up stage means away from footlights ; down stage, near footlights. In the use of rigJit and left, the actor is sup- posed to be facing the audience. GIMME THEM PAPERS! Scene: The full-stage set is a parlor, unth doors center and right, or optional. A parlor table center, half-ivay down stage. Carpenter's hammer on table. Rug on floors with one corner unencumbered. Chairs, etc., ad lib. In front of the parlor set, street drop is lozuered "in one" (narrow stage). Wood drop is hung in or near first groove, so that when lowered it will mask parlor set. Toy train is set off stage and dozvn left, attached to string which lies across stage and dotim as near footlights as pos- sible: Free end of string is off right. Play opens on apron, in front of stage curtain, before rise. Music: "Old Zip Coon," fast and loud, with lots of rag, once through. As soon as music starts, a Stage Hand places, at extreme right, in front of curtain, an easel carrying five cardboard signs. The one which is visible announces — PROLOGUE A LA MODE. As music stops, Velma enters in front of curtain. Velma. When Shakespeare wrote scenarios To put upon the stage, It seems that crime and sudden death Were then, as now, the rage. Patricia enters. Patricia. The persecuted maiden fair Was very much an fait, 6 GIMME THEM PAPERS! 7 And her old-fashioned troubles Are much the same today. •^jLLXE Willie enters. The villain still pursues her As in the days of yore. How is it, then, that those old plays Are such a beastly bore? Harry. Harry enters. If Shakespeare came to earth today He'd get the merry razz. Because he never wrote a play With jazz — jazz — jazz ! Patricia (to Willie). Well then, let's do a ragtime show. Willie (to Velma). Gimme Them Papers ! Velma (to Harry). TT How's that, Bo? Harry. Good enough to start with — All (shouting). Let's go ! (All do break step.) Exeunt Harry and Velma. Willie removes first easel sign, revealing second card, which reads : "Act I. Turned Out to Die/' and exits. Patricia puts scarf about her head, a la little-old-red-shazvl, as front curtain rises, reveal- ing street drop "in one." Patricia ( tragically ) . Father's turned me out to die ! Enter Willie, right. Wouldn't even tell me why. (Willie throzvs pa'per snozv over her.) "Begone forever!" he said, and then, (Exit Willie, right.) "Never darken my door again!" 8 GIAIME THEM PAPERS! Willie enters right. Willie (to himself). Aha ! A maiden in distress ! Patricia (to herself, grieinng). Disowned — without an evening dress ! Willie (to himself). A pretty nifty chicken, too! Does she look good? I'll say she do! She's on the rocks, that's plain to see. Patricia (noticing Willie). Now is that creature watching me? He'd speak to me if I was willin'. I am pursued — and by a villain ! He has a wicked looking face ! Velma enters right, and zmfches Willie from behind easel. Willie (addressing Patricia, freshly). I know you, kid. Your name is Grace. Patrici a ( frigidly ) . I do not do such things as flirt ! Velma (aside). It's Willie with another skirt. He treats me just like I was dirt! (Does break step, and exits right.) Patricia. Father turned me out to die. Willie. Did he, really? My, my, my! (Puts arm around her.) Well, then, come along with me. Patricia (insulted). Never ! Villain, leave me be ! Enter Harry, left. Patricia. Alone, and in this wicked city ! Won't nobody have some pity? GIMME THEM PAPERS! 9 •■ Harry. Unhand that girl ! Why, gosh durn you, That ain't no nice thing to do ! Willie (biting his finger nails). Foiled already ! Who are you ? Harry (docs first part of break step, thus: "Rat, tat-a- tat, tat—"). Handsome Harry! Willie (draning Patricia closer). Handsome Harry, do your worst! The girl is mine. I saw her first! Harry (draztnng a pistol). Go, or you'll get filled with lead ! Willie (releasing her). I'm worth more alive than dead. Patricia (to Harry). He pestered me beyond endurance ! (Harry points gun at Willie.) Willie (raising his hands above his head). Oh, please don't shoot ! Fve no insurance I Harry (threatening him zvith gun). Begone, foul fiend in human form! Patricia (to Harry). Don't you suppose he might reform ? Harry. I fear he'll go from bad to worse. Willie. Curses!— How I love. to curse! .^T (Exits right.) Harry. ^ ^ Now tell me how you came to land In that there wicked monster's hand. A maiden of such grace and charm Should ought to be back on the farm. Patricia (tearfully). Oh, sir, I have not words enough — Harry (to orchestra). Soft music, please, for this sob stuff. 10 GIMME THEM PAPERS! (Orchestra plays one loud chord, then glides into "Old Zip Coon," playing it slowly and very softly. The following dialogue is spoken, not sung, in tenvpo with the music. The familiar "break" is substituted for the last line of the re- frain.) Patricia. Well, father turned me out of the door, And said that I wasn't to come back no more. I didn't have a suit-case, I didn't have a trunk. He just went and chucked me out — ker-plunk! Harry. The old man chased you off of the place ? Patricia {nodding). Said I was responsible for his disgrace. Harry {clenching his fist). I'd like to slam that bird in the face ! {Both do break step.) Patricia. So here I am, and I haven't got a cent. Harry. Well, I'm not broke, but I'm badly bent. Patricia. Then along came the villain, and he started to pursue. Now I ask you what on earth there was for little me to do! Harry. Well, you've got me — Patricia. And you've got a gun! • Harry. So we'll try very hard to get the villain on the run. 'Cause the show isn't over — Patricia. Why, it's just begun ! {Both do break step. Music stops.) At the break, Willie enters right, and stands behind easel. GIMME THEM PAPERS! 11 Willie (aside). Curse him for a rapid lover ! Enter Velma, right. Velma. Look out, kid ! (Exits right.) Willie (indicating easel). I'm under cover ! Harry (to Patricia). Now come along v^ith me, and we'll see what we can do. Patricia. I can't do that. I don't know you. Harry. I'm Harry Hamme, the silk hat kid. Patricia. Gee, but that's a nifty lid! Harry. Well, I've told you, now you tell me Your particular variety of fam'ly tree? Patricia ( modestly ) . I'm Patricia Punque, the perfect peach. Harry (taking her arm). Let's beat it, Patricia, side by each. (Harry and Patricia exeunt left, Velma enters right.) Willie. Curses! I'm foiled! But by and by I'll get the damsel, or I'll know why. Velma (pleading). Listen, Willie, leave her be. Look what a mess you made out of me. Willie (angrily). Cut out those sentimental capers! That girl has got the fatal papers ! Velma. What papers, Willie? 12 GIMME THEM PAPERS! Willie {shrugging his shoulders). I don't know. But "Gimme Them Papers" is the name o' this show. So I've got to chase the papers As a proper villain should — Velma. And I'm going to vamp the hero, 'Cause the author said I could — Willie. What? You're going to vamp the hero? Velma. And I'm going to vamp him good ! (Velma does break step, oinitting last two beats.) Willie. Some vamp! Well, the act is nearly over, So what do you propose? Velma. It seems to me that gen'rally In melodrama shows, The villain steals the hero-ine And threatens her with blows — (Willie does break step, omitting last two beats.) Velma. Some villain ! Willie (pointing off left). Now Harry took Patricia into Yonder swell cafe. Velma. Willie. Let's give the hero knockout-drops So he won't get so gay ! And then we'll grab the hero-ine And take her far away ! (Both do break step, omdtting last two beats.) Both. Act two! GIMME THEM PAPERS! 13 (Exit Willie right. Velma changes easel sign to read "Act II. In the Spider's Web/' and exits after him. Street drop rises, showing parlor set, full stage.) Enter Willie, center, dragging after him Patricia, who is gagged. Willie (removing gag). And now, me haughty beauty, I've got you in me clutch ! Enter Velma, right. Patricia (bewildered). I do not know what place I'm in, Except that I'm in Dutch! Velma. Will you give up the papers? Willie (eagerly). Or would you rather die? Patricia. I haven't any papers, You know as well as I. Willie. Well, that don't cut no ice with me, The papers I must get ! Patricia. My beau will have your life for this! Willie. Ha-ha! Then that's a threat? Velma (to Patricia). Kick in with the papers, or you'll wish you had ! Patricia. Rave on, wicked vampire, you can't make me mad ! Willie (hissing into her ear). Now gimme them papers, or I will reveal Your terrible secret I Then how will you feel ? Patricia. I've no guilty secret to gnaw at my heart. Why argue the matter? I think I'll depart, (Starts for center door.) 14 GIMME THEM PAPERS! Willie (leaps in front of her). Not so fast, me proud beauty ■ Do you think I'm silly? Patricia. She can't pull that rough stuff on us, can she, Willie? Willie (to Velma). We're losing ground ! Velma. To bring our game up, I think we'll have to fix a frame-up. Willie. What shall her guilty secret be? Velma. I'll think a minute. Let me see — Patricia. I never did a single thing That to my cheek a blush M^ould bring. You think that you can get me riled — Velma (inspired). I have it! Quick! Bring on the child! Willie. Ha-ha I 'Tis well ! Why didn't I Think of the child before? (Exits right.) Velma. We'll thrust the child upon her, and We'll throw 'em out the door ! Patricia. You'll throw me out the door? Velma. We'll throw you out the door! Patricia (laughing heartily). You make me think of father. He did it once before. „, Enter Willie, right. Willie. ^ Gone! Velma. Gone? Willie. Velma. Willie. GIMME THEM PAPERS! 15 Gone! That's queer! And so is half a gallon of Our very precious beer I (Velma and Willie exeunt hastily, right.) Enter Cherub, clutching a beer bottle, center. Cherub. Hail!— Hail! The gang's all here ! {Does break step, omitting last tzvo beats.) Some baby ! Patricia. Come here, you darling infant. Whose little child are you ? Cherub. Well now you've said a mouthful. I only wish I knew! Patricia. I wish that I did, too. But mercy, how you grew ! Cherub. I guess I'm kind of oversized (lifts bottle), They raised me on home brew. Patricia. But tell me what you're doing here, For I would like to know. Cherub. I guess that you had better ask The guy that wrote the show. Patricia. The guy that wrote the show? Cherub. You surely ought to know. It takes the papers and the child To make the drama go. 16 GIMME THEM PAPERS! Patricia. It's going kind of slow. Cherub. Cheer up ! Your cup of woe Will soon be overflowing. Believe me, kid — I know ! Enter Willie, right, with a money bag in each hand. Willie (to Patricia, extending one bag). I have a million dollars here. It's all for you — for you, my dear ! (Extends other bag.) And here are rubies ! Diamonds ! Pearls ! The junk that makes a hit with girls ! I'll doll you up like -any queen If you'll be mine — Patricia ( majestically ) . Nay, nay, Pauline ! A man like you I'll never marry. I've pledged my heart to Handsome Harry ! Willie (furiously). So, you would scorn my untold wealth ? Cherub (to Patricia). He'll get you yet, by crafty stealth ! Willie (making a lunge at Cherub). You, beat it, while you've got your health ! (Cherub scampers off right, clumping with his heavy shoes to execute the preliminary "rat, tat-a^tat, tat — " of the break, and disappearing just in time for a final " slam^bang !" with crash box off stage.) Willie (imperiously). Now, haughty one, you're in me power! You'll be me bride within the hour! Patricia (scornfully). I'll never fall for that cheap stuff! Willie. Woman, look out ! I'll treat you rough ! Down on your knees, and show your terror ! GIMME THEM PAPERS! 17 Patricia. Fool ! You've made a social error. Remove your hat when under cover! Willie. Never! I'm a caveman lover! Gimme them papers ! — Patricia. No, not I! Enter Velma. right. Willie. Then you had best prepare to die ! I'll hurl you into yonder river! Patricia ( indifferently). I'll get all wet, but I should shiver. Velma. She's some tough nut, I'll tell the world. Willie. Curses ! I'm foiled, by a slip of a girl ! {Loud knock on center door, in break time.) Patricia. Hark! What's that? Velma. They've come to pinch the flat ! Willie. The cops will never get me, Though I'm cornered like a rat! Patricia. My strength is nearly spent. Where has my lover went? Velma. Perhaps it's just the landlord Who's come to get the rent. Loud knocks on center door in march time, thus: "Bang! Bang! Bang-hang-hang !" Cherub enters right, doing first part of break step, thus: "Tap, tap-a-tap, tap — " with two 'more knocks on center door for final "Bang! Bang!" 18 GIMME THEM PAPERS! Willie (to Velma). I have no cash, have you? Velma. I haven't got a sou ! Willie. Oh, dear — Patricia. Dear — Cherub. Dear ! All. What are we going to do? (Knocking is repeated on door, in break time, "Rat, tat-a- tat, tat, — tat, tat.") Patricia. Who is it? Willie. I don't know^. Velma. I wish that they would go. Cherub. I guess they're knocking just because We've got a rotten show ! (Terrific noise off stage with crash box, rattle, thunder sheet, zvood splintering ^ etc. Music, grand chord.) Enter Harry, center, nnth coat gone; badly disheveled, hair rumpled, shirt torn, face and arms streaked with blood. Willie. It's Harry, for a fact ! Patricia. You're late. What kept you back ? Harry. I'm not supposed to enter till The finish of the act. This is no place for you. GIMME THEM PAPERS! 19 Patricia. Well, what was I to do? Velma (lifting corner of rug). Open up the trap door And we will drop them through ! Willie. That wouldn't do at all. They'd get a nawsty fall. Cherub. I wonder if we're good enough To get a curtain call. Harry (to Patricia). What are you doing here ? Patricia. Search me. Oh, dear, oh, dear! We're trapped within the spider's web! Harry. That much is very clear! But how can we get out? Willie. Don't dare to raise a shout ! Harry. We might go down the fire escape — Patricia. Or climb the water spout ! Willie (to Velma). That hero is a shine! Velma. I have a scheme ! Willie. That's fine ! Velma (pushing Cherub toward Patricia). Go, take 3'our child — Harry (aghast, to Patricia). Is that your child? Patricia. He is no child of mine ! 20 GIMME THEM PAPERS! Harrv. So I have been deceived! Willie. And I am much reheved. Harrv {to Patricia). That you would own a brat Hke that I wouldn't have believed ! Patricia {pleading). Now, Harry, listen here. They're shoving me the c^ueer. •Willie. Ha-ha ! The plot is thickening ! Cherub {calling off). Hey, Eddie, make mine beer ! Harry. Women are all alike. Patricia. Well, for the love of Mike ! Harry {pushing her azvay). Go, take your brat, and get your hat — Cherub {to Patricia). We've got to hit the pike. Patricia {going). My heart is just like lead ! {Exeunt Patricia and Cherub, hand in hand, center.) Harry (calling after her). My love for you is dead ! Velma {to Willie). Perhaps he has the papers ! Willie {picking up hammer). I'll soak him on the head ! (Raps on table, "Rap, tap-a-tap, tap— Tap! Tap!") Velma. I've got a better scheme. Harry {sighing despondently). Farewell, O love's young dream. GIMME THEM PAPERS! 21 Velma {to Willie). The silly calf sure makes me laugh — Willie, Yes, isn't he a scream ! Velma {whispers in Willie's ear). We'll tie him on his back. Right on the railroad track. Harry. Hot stuff. Let's change the scenery And do another act! {Wood drop ''in one" is loivexed. Willie changes easel sign to read: "Act HI. The Jaws of Death.'' Exit Willie, right. Velma brings on from left a clothes tree on xifhich hangs a red iantern. She places it left of center. Exit Velma, right.) Enter Patricia and Cherub, hand in hand, right. Patricia. The villain still pursues me, The papers for to get. I haven't any papers— Cherub. Oh well, then, you should fret ! Patricia. Those papers drive me nutty ! Let's rest beneath the shade. Cherub {taking cigarette from his pocket). Oh never mind the papers, — I smoke 'em ready made. {Lights cigarette.) Patricia. Alas ! Alas ! I wish that I Had jumped into the lake ! Cherub. Get off the railroad tracks, old dear. Or you'll be hamburg steak. Patricia {agitated, points off right). Look, Cherub, look ! What do you see Approaching up the road? 22 GIMME THEM PAPERS! Cherub. It's Wicked Willie, soused again. Oh, Baby ! What a load ! Patricia. If he goes on pursuing me He'll run me off my feet. Cherub. Come on, we'd better fade away, And fade away toot-sweet. (Exeimt Cherub and Patricia, hand in hand, left Enter Willie and Velma, right. Willie (looking off left). Curses ! I'm foiled ! That woman knows That I pursue where'er she goes ! Velma. Well, stop pursuing for a minute. We've work to do. so let's begin it. Willie. I never tire of pursuin'. Why, girl, I Iwe on wreck and ruin! Velma. Come on ! It's dangerous to tarry ! Willie. All right. Velma. Good night ! Where's Handsome Harry? Willie. You mean that he is lost? Velma. Then we've been double crossed ! Willie. We've got to find the hero, Or the show will be a frost ! You gave the boy the dope? Velma (nodding). And tied him with a rope ! GIMME THEM PAPERS! 23 Willie (looking around). Then he is surely near at hand, We mustn't give up hope. Velma. We'd better have a look. Enter Harry, right, with yards of rope coiled around him. Harry. Where is the girl, you crook ? Willie. You'll find her lifeless body Floating yonder in the brook! Harry. You wretch ! You know you lie ! She is too good to die ! It's just a half an hour ago I saw her walking by. Willie {seizing him). Ha-ha ! Your hour has come ! Harry (struggling). And you've been drinking rum ! Velma (catching Harry's hands hack of him). Come on, let's do the dirty work And put him on the bum ! (They struggle from center to one side and hack, szvay- ing cabaret style and keeping time to "struggle music" played in rag tempo. Music finishes zmth hreak, and Harry falls at center, with head left hy clothes tree, and feet to- ward right. He times his fall to coincide with the final "Thump! Thump!" of the break. Willie and Velma tie him to imaginary track. Tremolo music, very soft.) (If light effects are available, darken stage at this point, and use green spot 'light on the group. JVhen Harry says "Good night!" restore all lights and kill the spot.) Willie (leaning over and gloating). Prepare to die ! 24 GIMME THEM PAPERS! Harry {ztnth hrai'ado). ,,, You make me snicker! Willie. Don't taunt me when I'm full of licker ! {Turn aivay. ) Velma {kneeling beside Harry). Honest, I hate to see you there. Harry {rises on one elhoiv and recites tragically) . A fool there was, and he made a prayer To a ragtime vamp — Velma {enthusiastically) . Gee, kid, you're there! Harry. The ragtime vamp made the fool forget That the simple country maiden was his one best 1. She lured him on, in her ragtime way — Velma. Gimme them papers and I'll let you get away ! Harry. Never, wicked vampire! But I'll give you something worse! Before I die I'll give to you A rag — time — curse ! {Music stops.) Willie. What's that I hear? A curse? Velma. In syncopated verse ! Willie (peevishly). He hadn't ought to do it, It's the villain's job to curse. Velma. The train is nearly due. Harry. I'm catching cold — ker-choo ! Willie. Oh, never mind, you're going where You'll never catch the flu. GIMME THEM PAPERS! 25 Velma. He's tied up good and tight. Willie. We'd better take to flight. (Exeunt Willie and Velma, stealthily, right.) {Locomotive effect ^or first part of break, thus: "Chug, chug-a-chug, chug — ") Harry. Good night ! (Music agitato, and train effect, both beginning very soft and working up very loud.) Enter Patricia and Cherub, hand in hand, left. Cherub. It's Harry, for a fact! Patricia. They've tied him to the track ! I'm going to save my lovin' man Or else I'll break my back ! (She kneels by him and pulls at ropes.) I've got to save his life! • Cherub (slapping his trousers pockets). I haven't any knife! Patricia (desperately). Well I have got to hurry. Or I'll never be his wife! Cherub (pointing). Oh, see the pretty lamp ! Patricia (embracing him). Your darling little scamp ! We'll throw the switch and save him from The vengeance of the vamp I (Music and train effect are now very loud. Patricia and Cherub are clinging lo pegs of clothes tree, attempting to turn it, zuhen toy train is drawn across from left to right. They turn tree, as though by great effort, just before train 26 GIMME THEM PAPERS! reaches tree, and it continues past Harry and off stage. Quick fade-out of train effect. Music stops.) Cherub. You're looking kind of peak-ed. Patricia. Oh, dear! I'm out of breath! Harry {getting up). And many thanks. You saved me from The very jaws of death. Patricia. Oh, did they hurt your back? Harry. I thought my bones would crack. Cherub {going to easel). Well, hurry up and beat it, 'cause We've got another act. (Cherub changes sign to read, "Act IV. Virtue Tri- umphant.'" Exeunt x^ll, right, Harry taking clothes tree off. Drop rises to parlor set.) Enter Willie and Velma, center.- , Willie. We didn't get the papers. Velma. The child is missing, too. Of all the villains I have met The very worst is you! Enter Harry, Patricia and Cherub, center. Harry. And now to see the villain And defy him in his den I Patricia. We've brought your little Cherub back — Willie. Ah ! Curses I Foiled again ! Patricia. Are we too late for breakfast? GIMME THEM PAPERS! 27 Harry. I hope you've kept it warm! Velma. There's nothing in a hfe of sin — I'm going to reform! Willie (taking out revolver). The game is up I And now to put A bullet through my cheek ! (Points revolver at face.) Cherub (grabbing it). Hey ! Watch your step I And don't forget — (To audience.) We play "East Lynne" next week! (Harry and Patricia hold hands and look at each other languishingly. Willie smokes a cigarette furiously and looks baffled. Velma folds her hands and assumes a virtu- ous look. Cherub pulls easel back of curtain line.) (Music, very loud, first notes of Wedding March, and ending with break. All do break step and bow to audience, standing in line.) Fast Curtain. How to Sta^e a Minstrel Show BY JEFF BRANEN AND FREDERICK G. JOHNSON Price, 25 Cents. This essential handboolc, based on twenty years' experience, is to every amateur minstrel director what blue-prints and specifi- cations are to a builder. It gives to the inexperienced producer an intimate worlcing knowledge of his problem, and shows him how to work out original ideas as well as to use ready-made material. It covers thoroughly the subjects of female minstrels and novelty minstrels as well as the regulation "circle" formation. And it con- tains a generous chapter of crisp, fresh crossfire. CONTENTS. Chapter I. — Styles in Minstrel Shows. Evolution of Minstrel Sliows — Men or Women, or Both — Black or White — Circle or Novelty. Chapter II. — Organizing the Troupe. Assembling the Talent — Organizing the Circle — Talent for the Olio. Chapter III. — Putting the Show Together. Building the Framework — Opening and Closing — Tambourines and Bones — Selecting the Songs — Arranging the Eng Gags — A Skeleton Program — Staging the Opening Chorus — Putting the Gags Across — Stunts for the Olio. Chapter IV. — Conducting Rehearsals. Calling Rehearsals — Punctuality E^ssential — Save Time with Group Rehearsals — Rehearsing the Ends — Rehearsing the Mu- sic — Measuring the Show — The Dress Rehearsal — Make It Snappy. Chapter V. — The First-Part. Regulation Settings — "Pyramid" Settings — Novelty Settings — A Cabaret First-Part — Military First-Part — For Female Min- strels — College First-Part — Oldtime First-Part — Other Novelty Settings — General Suggestions. Chapter VI.— The Olio. Vaudeville De Luxe — Opening the Olio — Arranging the Olio — When Talent is Scarce. Chapter VII. — The Afterpiece. Make 'Em Laugh— Right Length for Afterpiece— Rehearse It Thoroughly. Chapter '\/lll. — Stage, Scenery and Music. Make Your Show Fit the Stage— Scenic Equipment — Harmony in Color — Renting Scenery — Selecting Settings — Minstrel Music — Music Rehearsals — Using an Orchestra. Chapter IX. — Make-Up and Costumes. Using Burnt Cork— White-Face Make-Up — The Costume Scheme— Endmen's Costumes. Chapter X. — Advertising. &et Plentv of Publicitv— Duty of the Press Agent— Advertising Expense— Ordering the Printing— Buying Ad Space. Chapter XI.— The Big Night. Staff Duties— Start Promptly— The Last Word. Chapter XII. — Original Minstrel Gags Appendix. — Bibliography of Minstrel Material. T. S. DENISON & COMPANY, Publishers 623 South Wabash Avenue, CHICAGO Fun in a Chinese* Laundry By SHELDON PARMER Price, 25 Cents Farce in 2 acts; 6 males, 12 females. Time, 1 hour or longer with specialties. Scene: An easily constructed interior. Cos- tumes, modern. Cholly Choppin steals Miss Sourapple's little dog Sallie, and Sallie Clark, a poor little rich girl, becomes lost. When Ah Sin serves celery soup and calls it "selly"' soup, the old maid and the deaf old man think their respective Sallies are in the soup. A full evening of clean, active fun, with no sentimental scenes. Songs may be introduced. Recommended for school, club or church entertainments. Tlie Doo-Funny Family By MARY MODENA BURNS Price, 25 Cents A novelty entertainment for school, club or church; 3 males, 9 females. Time, 1 hour. Scene: A garden wall, easily arranged. The Doo-Funnies enact a drama upon a wall; like Humpty Dumpty, some of them get a fall. Full of oddities, comedy effects and stunts that will cause the audience much surprise and amusement. Characters: The Witch, the Old Maid. Grandmaw, Lengthy Lizzie, Tessie Tubbs, Maw Doo-Funny, the Twins and Baby, Paw Doo- Funny and the comical sons. Dumpy and Doughnut. May be given by adults or by boys and girls. Easy to get up and easy to act. Unique and crowded with humor. Hi^h Brown Breach of Promise By SHELDON PARMER Price, 30 Cents A black and tan absurdity; 16 or 22 males. Time, 1 hour. Scene: Court room. Highly ludicrous negro mock trial, introduc- ing specialties. Can be produced anywhere, no scenery or curtains necessary. Originally written for church production, but will prove very funny in the liands of any organization of men or boys. Quickly learned, all parts short and .snappy, and requires only a few rehearsals. The School of Detecting By FREDERICK G. JOHNSON Price, 25 Cents Rapid-fire vaudeville sketch; 2 males. Time, 15 minutes. A slick confidence man gives the glad hand to a guileless farmer lad fresh from Cowslip Corners. "I'm $10 shy." "We're always a little shy when we first come in from the country." Crowded with unexpected comebacks, and a surprise punch at the finish. Fine skit for clever rube comedian and fast partner. T. S. DENISON & COMPANY, Publishers 623 S. Wabash Ave,, CHICAGO The Fun Revue By FREDERICK G. JOHNSON Price, 35 Cents A musical grouch cure in five treatments. Flexibly planned to use cast and chorus of 30 to 100 men and girls. Has many short parts, giving chances for numerous individual hits, and no star parts, except as performers malve them so. Not a serious moment in it. In "Oli Baby!" the first part, tlie funmaliers appear as playground kiddies. A circus comes to town. Sideshow stunts follow the ballyhoo. "Pity the Sailors on a Night L,\k.e This!" is a great sidewalk skit. "Rhytlim a la Mode" gives opportunity for dancing and musical specialties according to local talent at hand. "Some Sheet Music Covers" is a flashy song-and-style revue. "The Bootlegger's Bride," a screaming fatal-wedding travesty, sends everybody home happy. The average theatre has the nec- essary stocli scenery — wood and palace sets, street drop, etc. Book contains detailed instructions for staging, and suggestions on choosing musical numbers. No songs are included, choice being left to producers themselves. Tliere's not a bit of sense to tliis. It's just plain nonsense, liit or miss. It has no logic, has no plot. But just one thing it sure has got. It's full of scintillating chaff. It has the stuff that makes 'em laugh. It pol\es good-natured fun at things. It has a place for each who sings, or plays, or does a novel dance. It gives all clever folk a clianee. Witli peppy music running through, you'll make a liit witli this revue I " 'The Fun Revue' proved to be an ideal vehicle for the presenta- tion of brilliant amateur stage talent in a diversified and highly effective way." — Wilkes-Barre Record. In Hot Tamale Land By GEOFFREY F. MORGAN Price, 35 Cents Musical comedy m 2 acts; 10 principals (6 males, 4 females) and a chorus of any size. Ideal for college and high school pro- duction, having no elaborate stage requirements, tliough scenery and costumes may be as lavish as desired, and it can be made a tliorouglily pretentious offering. The scene is laid in an imaginary country in the tropics, where raising pickles is tlie nation's busi- ness and attending bullfiglits is tlie nation's pastime. Bobby must earn $10,000 before Eleanor's father will consent to her marrying him. The bullfigliters' union calls a strike, and Bobby volunteers as a strike brealcer. His friends' efforts to bolster his waning courage, the walking delegate's threats of vengeance, Bobby's study of the science from a bullfighting manual — tliese are just a few of the ridiculous complications wliich combine to make "In Hot Tamale Land" two hours of solid laughter. No music is in- cluded with the book, but there is provision for introducing solos, ensemble numbers, dances and drills to be chosen by the director. Has been produced witli great success. Requires but one stage setting. Contains detailed directions for staging. T. S. DENISON & COMPANY, Publishers 623 S. Wabash Ave., CHICAGO Who's Crazy Now? By HARVEY R. DENTON Price, 25 Cents A delirious episode; 3 males, 2 females. Time, 25 minutes; longer with specialties. Scene: An interior. Fatal to glooms and dangerous to loose buttons. An oily crook, insinuating himself into the abode of a maiden lady who is expecting a fiance by the matri- monial advertisement route, wrecks the dignity oT the place and causes everyone to appear looney. The characters, all equally humorous, feed each other lavishly with clever lines and create a mountain of complications which breaks in a veritable earthquake of mirth. Speed, about 200 miles an hour. Snowdrop, the dancing pickaninny, is a splendid opportunity for a young character woman. An Irish Stew By JEFF BRANEN Price, 25 Cents A farce; 6 males, 4 females. Time, 1 hour. Hogan knew of no other way to collect an ancient debt from tight-fisted Tim Toolin, so he decided to die to get it. The report of his death stirred things up considerably. Rich in delicious Irish comedy, and teaches a lesson in Americanization as well as telling a funny story. Includes also splendid character parts for French barber, German maiden, college boy, negro undertaker, etc. With real Hibernian wit the basis of the funmaking, this sketch is sure to afford a solid hour of uproarious laughter. A Paper Wedding By CHARLES NEVERS HOLMES Price, 25 Cents A comedy; 1 male. 5 females. Time, 30 minutes. Scene: An interior. The lesson lurking back of this breezy family disturbance is: Remember your first wedding anniversary. The fact of your being married on the 29th of February is not a sufficient excuse for being late. It is also quite immaterial whether the first anni- versary is named "Paper"' or "Cotton." A soothing mother-in-law and a goodly group of her sympathizing friends add humor to this almost tragic situation. Getting Rid of Father By ARTHUR EDWARD WHITMAN Price, 25 Cents A comedy; 3 males, 1 female. Time, 20 minutes. Scene: Simple interior. Father, right from the farm, drops in, unan- nounced, on the eve of a fashionable reception. His crude ways severely Jar his daughter's nerves but his ready purse, in time of need, establishes a welcome. Will delight any audience. T. S. DENISON & COMPANY, Publishers 623 S. Wabash Ave., CHICAGO New Blackface Series For Minstrels and Vaudeville Price, 25 Cents Each, Postpaid THE AFRICAN GOLF CLU B.— Blackface farce, by Jeff Branen; 10 males, 1 female. Time, 25 minutes. The rattle of the cubes, the burning- of a neighboring chicken coop and the tragic loss of the contraband "likker" combine to shatter the nerves of the dom- ino gallopers. But they do' gallant rescue work. An ideal afterpiece. ALMOST AN ACTOR.— Coontown crossfire, by Wade Stratton; 2 males. Time, 20 minutes. A seedy manager tries to initiate a station porter into the thespian art, but they find there is little in.spiration when hunger gnaws. This skit crackles with fresh gags and comedy business. Both parts are rich. THE BATTLE OF ROARING-BU LL.— A black and copper-colored massacre, by Jeff Branen; 11 or more males. Time, 30 minutes. Two wandering darkies fall into the clutches of a terrible red- skin tribe, with hair-raising results. Can be effectively elaborated with war-dance, etc., introducing entire minstrel troupe as an afterpiece. THE BLACK VAMP.— By Arthur Leroy Kaser; 2 males, 2 fe- males. Time, 15 minutes. Sam thought his wife didn't appreciate him, so he got his good friend Pliil to impersonate a dusky vam- pire, to liven things up. He livened things up, all right. Chance for song and dance specialties. The female parts can be "doubled." CASH MONEY. — A minstrel spree for three, by Wade Stratton; 3 males. Time, 20 minutes. Two travelers are forced to sliare a room in a fust-class cullud boa'din' house, with almost fatal re- sults. The handsome waiter is a factor in the mixup. Fine chance for comedian who plays banjo, ukulele or guitar. THE COON AT THE DOOR.— A black-and-white skit, bv Jeff Branen; 3 males. Time, 20 minutes. The doctor's office boy fears tlie man at the door is his hated rival, and his efforts to evade a meeting are side-splitting. The white doctor blackens up and doubles as the mysterious coon. Specialties are to be introduced. A DARK SECRET.— Colored farce of mystery, by Jeff Branen; 4 males, 1 female. Time, 30 minutes. This screaming story of the adventure of a negro detective and his dusky assistant has made thousands roar when presented on the professional stage, and is now available in print for tlie first time. FU'ST AID TO CUPID.— Minstrel absurdity, by Wade Stratton; 3 males, 2 females. Time, 20 minutes. Willie, a wandering waga- bond without wim, wigor, witality or wittles, who poses as a "mis- ery specialist" to aid tlie course of true love, will bring down the bouse. A welcome modern adaptation of the sham doctor theme. HITTING THE AFRICAN HARP.— Blackface skit for a banjo duo, by 'Wade Stratton; 2 males. Time, 15 minutes, or according to specialties. Written as a vehicle for a banjo playing team to introduce specialties, and rich in comedy lines and business. "Very popular with college banjo clubs, etc., as a novelty stunt. KISS ME, CAMILLE!— Blackface novelty, by Wade Stratton; 2 males, 1 female. Time, 20 minutes. Horatio, the dramatic teacher, finds Lucinda a promising pupil, and they rehearse love scenes with enthusiasm. But Luke McFluke, his other pupil, doesn't take kindly to the course of training, and the instructor is sadly out of luck. The blackface travesty on "Camille" is a scream. THE MYSTERIOUS SUITCASE.— By Arthur Leroy Kaser; 2 males. Time, 15 minutes. Sam has to carry Harry's grip, and both negroes have a laughable time trying to keep the mystery from leaking out. The fact that they stop to rest near a cemetery also gives Sam cause for serious thinking. T. S. DENISON & COMPANY. 623 S.Wabash Ave.. Chicago DENISON'S ACTING PLAYS Partial List off Successful and Popular Play. Large Catalosue Free FARCES, COMEDIETAS. Etc. Price 25 Cents Each M. F. All on a Summer's Day, 40 min. 4 6 Aunt Harriet's Night Out, 35 min 1 2 Aunt Matilda's Birthday Party, 35 min 11 Borrowed Luncheon, 20 min.. 5 Case Against Casey, 40 min... 23 Doo-Funny Family, 1 hr 3 9 Fun in Photo Gallery, 30 min.. 6 10 Getting Rid of Father, 20 min. 3 1 Goose Creek Line, 1 hr. ...... 310 G?eat Pumpkin Case, 35 min.. 12 Hans Von Smash, 30 min.... 4 3 Honest Peggy, 25 min 8 Irish Linen Peddler, 40 min — 3 3 Irish Stew, 1 hr 6 4 Just Like a Woman, 35 min... 3 3 Me and Betty, 30 min 2 5 Men Not Wanted, 30 min 8 Mother Goose's Goslings, 30 m. 7 ' 9 Mrs. Hoops-Hooper and the Hindu, 35 min 12 Mrs. Jenkins' Brilliant Idea, 35m. 8 Mrs. Stubbins' Book Agent, 30 m. 3 2 Not a Man in the House, 40 m. 5 Paper Wedding, 30 min 1 5 Pat's Matrimonial Venture, 25 min 4 . . . . 1 2 Rummage Sale, SO min 4 10 Sewing for the Heathen, 40 min 9 Shadows, 35 min 3 4 Sing a Song of Seniors, 30 min. 7 Taking Father's Place, 30 min. 5 3 Teacher Kin I Go Home, 35 min 7 3 Too Much of a Good Thing, 45 min 3 6 Two Ghosts in White, 20 min.. 8 Two of a Kind, 40 min 2 3 Uncle Dick's Mistake, 20 min.. 3 2 Watch, a Wallet, and a Jack of Spades. 40 min 3 6 Whole Truth. 40 min S 4 Who's Crazv Now? 25 min.... 3 2 Who's the iSoss? 30 min 3 6 Wrong Baby, 25 min. ^ 8 FARCES. COMEDIETAS. Etc. Price 15 Cents Each April Fools, 30 min 3 Assessor, The, 15 min 3 2 Before the Play Begins, IS min 2 1 Billy's Mishaps, 20 min 2 3 Country Justice, 15 min 8 Family Strike, 20 min ....... 3 3 For Love and Honor, 20 min.. 2 1 Fudge and a Burglar, 15 min.. S Great Medical Dispensary, 30 m. 6 Initiating a Granger, 25 min.. 8 Kansas Immigrants, 20 min... 5 1 Pair of Lunatics, 20 min 1 1 Pat. the Apothecary, 35 min.. 6 2 Second Childhood, IS min..., 2 2 Smith's Unlucky Day, 20 min.. 1 1 That Rascal Pat, 30 min 3 2 Those Red Envelopes, 25 min.. 4 4 Troubled by Ghosts, 10 min... 4 Two Aunts and a Photo, 20 m. 4 Wanted: A Hero, 20 min 1 1 Wide Enough for Two, 45 min. 5 2 VAUDEVILLE SKETCHES Price 25 Cents Each Amateur, 15 min 1 1 At Harmony Junction, 20 min. 4 Cold Finish, 15 min... 2 1 Fresh Timothy Hay, 20 min.. 2 1 Hey, Rube! 15 min 1 I'm a Nut, 10 min 1 It Might Happen, 20 min 1 1 Little Miss Enemy, 15 min.... 1 1 Little Red School House, 20 m. 4 Marriage and After, 10 min.. 1 One Sweetheart for Two, 20 m. 2 Oyster Stew, 10 min 2 Pete Yansefi's Curl's Moder, 10m. 1 Quick Lunch Cabaret, 20 min.. 4 School of Detecting, 15 min... 2 Si and I, 15 min 1 Special Sale, 1 5 min 2 'Street Faker, 15 min 3 Such Ignorance, IS min 2 Sunny Son of Italy, IS min.. 1 Time Table, 20 min 1 1 Tramp and the Actress, 20 min. T 1 Troubles of Rozinski, 15 min.. 1 Two Jay Detectives, 15 min.. 3 Umbrella Mender, 15 min.... 2 Vait a Minute, 20 min 2 BLACK-FACE PLAYS Price 25 Cents Each African Golf Club, 25 min 10 1 Almost an Actor, 20 min 2 Axin' Her Father, 25 min 2 3 Battle of Roaring Bull, 30 min.. 11 Battle of Rollin' Bones, 30 min. 8 Black Vamp, 1 S min 2 2 Booster Club of Blackville, 2S min 10 Cash Money, 20 min 3 Colored Honeymoon^ 25 min... 2 2 Coon Creek Courtship, 15 m... 1 1 Coontown Thirteen Club, 25 m.l4 Dark Secret, 30 min 4 1 Fu'st Aid to Cupid, 20 min... 3 2 Good Mornin', Judge, 35 min.. 9 2 Hitting the African Harp, 15 min 2 Hungry, IS min 2 Kiss Me, Camille, 20 min 2 1 Mysterious Suitcase, 15 min... 2 Oh, Doctor! 30 min 6 2 A great number of Standard and Amateur Plays not found here are listed In Denlson's Catalogue T. S. DENISON & COMPANY, Publishers, 623S.Wabash Ave. .Chicago 1-1022 LIBRARY OF CONGRESS The Fu lillliliilllllllliHli ^' « T. ^ T A fl ° 015 938 673 9 • By Frederick G. Johnson. A flexiDie musicai snow «/t ^c^„^ »..,^ ^aorus of 30 to 100 men and girls. Has many short parts, giving cliances for numerous individual hits, and no star parts, except' as perfofmers make them so. Not a serious moment in it. Opportunity for dancing and musical specialties' according to local talent at hand. Goes with a_ rush, and sends everybody home happy. Contains detailed' instructions for staging, and suggestions on choosing musical' numbers. Tremendously popular. Price, Paper Cover, Postpaid, 35 Cents/ In Hot Tamale Land By Geoffrey F. Morgan. Musical comedy in 2 acts; 10 principals (6 male, 4 female) and a chorus of any size._ Ideal for college and high school produc- tion, having no elaborate stage requirements, though scenery and costumes may be as lavish as desired, and it can be made a thoroughly pretentious offering. Has been produced with great success. Requires but one stage setting. Contains detailed directions for staging. Price, Paper Cover, Postpaid, 35 Cents. A Royal Cut-Up By Geoffkey F. Morgan. Musical comedy in 2 acts; 10 principals (7 male, 3 female) and a chorus of any size. Colleges and high schools wishing to stage "a regular musical show" will find "A Royal Cut-Up" exactly suited to their needs. Effective, yet easy to stage. Brisk and breezy lines, rich in snappy 'comedy of dialog^ue and situation, and allowing for plenty of local quips. . Price, Paper Cover, Postpaid, 3S Cents. " ' J When Cork Is King By Wade Stratton, A rich store of bright, snappy material for building up a minstrel show and affording lively chatter for first-part and olio. Con- venieritly arranged with subdivisions under which are assorted .first-part crossfire, end gags and comebacks; end jokes for female minstrels; mipstrel miscellany in- cluding verses, conundrums and short bits of catchy humor; seven dandy mono- logues; three fast blackface skits. Price, Paper Cover, Postpaid, 35 Cents. How to Stage A Minstrel Show By Jeff Branen and Frederick G. Johnson. This book is to every amateur minstrel director what blue-prints are to a builder. Explains modern styles of minstrels and novelty minstrels; how to put the show together; bow to organize the troupe and conduct rehearsals; where to get material; the opening chorus; it discusses first-part, olio, afterpiece, costumes, make-up, scenery, music^ pub- licity, program arrangement, etc. Eight full-page illustrations showing various first-part settings. . Price, Paper Cover, Postpaid, 35 Cents. Some Vaudeville Monologues By Harry L. Newton. Thirteen for men and five for women. Contents: "People I Have Met," "Well, I Swan!" "Her Busted Romances," "Music a la Carte," "Abie Cohen's Wedding Day," "Sorrows of Sadie." "Tipperary Tips," "Kissing as an Art," "Panhandle Pete," "Tillie Olson's Romance," ".\s Tony Tells It," "Suffragette Susie." "A Sad Lover," "Chatter," "My Father Savs." "I'm a Tellin' You," "The Precinct Politician," "Yon Yonson, Yanitor." Unique illustrations of each character. Handsomely bound in cloth. Price, Postpaid, $1.25. T. S. DENISON & COMPANY. PubUshars. 623 South Wabash Avenua, CHICAGO