Price, 25 Cents HM AA 9. ^ Bill Perkins' Proposin' Day PUBLISME,D BY ThIL DfLAMATIC PuBl^ISniNG COMPAMY CHA-RLES H SERGEL. , PRESIDENT t Practical Instructions for Private Theatricals By W. D. EMERSON Author of "A Country Romance," "The Unknown Rival" "Humble Pie," etc. ' Price, 25 cents Here is a practical hand-book, describing in detail all the accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in word^ everything is clearly shown in the numerous pictures, more than one hundred being inserted in the book. Ko such useful co'^untr ^^'^"^ ''^^'■^'^ ^"^ ^^"^ amateur players of any CONTENTS Chapter I. Introductory Remarks. Chapter 11. Stage, How to Make, etc. In drawing-rooms or parlors, with sliding or hinged doors. In a singlf Tar^e loom. The Curtain; how to attach it, and raise it, etc " Chapter III. Arrangement of Scenery. How to hang it. JJrapery, tormentors, wings, borders, drops. Chapter IV Box Scenes. Center door'pieces, plain wings, door wings, return pieces, etc. * ' Chapter V How to Light the Stage. Oil, gas and electric 8?age, J;"*"^^t«' Sidelights, Reflectors. Ho'w^ to darken the Chapter VI Stage Effects. Wind, Rain, Thunder, Break- ing Glass Falling Buildings, Snow, Water, ' Waves, Cascades, Passing Trams, Lightning, Chimes, Sound of Horses' Hoof a) Chapter VII. Scene Painting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS BILL PERKINS' PROPOSIN* DAY A Rustic Comedy in One Act By HELENA A. PFEIL Copyright, 1910, by The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY ?5 43^ ^1 l^^-l CAST OF CHAHACTERS. Bill Perkins, Eustic widower of fifty. Tom Tucker, Rustic beau of twenty-five. Mrs. Hawkins, Eustic widow of forty-five. Betty Hawkins, Eustic belle of twenty. Costumes, countrified. Scene, a farmhouse kitchen. Plays twenty minutes. TMPS6-006892 'CID 22980 BILL PERKINS' PROPOSIN' DAY. Scene. — When the curtain rises the stage is vacant; the room is an ordinary country Uvitig room; there must he a churn on stage. A rap is heard at the door, receiving no ansiver. Mr. Perkins enters, looks in rather sheeyishly at first, then comes in. ' Bill Perkins. Law ! Where's all the folks ? The house seems clean desarted. Whall I'd heap rather find the coast clear, than ter find folks here that I didn'i keer about havin' round, as I meant this yer ter be my pro^ posin' day ter Miss Betty. Miss Betty, yer see, she's the one I've got sot on. I've done bought the weddin' dress. Now lolok here, I know scott clear that a fellow don't ginerly buy the lady's weddin' dress a tall, or, if he does, he waits till he's clar sure that the gal's goin' ter have him. Ha, ha, ha ! [He puts his hands in his trouser pockets and laughs heartily, his hat on the hack of his head.] But I jest reckoned this yer way, sez I, now if I go over thar and propose ter Miss Betty an' have that ar silk dress ter bring up, it'll be a sorter help like. Now, this yar dress cost me twenty-five dollars if it cost me a red cent. [He looks about.] I'd l^etter git out o' here, this ain't no way to be cotched on the day that you've sot for proposin' ter a young lady. [Listens.] Thar is somebody stirrin' 'round out yonder. I guess I'll take a sneak an' do the thing proper. [He walks out rapidly with his hands in pockets, coming down on his heels and toes heavily. Then S 4 BILL PERKINS' PEOPOSIN' DAY Miss Betty Hawhins enters singing gayly and seats herself at the churn and sings at her ivorl\ A rap is heard, she ceases to sing and lools towards door.] Betty. Come in. [Enter Mr. Perkins, hat in his hand.] Per, Good day, Miss Betty. Betty. How do you do, Mr. Perkins. [Resumes churning.'] Per. Miss Betty, [He hesitates, twirling his hat around shyly.] I — I — [Scratches his head.] Betty. Have a seat, Mr. Perkins. [Curtly.] Per. Thank you, Miss. [Draivs chair nearer and sits doivn.] Miss Betty, I jest thought as t'was so powerful hot a workin' in the sun, I'd stop over an see you — you all a little bit. [Lays bundle on the floor.] It's been power- ful hot all day. [Wipes his face with a bright red hand- kerchief.] Betty. Well Ma's in the kitchen, if you want to see her I'll call her. [Churns again rapidly.] Per. Miss Betty I'd like yer ter stop that ar churnin'' fer a little while, as I want ter talk ter you. [Betty ceases churning for a moment and looks defiantly at Perkins.] Betty. Well ! Per. It's jest this yer, Miss Betty, I've been over to the village — [Clears his throat and hesitates.] Betty. Well I've nothing to do with your goin' to the village. Per. Well I mean ter say that I bought a beautiful silk dress, pure silk every thread of it, and — [Clearing his throat.] if you'll accept it, [Clears his throat.] I mean if you'll accept me, it's to be your weddin' dress. [Betty turns to her churn abruptly and churns away without answering a word. Perkins gets on his knees.] Miss Betty, is it to be yes or no? BILL PEEKINS' PEOPOSIN' DAY 5 Betty. Tain't no use for you to go on like that, Bill PerkinS;, for I've done told you a dozen times that I ain't wantin' you ter come here at all. I ain't never had no notion of you, and I ain't a goin' to have you nor your silk dress, so there. [Rises and stamps her foot impa- tiently. Enter Mks. Hawkins, sleeves up.'] Mrs. H. Law sakes alive ! What's all this ahout ? Law, Mr. Perkins, this hour of the day and down on your knees. Ha, ha, ha ! [Perkins rises as she enters.] Per. It's beggin' your pardon. Mam, but I jest stepped over to see Miss Betty a bit, as it was too hot a workin' out doors. I jest sez. ter myself, I'll go over thar and tell Miss Betty about the silk dress I bought, but she ain't a wantin' ter hear no thin' about it, pears to me like. Mrs. H. [In surprise.'] Why Betty ! Betty. I don't want his silk dress, nor I don't want him. [RocJcs to and fro, twisting Iter apron corner.] Mrs. H. No, it's that ne'er do well Tom Tucker that you're wantin', and not a dollar in his pocket. That's just it, Mr. Perkins, j^ou needn't waste your time nor your breath a talkin' ter her. She's a head-strong girl, Betty is, and I feel sorry for the man that gits her, indeed I do. Pee. Whall I jest hoped that she'd consent, as I was sot on it, and I'd o' done the right thing by her. Betty. Maybe if you'd a done the right thing by Mrs. Perkins she might be a livin' today. Mrs. H. Law sakes alive, hush, did I ever think I'd live to see the day that I'd hear my own flesh and blood talkin' to anyone like tliat ! Betty, Betty. Per. Tain't no fault o' mine that Mrs. Perkins died. The Lord knows and I kin swar on a stack of Bibles knee high, that she had on as purty a silk dress the day her an' I. got married as you ever clapped yer two eyes on, e BILL PERKINS' PEOPOSIN ' DAY and 1 bouglit it with my own money, an' thafs the truth. [Betty laughs saucily. \ Betty. Well I'll bet she never had another silk dress after that'n wore out. Ila, ha, ha ! Mes. H. Betty daughter, that'll do now. Have you done forgotten that Mr. Perkins is past fifty and deservin' of respect. Betty. No, Mam, I ain't forgot it and what's likely I ain't a goin' ter forget so far as ter go an' marry him. I might as well marry my grandfather. Ha, ha, ha ! Mrs. H. AVel! please respect your elders then and stop talkin' saucy. Per. It's all riglit, Mi's. Hawkins, an' I hope she'll never regret the refusin' of me. Mrs. H. I hope she never will, Mr. Perkins, that's what I hope. The gals now o'days ain't like when you an' I was 3'oung. Law sakes alive, we jest took the first good chance that came along, and was glad to git it. But they ain't that way now days, that they ain't, they're in- dependent up to their teeth, and Betty's clean spoilt, that's M'hat she is. Per. You're plum right, Madam. Well, ladies, I wish . you both good day, and good luck ter you. Miss Betty. [He tal'i's his bundle under his arm, bows.] Mrs. H. Good day; come around again an' don't let Betty's talk an' actin' keep 3'ou away. Per. All right, thank you. Mam. [Exit Perkins.] Mrs. H. Betty, I'm down right ashamed of you, that I am, and it ain't every girl that gets a chance of a rich man like Mr. Perkins, it's the chance o' a life time. Betty. I don't care if I never get another chance. I ain't a goin' to marry Bill Perkins and that's all there is to it. He's old as Mathusalem. BILL PERKINS ' PEOPOSIN ' DAY 7 ' Mks. H. Whist, whist, he ain't a day over fifty and I'm near that myself. Betty. Supposin' you take him, mother. Mrs. H. Law sakes alive, what's the child thinkin' about ? Your father's bin dead five years, two months and twenty-seven days, exactly, and I ain't never low'ed a thought o' that kind to git inter my head, and it ain't becomin' in ycu, Betty, to mention that sort of a thing ter me. Mr. Perkins is all right, an' t'was down-right good in him to buy that silk dress a head o' time. Betty. AVhich shows that he's been countin' his chickens before they were hatched. Ha, ha, ha ! Mrs. H. Did he low' what sort o' shade o' silk it was ? Betty. Xo, Mam, an' I didn't ask him because I wasn't interested about it at all. Mrs. H. Perhaps it's pink or blue, or maybe it's changeable silk like Sarah Williams', but this ain't gettin' any churnin' done. I got a tub full o' things ter hang out. I wish, Bettv, yo'd run round the red barn presently an' look after the calf an' see if Speckle ain't layin' in the wood shed again. I seen her go in there this morning. Betty. All right, mother, I will presently just as soon as I give this churnin' another start. Mrs. H. Don't make it too long, daughter. [Exit Mrs. Haivl'ins. Betty pauses at the churn a moment, then takes a letter from her bosom or pocket and hisses it.] Betty. Dear, dear Tom, I wouldn't give him up for old Bill Perkins, nor all the silk dresses in the world. [Enter Tom unohserved.'} Bless his dear heart. No, indeed. I ain't goin' ter swap him for a silk dress, nor nothing else. Well, I guess I'd better go an' look after the calf an' Speckle. [She kisses the letter and appears to put it in her bosom, but drops it without perceiving it. Then goes out. Tom, a young farmer, handsome, but rustic 8 BILL PEEKINS' PEOPOSIN' DAY in his manner and dress, appears not to notice the letter on the floor at first.^ Tom. Well now, if this yer ain't enough ter turn a fellow upside down, and inside out and give him the yaller janters to boot, ter come clear clean two miles ter see a young lady, and that same young lady yer sweetheart, and find her a kissin' somebody else's letter, and talkin' about a silk dress that somebody or nother is a wantin' ter give her. It's like my grandmother used to say. It's jest more'n flesh and blood kin bear. It jest makes a fellow feel like somebody was pourin' cold water down his back. I heard tell o' people being disappointed in love, but lands a musey, who'd a ever thought it o' Betty. [Walls about looking perplexed.] "There's many a slip twixt the cup and the lip," that's what my grandmother used ter say, and you are never sure of a thing till you've got it, an' then you had better not be too sure of it, be- cause it might slip away after you thought you had done cotched a hold of it. Jeminy crickets, what's this? [He picTcs up the letter.] Now here it is, the same letter that she was a readin' and a kissin' so confectionately when I came in. I'll see what this other fellow has got ter say. [He reads it.] "Darling Betty." [He whistles and scratches his head,] I'll have some squarin' up to do with that chap. [He reads on.] "I've been a dreamin' o' you every hour and every minute since we parted down under the old peach tree." Wahl he'll be a dreamin' o' me for a month or two, if ever I clap my hands on him, [He walTcs about distractedly.] That's the way it is, you put your confidence in a gal and it's just like pourin' water in a sifter, it'll all leak out again, that's exactly what my grandmother used ter say. [He folds the letter up and puts it in his pocTcet.] Wahl, I'll see about you later. [Enter Betty.] BILL PERKINS' PROPOSIN' DAY & Betty. Why how do you do, Tom. [Tom lool's sulky.'\ Why, Tom, what^s up? You look seven ways from Sun- day, or like a mud fence on a rainy day. What's up, I say ? Tom. Tain't nothin' up, it's all down an' I feel as if my heart's goin' clean down inter my boots. Betty. You're out o' sorts, Tom, is any of your kin folks dead? Tom. Wahl, I'll jest tell you, Betty, I found this yer letter on the floor here, and I came in jest when you was a readin' an' a kissin' it, an I heard every word you said about some other fellow, and it gave me the blues, as my grandmother used ter say when she got talkin' an' a thinkin' o' grandpap. Betty. Why it's my letter. How did I happen at all ter drop it, but I don't see why you should get upset about it, Tom. Tom. It's them courtin' words that's in it, an' the way you were goin' on alDout it, that's makes me feel poky, as my grandmother used ter say. Betty. Oh, hang your grandmother, Tom, you're a real goose. [She snatches the letter from him.'] It has the fellow's name right here at the bottom of the page. Ljok here— [.^//.e spells slowly] T-O-M, Tom Tucker. Don't you know your own letters when you see them ? Tom. W>11 bless my soul, Betty ! Well I'll be hanged ! Ha, ha, ha, that's the letter I wrote you when I went down to Buckskin ter get them new kind o' pumpkin seed. Well now, as my grandmother used ter say, you've got me Betty, and I'll own I'm dead beat. Betty. And something else will surely get you one of these days, if you don't open your eyes and look at things, before you fly all to pieces. Here, sit down on this chair, and promise me that you'll do better for the future. [Sits down.] 10 BILL PEEKINS' PKOPOSIN' DAY Tom. I'll i^roniise you most anything now, Betty, but laws a mercy, I was a thinkin' about committin' susenside. [Betty is churning.^ Look here, Betty, can't you let that thing alone fur a little while. Tain't every day that I get an opportunity ter talk with you. Betty. Well I'm listening, Tom dear, head and ears. [Enter Bill Perlins with the same parcel.^ Per. Sorry ter disturb you folks, but I — I want ter see Mrs. Hawkins on perticular business. Betty. I'll go and tell mother that you want ter see her. [^st'c^c] I believe he's goin to propose to mother. [Exit Betty. Enter ivith Mrs. Hawkins.} Mrs. H. Sure as I'm alive if there ain't two gentle- men here, well this is company, and when it rains it pours. Tom. That's exactly what my grandmother used to say. How are you, Mrs. Hawkins? [Betty aside.] Tom, I wish you'd let up on your grandmother. [Threaten- ingly.'] If you don't — Tom. [Aside.] I will, I will. [Mrs. Hawkins pro- ceeds to dust a chair with her apron.] Mrs. H. Sit down, Mr. Perkins, and rest yourself. Per. [Clearing liis throat and hesitating.] I wanted ter see you. Mam, on some real perticular business. Mrs. H. Betty, daughter, run and shew the chickens out of the garden, that's a dear. Betty. All right, mother. [Beckons to Tom aside.] We're in the way I guess. Tom. [Follows her.] There is something up. [Ea:it both.] Per. Mrs. Hawkins, I'll come to the point at once. Yer see I had my heart sot on this yer bein' my proposin' day ter Miss Betty, an' after she rejected me I went over to home feelin' sort o' down in the mouth, so I jest got ter studyin' over the matter, and said to myself, now, BILL PEKKINS* PROPOSIN' DAY 11 there's Miss Betty's mother, as fine a lady as could be found miles around. [Mrs. Hawkins bows veiij loiv.] Mrs. H. Thank you, Mr. Perkins. Pee. And I said ter myself, sez I, I'll just go over thar and carry this yer silk dress [Clears his throat.l and maybe she will .accept it, and me with it, for ter tell you the truth, Mrs. Hawkins, I get ratlier lonesome over thar to my place sometimes. It's a purty little home and it's yours for tlie taking of it. [Mrs. Hawl'ins feigns sur- prise and wipes her eyes with the corner of her api'on.'] Now, how is that, Mam? Mrs. H. You are a dear good man, never mindin' the home and silk dress. Per. But they go in with the bargain. Mrs. H. Law sakes o' live, now did I ever ! Per. Is it to be yes or no. Mam ? Mrs. H. Lands sakes o' lives, it's yes, Mr. Perkins. [Opens parcel.] Per. Wahl, this is a lucky day, and I ain't ter be dis- appointed after all. Mrs. H. What'll Betty say ? Law sakes alive. [Calls.] Betty! [Enter Betty and Tom holding hands.] Betty, daughter, look here; ain't this a stunnin' handsome dress, it's all silk, every thread of it, and it beats Sarah Wil- liams' all ter smash. Betty. There's nothing wrong about it, mother. Tom. It's exactly like the bed quilts that my grand- mother used ter make. [Betty shakes her head reprov- ingly, saying, Tom I Tom'] Mrs. H. Xow look here, Tom Tucker, don't you be making light of my weddin' dress. Tom. Well now that's a horse of another color. Betty. I thought there was something up. Tom. Well you are not the only blossom on the tree. 12 BILL PERKINS' PEOPOSIN' DAY Betty and I'se ter get married, too. Per. Well all's well that ends well. Tom. That's what my grandmother used to say. Per. This here's heen a proposin' day sure enough. Supposin' we have a double wcddin'? To:m axd Betty. Good— good. Per. Then there will have to be two silk dresses, and I'm the man tliat's goin' ter foot the bill. How's that? Betty. Bill Perkins you are a trump. [Shal-es his hand.^i Per. That's worth a dozen silk dresses, and look here, little gal, I'm gointer be your stepfather now and you've got to walk the chalk line. Tom. That's what my grandmother used ter say. CUETAIN. Unde Rube An Original Homestead Play in Fotit Acts By CHARLES TOWNSEND The Finest Rural Drama Ever Published Price, 25 cents CHARACTERS RUBEN RODNEY (Uncle Rube), Justice of the Peace, School Trustee, and a master hand at "swappin' bosses". .. .Character lead SIMON SMARLEY. a smooth and cunning old villain ., Character heavy MARK, his son, a promising young rascal Straight heavy GORDON GRAY, a popular young artist Juvenile lead UPSON ASTERBILT, an up-to-date New Y'ork dude Character comedy IKE, the hired man. "I want ter know:" Eccentric BUB GREEN, a comical young rustic Low comedy BILL TAPPAN. a country constable Comedy MILLICENT LEE. "the prettv school teacher" Juvenile lady MRS. MARTHA BUNN, a charming widow Character comedy TAGGS, a waif from New York Soubrette Time — Mid Autumn. Place — Vermont. Time of playing — Two hours and a quarter. SYNOPSIS ACT I. The Old Homestead. Uncle Rube arrives. ACT II. The Constable's office. The plot to ruin Uncle Rube. ACT III. Evening at the old farm. Uncle Rube is arrested. ACT IV. The Constable's office again. The old farmer wins! This play was written by one of the most popular of American dramatists, whcsf works have sold by the hundreds of thousands. One of the best i)lays of its class ever written. Splendid characters. Powerful climaxes. Bright wit. Merry humor. Very easy to pro- duce. Requires only three scenes. No shifts of scenery during anj act. Costumes all modern. No difficult properties required. THE AUTHOR'S OPINION* MR. TOWNSEND says of this drama: "I consider that 'Uncle Rube' is far superior to any play depicting country life that I have yet written." This is the play for everybody — amateurs as well as professionals. It can be produced on any stage, and pleases all classes, from the most critical city audiences to those of the smallest country towns. Printed directly from the author's acting copy, with all the or'^inal Stage directions. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS The Outcast's Daughter t fZTa^ By MARION EDDY PRICE, 25 CENTS Ten male, five female and one child characters. Plays two and one-half hours. Modern costumes. Three interior, one exterior scenes, all easily arranged where there is any scenery at hand. No stronger melodrama has been given the play-lcving public. Full of the strongest appealing heart interest, intense, pathetic, real life, where joy and laughter are mingled witli pathos and suffering, but all ending happily. A melodrama without a villain or the use of firearms. Amateurs may play it successfully, it plays itself, and it is adapted to strong repertoire companies. CAST OF CHARAGTERf:. Carl Faber An ex-convict Howard Ross A manufacturer Dennis Hogan Servant to Ross Abel Gardener to Ross Judge Havens , Of the police court Recorder Of tho police court Lettner Clerk of police court Second Court Clerk Clerk of police court Two policemen Little Hugo Agatha's child Agatha Steme Ross' bookkeeper Ida Rheinhold A retired singer Mrs. Wilmuth A washerwoman Katie Factory girl Frances Factory girl SYNOPSIS OF SCEI^S Act 1. Ross' private office. "What has given me' the honor of this visit?" "I will never sing again. My life has been a sad failure." "Good God! My mother!" "I have done v/rong, I confess, but when a mother asks, a child must forgive. Oh, Mr. Ross, help me." "You. my rich and famous mother, to you I was nothing, and you — you are nothing — nothing to me." "Agatha! Agatha! My child! My child!" Act 2. Agatha's attic. "My poor father. So young and strong. How I could have loved him." "Yes, Katie is right, I have nothing but bread for my sweet child." "Madam, I vould lie if I say sjie \as anything but a lady." "On the other side, towards the garden, there are a few rooms I have never used. If you will take them " "You do not look like a man who could commit mur- der. How was it?" "I was a weak man and many misfortunes made me desperate." "My picture! I must be mad." "You are good, child, but you shall not call me father." "Father! Father!" Act 3. Ross' Garden. "He is so good to me, but I cannot forget my poor unhappy father." "The picture was taken when I was young. He shall have it." "Stay hero and be my wife." "That suspicious old man is in the garden." "For her I sacrificed every- thing." "Do you want to go to prison again?" "My father needs me to defend and comfort him." Act 4. A Police Court. "Do not ask me, your honor — I am an <^x-convict." "Your silence will not help you." "It vas dark und Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor believes in a future life, sor." "He wished to see his chiW ; I am ills child." "Grandfather, we love you." "I am his wife. Do not condenm him." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. DTJNOW Dumont^s Minstrel Joke Book Price, 25 cents A Collection of Jokes arranged for End-Men, both professional and amateur. Never before collected and published in a clear manner and with bright dialogue for End-Men and Interlocutor. They form a book of the newest, most humorous and quaintest matter ever arranged. Any reader may, with assured success, deliver them to any assemblages before whom he may appear. Mr. Dumont himself says: "This collection of jokes and dia- logues is the careful gathering of years^and only the best and 'sure laugh' producers are incorporated in this book." PARTIAL CONTENTS Arithmetic of Love, "Ask a Policeman," All about Novels, At Nia- §ara Falls, "A. P. A." and Bricks, Advantages of Education, All orts. Army and its Soldiers, Bad Case oi Lying, Base Ball. Breach of Promise, Burglars, Boston's Correct Language, Bravery in Battle, Fishing, Funny Signs and Borrowed Pants, Fish makes Brains, Firing off the Cannon, Climatic Changes, Clancy as a Diver, "Couldn't find a Policeman," Colonel Pepper, "Curiosities for Mu- seums," Conundrums, Cruelty to Animals, Country and Don't Drink, Couldn't take the Job, Comic Recitations, Cork Leg, "Casablanca," "Dreams," Ducks and Indians, Dutchman's Bet, "Daniel," Eating Dumplings, Epitaphs, Editing a Newspaper, Eating by Weight, Ed- ucated Horse, The Mule Battery, "Making Both Ends Meet," The Mind Reader, Missed the Hearse, Mixed Breed of Chickens, Married into a mean Family, Making a Pair of Shoes, Man's Ribs and Angel Cake, The New Poet, Never Happened, On the Battlefield, Off to the Seat of War, Our Brothers, Old Cider Barrel, Origin of Songs, Opinion on Man and Woman, Gratitude, Hotel Regulations, Hold your Head Up, How is Business. How Different Girls Kiss, Hash for the Navy, "Has not Caught Me Yet," Irish Monologue, It Runs in the Family, "If a River were between all Men and Women," Jumping Frog, Kissing, Kiss Sociable. Keep off the Grass, Kissing in the Tunnel, Lawyer and Doctor, Lost Umbrella, Liquor Assists Nature, Learning the Bike, Love and Matrimony, Law in Alaska, Shoemaker's Daughter, Singing at the Party, Storm at Sea, Spot- ted Dog, Swallowed an Egg, Second Time on Earth. Signs, Sorry he didn't Take it Cold. Progress. Parson's Sermon on Crap Shoot- ing, Poultry and Fruit, Power of Language, Perhaps I Will and Perhaps I Won't, Peculiarities of Speech, Pumpkin Pie, Patriotic Alphabet, Queer Advertisements. Ragged Jacket, Raising Grass- hoppers, Taught His Wife a Lesson, Thought it was a Boat-race, The Telephone, Thief with a Roman Nose. Taxes on Luxuries, Transfusion of Blood, Took the Dead Mans' Dollar. Two Good Liars, Three Realistic Dreams, Takes It just the same, "Twinkle, Twinkle Little Star," Very Good Tip, Very Large Punch Bowl, Very Mean Father, "We are Letters," "Went Home for his Pipe," "Why is a Ship called "She?" "What is Love?" "We are all Bottles," "Wish the Gun had gone off," Writing a Novel. Address Orders to THE DRAMATIC PUBLISHING COMPANY OaCA<*0. ILLINOIS HickVy Farm A G>medy Drama of New England Life in Two Acts By EDWIN M. STERN Price, 25 cents Six male, two female characters. The play deals with the same phases of life as "The Old Homestead" and "The County Fair," and is written in the same comedy vein which has rendered these two pieces so popular. The courtship of the Irish alderman is one of the most ludicrous scenes ever written, while the scenes between the old farmer and his daughter are most touching and pathetic. Scenery, a set cottage and a plain room. Costumes of the day. Time of playing, an hour and a half. SYNOPSIS OF INCIDENTS ACT I — Hick'ry Farm House Darkwood's Plot — Skinner tempted — Money! Gold! — Zekiel ap- pears — "Be you Ann Maria's boy?" — Fortune's reminiscences — The deed must be stolen! — Hard cider — Aunt Priscilla's love — The alder- man's brogue — "Dear departed Hezekiah" — Jessie's secret — "Then you still love me?" — "Larry McKeegan's courtin' " — The "widdy" succumbs — "Zekiel's fav'rit' song" — McKeegan's ghost — Jack Nel- son makes a discovery — Jessie has gone! — "Heaven help me!"— Zekiel's prayer. ACT II — In Fortune's Shanry Zekiel's misfortunes — The rent collector — Darkwood's insult — "Villain, you lie!" — Skinner's remorse — ^The New York detective^ The bank robbery — Darkwood threatens — Jessie returns — The alder' man married — "Sure it's a darlint little woife slie is" — Zekiel's hap- piness — "Gosh! I ain't felt so gol-darned happy sinct I wuz a boy" — A trap for Darkwood— Jack and Jessie reunited — Priscilla paci- fied — Darkwood at bay — "Stand aside, as you value your lives!"—. "The detective fires — "You've done for me this time!" — Zekiel's for- ^ivaiess — Old Hick'ry farm restored. Address Orders to THE DRAMATIC PUBLISHING COMPANY , CHICAGO, ILLINOIS -^7 / ^^ One copy del. to Cat. Div. w Hageman^s Make-Up Book By MAURICE HAGEMAN Ptice, 25 cents The importance of an effective make-up is becoming more appar- ent to tlie professional actor every year, but liitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques- tions can be asked by professional or amateur that cannot be an- swered hj" this admirable hand-book. It is not only the best make- up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS Chapter I. General Remarks. Chapter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face Powder and Puff. Exora Cream, Rouge. Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair. Nose Putty, Wig Paste, Mascaro. Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make- up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up, Society Men. Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs. Beards. Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. . Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers, Southerners, Politicians, Cowboj's, Minors, Qu.akers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians. Gipsies, Russians, Turks, Arabs, Moors, CafHrs, Abys sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues, Address Orders to PHE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS JAN 3 I9II LIBRPRY OF CONGRESS PLAY And Entertainment Books. |0EI^G^ the largest theatrical booksellers in ^ the United States, we keep in stock the most complete and best assorted lines of plays and en- tertainment books to be found anywhere. We can supply any play or book pub- lished. We have issued a catalogue of the best plays and entertainment books pubhshed in America and England. It contains a full description of each play, giving number of char- acters, time of playing, scenery, costumes, etc. This catalogue will be sent fi-ee on apphcation. The plays described are suitable for ama- teurs and professionals, and nearly all of them may be played free of royalty. Persons inter- ested in dramatic books should examine our cat- alogue before ordering elsewhere. We also carry a full line of grease paints, face powders, hair goods, and other ''make-up" materials. The Dramatic Publishing Company CHICAGO 015 910 068 6