THE GREAT SECRET
SHADOW PANTOMIMES:
® arlequin in the Shades.
HOW TO GET THEM UP and HOW 10 ACT THEM,
With Full and Concise Instructions, and Numerous Illustrations,
By TONY DENIER,
The Celebrated Comic Pantomimist,
Author of ‘‘ Tony Denrmn’s Parton Pantosmmes,’”’ “ AmarEeuR’s Guipr,”’ &a,
IEW YORK:
HAPPY WOURS COMPANY,
4 No. 1 CHAMBERS STREET.
Ri ‘t ray w if oa 7 gas ¥) | Tey :
Leia ae i | (ei
: Pate OTA WOAH
ra :
eee - andul nit nt t ainpelaa ; on
ighaae W Se tei et beans ae ate Hat
Aaa tool wut dul “s
. hy 0. A. ROORBACH, ee Dat w
mnecimrs Office of the District Court of the United States for the Sout ot ct
) —setlll agughesen ve Risso’ bos a pots a |
Me Es ne Ea fs ; 4
" mn ge i “ATI £UOT wt y |
2 se
nM inten sis bate orniahd) wt aint he je
OMA | eet i ;
oe 8 ates arena: ts " gxseato2%s re c : |
\
GU0I YUIAD
ape
‘ A é tyes ee -
; Ltt heyy: see, ae Wy) ears 2 £ '
mr Pak 1%
a »auct + a Fy . shoes . “wa +2 oa ty a
aby ig LA Gute 1) pee Phen hie eri | + ey
" . i ye ‘ 7 .
-* ae ‘ wy
™
<4
‘
7743
/ f pee
Z
ven, ad
d |
INTRODUCTION.
2
ee
BMRe Dele J
==
Lm
i
c|
1 1
@e
t=
aS
Se SSS SS
=
—— = = :
SS SS SE SS Se ae. #=N
== SS = SS 4
SS SSE
SH =r
Som, fifty or sixty years ago, a Frenchman, one Monsieur Lunardi, 6
arrived in London, with the laudable intention of ‘+ astonishing: the .
natives,’ afid attempting to. better, his worldly, means and, obtain
a little of ‘‘ Mi lor Anglais,’’. substance,.in exchange for a, sight, at
some novel French shadows. . The bait took, the thing was well, man-
aged, and became a great success’; and the whole population were in.,
} sa furore, to. know ‘' how it,was done.’ , The representations first took,
place at. ‘the, Old. Lyseum,. or. English. Opera House, as, it:..was then;
termed, and which. place, was in, general request, for. ithe exhibition of...
iv IXTRODUCTION.
‘any and every thing pertaining to the marvelous. Herein 1803 and
1804 one Winsor exhibited and explained his propositions to light
the public streets with gas ; but as Winsor’s statements were consid-
ered at ‘‘that’’ time extravagant and Baron-Munchausenish, Winsor
did not win sir many converts to his scheme ; and although an en-
larged experiment was made by lighting upa portion of Pall Mall
and the colonnade in front of Carlton Palace, it did not meet with
favor, and the project was abandoned. The practice of gas lighting
did not come into operation till the year 1813, when the first char
tered gas company erected their works in Peter street, Westminster,
London, and enlightened the darkness of the inhabitants of one of
the leading cities of the world, which has been improved upon and
increased from time to time, until, at the present day, the principal
streets and crowded thoroughfares of all large cities are occasionally, °
as the play bills say, ‘‘an urfparalleled blaze of refulgent light.’’
But to return to the shadows, which, as we have before intimated,
were first exhibited at the Old Lyceum, and as the modus operandi and
manner of carrying it out was entirely in the heads, hands, and
heels of the Frenchman’s own family, and as all etrangers were rigid-
ly excluded from being ‘‘ behind the scenes,’’ the secre was safely
kept, and public excitement and curiosity consequently greatly in-
creased. Monsieur realized a very handsome sum of money, and
with this increased his substance, but it would appear that he was less
careful of his shadows; for, on the exhibition being removed to Old
Vauxhall Gardens, London, as the saying is, ‘‘the cat got out of the
bag,’’ and it was soon found out that the whole sum and substance of
the wonderful illusion, “‘Zes Ombres Chinois,’’ Harlequin in the Shades, or
the ‘‘ Man in the Moon,’’ as he termed his performance, was and is
nothing more than a clever adaptation of a very simple law in op-
tics ; so if any of our readers wish to amuse themselves and families,
and astonish their friends, they will, with the assistance of the vari-
ous sketches and diagrams contained in this book, be able to accom-
plish the same to the satisfaction of all the company present.
Now then for the shadows. Afterastage, or school-room platform,
the next best adapted place for these performances isa drawing-room
or parlor, where there are folding-doors, against the opening of
which, on a common wooden frame [See Figure 1] tack up or fas-
» > taut and tight a wet sheet or muslin cloth the size required,
.etsed before tacking up tn.a' tub of water, and then well wrung
a¢. Then have-ready a light in-a-pan. This'is arranged by having
INTRODUCTION. v
a smnall tin cup made, about the size of a breakfast cup, to the bot-
tom of which, inside, must be soldered a piece of twisted wire [See
Figure 2] to hold some cotton to serve for a wick ; round this must
be placed some tallow (that cut from candles is
best) or fat, which must be pressed down close
all around, leaving about a quarter of an inch or
so of the cotton sticking up, on lighting the top
of which it will burn on, gradually melting the
; fat until it becomes the burning center of a hot
Wig. 2. pan of fat. Anearthenware pan or bowl should
be filled up to about one inch of the top with sand, on or in
which the fat cup should be placed. (See Fig. 3.] This is a very
necessary precaution, as, should the lamp. get by any means upset,
the hot oil and grease would be absorbed by the sand, and save the
floor and carpet of the room. (The Lighting apparatus described
above can be purchased complete by applying to O. A. Roorbach,
102 Nassau St., New York.)
Having all these things in readiness,
viz.: the fat pan well lighted, the sheet
tightly strained to the opening of the
doors, aud the company of spectators
being seated on one side of the wet cloth,
on the other side of the same the perform-
ance is to occur, and the light is to be
placed on the floor, about four or five
feet frcm the center of the cloth ; all the other lights must be put out,
and the actors ready to carry out the directions that are given to per-
form such pantomime or sketch as they may have selected, the effect of
which will be much increased if some kind, obliging sister or cousin
will play a series of lively tunes on the piano, to add ‘‘ music to the
mirth,’’ and keep the game alive. All who are not engaged in the
actual performance should be particular and keep the light between
them and the cloth, and in going on should go close back of the light
and jump over it sideways. This, to the audience, will have theap-
pearance of his having dropped from the ceiling, and when he has
finished his part and wishes to exit, he must jump back, sideways,
over the light, and he will appear to those in front to have gone up
through the ceiling. If you wish to do it well, care should be taken
to invariably jump over the light sideways, steadily and neatly—no
hurrying or carelessness, or knocking against the light—and to stand
Fig 3.
vi INTRODUCTION.
and go through the business and. pantomime as much as possible
sideways or in profile: In using chairs or. tables, ‘they: shouldbe
piaced as close.as possible to the wet cloth, without causing the per-
sun sitting duwn or, working in front of them, to rub or bulge
against-the said wet sheet. Arrange éverything you have to do be-
rorehand by rehearsing, and so avoid all confusion and the least pos-
sible chance cf taiiure... With the foregoing general directions and
explanations; we will submit the outlines and substances of some
shadow performances, which ean be rendered very amusing and com-
ical if done. with neatness and precision, and never fail to be re-
ceived with astonisnment and laughter. » . é
- Respectruily submitted for your approval by the ~
| Public’s Obedient Servant,
"March, 1968. Tony Denter. |
SHADOW PANTOMIMES.
SHADOW BUFF; OR, WHO'S WHO?
The only properties require in this comical, optical, guessical,
uizzical, substantial extravagangz,, called ‘‘Shadow Buff; or, Who's
Vho?’’ (being a funny dodge for an evening's entertainment) is the
wet sheet and the light. N.B. In‘ Shadow Buff’’ all. the little
Buffers and Bufferesses, from four to fourteen, can take part, to the
delight of their friends, and tiemselves in particular. To play the
game proceed.as follows; As many pieces of paper must be cut as
there are persons to play—say ten--aud on one of the pieces of paper
must be marked, ‘* the guesser.’’ The papers are, now ‘placed in a
hat or bag, and shaken up; then. each person is,to draw one, and
the drawer of ‘> the guesser’’ must take his or her place on the
audience side of the wet cloth or screen, (while-the others go to the
back) and as each of the shadows of the others come in view, either
by jumping, over the light or coming from the -side, endeavor to
guess their names, they remaining lony enough for ‘‘ the guesser’'
to make three guesses.at the name, and if not guessed right on the
third the shadow to disappear and another take its place. If the
persons are nearly. of one height, and no. great peculiarity of
dress occurs, some difficulty will be found in alwayen guessing *‘Who’ 8
who?..’
Notsg.—-If any ladies are to. take part in- this, or any other panto-
mime, the stage manager or director of the entertainment should be
par ticular in making “all. to. come on from the: sides—no jumping
over the light in this for ladies, young or old, so that no accident
from a dress catching fire can, possibly “take. place. Also if the ladies
put on different hats or bonnets than those they are in the habit of
wearing, or exchanging with one another, and the gentlemen exchange
hats, coats, &c., or ruffle up their hair, or pat something under their .
coats up near the shoulders, to make them. have. the appearance of
being humpbacked, or stand nearer the light, which will) make
them look taller, or serew their faces up so their shadow will louk
different, or do anytbing that fun may suggest to alter their appear-
ance, it ‘will be much more’ difficult for the gnesser to guess, their
names. They must come separately, one by-one, before the light.
and if the guesser Fuesses any one’s name rightly. he. or:she reust>
take the guesser’s place, and ‘the guesser go.to make one-of the sha-!
dows, and so on, as in the old game of Blind Man's Batt.
8 SHADOW PANTOMIMES,
THE DENTIST; OR, TOOTH-DRAWING EXTRAORDINARY
The properties needed for this laughable sketch are very easily
gotten up, and consist of a profile tooth, a lancet, a pair of pincers,
a false nose, a handkerchief, and a chair.
This is commenced by Actor No. | juiwping over the light and
expressing In pantomime by putting his hands to his jaws and
niouth, what a dreadful bad toothache he has yot, and by stamping
with his feet on the floor, calling for the doctor; then let Actor No. d
ithe doctor) appear, by jumping over the light, and taking the
xi fferer by the chin and nose, wrench open his mouth to have a
sood look in;,then .take a handkerchief and tie up the patient’s
jaw, giving him now and then some good taps on the top of his
head ; then leaving the toothache subject to moan, groan, and twist
his head and body about, Jet Actor No. 2 jump back over the light,
and then again jump forward over the light with a chair. Let him
take hold of the patient, or Actor No. 1, and put him in the chair ;
then untie the handkerchief that ties up the jaw, and go through
any kind of rough, comic examination that tact and fun may
suggest—always bearing in mind to have ‘‘ method
in his madness.’’ If the person who takes the
part of the doctor finds himself equal to the
task he can introduce a little quiet ‘‘ patter,’’ as
the professionals call it, by saying as he examines
the patient’s month: ‘‘Oh, ah, a dreadful case,
my son, an awful bad tooth ; one of your grinders ; a
regular double-pronged molar—no cure whatever
for it, twenty bottles of my wonderful and extraor-
dinary ‘Diopporeticum Bezovardicum,’’ or my most
astonishing cure all, the renowned ‘Lypapeodestiction-
sorewarmer,’ would notcureit. It must come out and
no mistake; so, here John, bring me my No. 1 lancet.’’
John, the assistant. (a thin tall person, if there is
one among the company) now jumps over the light
and presents the doctor with the lancet. [See Fig. 4]
The doctor then says, ‘‘ Now, John, lay hold of his
head, while I lance his gums, previoug to the draw-
ing.’’ Then he takes the wooden lancet, and rolling
up his sleeves, gives it two or three flourishes, aud
a grotesque sharpening or edging upon the hand, as
barbers do their razors. Then, with the assistance
of John, who holds the patient’s head back, just in-
; sert the lanéet in the mouth of the patient, and ap-
Hig. 4. pear to lance and cut the gums. ‘Then say, ‘‘ Now,
_John, for the gmall patent plyers, or the new atmospheric extract-
ors.’ John says, ‘‘ Yes, sir,’ and jumps over the light, and in-
~stantly returns with the plyers, [See Fiz. 6] which are simply twa
sticks of thin wood, screwed with one screw, so that they wil’
open like a pair of scissors—the sticks of wood to be about thre
feet long, and one inch and a half wide--and when inserting them in
SHADOW PANTOMIMES, 9
the patient’s mouth, stand off at arm’s length, while John fastens
to the edge of the pincers, by a small loop, a large profile tooth,
(a solid one is better if it can be made) made of pasteboard or
thin wood. [See Fig. 6] This he can easily do as he is ‘+ pattering ”’
about the patient’s head during the operation. The profile tooth,
- which is at first concealed by the assistant
3 in the folds of his dress, can, during the
fun and struggle at the extricating, be
masked by the hands of the patient and
assistant, when at last with a jerk, out it
comes, to all appearance, from the patient’s
mouth ; when up he jumps, quite overjoyed,
waves his handkerchief over
his head, knocks the doctor
and his man down and jumps
over the light, the doctor in
a fit of desperation seizes his
man by the nose with the
pincers, and in the struggle
the nose drops off, when the £
doctor in terror jumps over Beg f
the light and exits. ‘The as- fay i
sistant gets up, rubs his nose, Wig
looks up to the ceiling, then ¥
seizing the chair, jumps over
the light.
Fig. 6.
at
10
wt
ok
4
AMPUTATION LIKE WINKING; OR, THE MARVELOUS
REVIVER.
As ACTED BY Dr. DrencH AND HIS MEN. IN THE Moon.
Properties. —A light wooden table, a profile knife, a profile saw, a
cup, a bottle, a galley-pot, and a profile arm. (The knife, saw, bot-
te, galley-pot and arm are to be cut out of stiff pasteboard or mill-
board),
In this entertainment, the frame on which the wet cloth is stretched
should have a piece of pasteboard or stiff brown paper fastened at
each corner. ‘lhey shoyld be cut so as to give (when put on the
frame) the appearance of a circle or moon.
To enact this scene, the one who personates the character of the
patient must have his genuine arm (the right will be the best, fas-
tened to his side, so that no involuntary movement may betray it ;
then to his shoulder must be lightly attached a pasteboard arm. [See
Fig. 7.] When he jumps over the light, he should pace once or twiae
10 ss SHADOW PANTOMDIES.
baék ward and forward across close to the sheet, beirg
very careful not to touch the same; and give in pan-
tom{mic action, groaning, &c., the appearance of great
pain; then the doctor’s man, John, should jump over
the Jight with a chair, and by force seat the patient
in it, and say, ‘‘ Patience, my dear sir: my master,
the great Doctor Drench, will be here in the twinkling
of a galley-pot.’’ The doctor should now jump over
the light, and examining the patient very roughly,
exclaim, ‘‘Oh, dear, John, what’s all this? a fracture !
a flaw! a broken arm! Dear me, dear me, poor fel-
low, his right Osboxtherumgrubberumlift is severely
damaged and broken.’’ Then, taking the pasteboard
arn, lift it up and down to show its broken and frac-
tured condition, saying all the time he is doing so, :
‘‘ Dear me, bad case—difficult job. I plainly see I ‘
must use the saw. Now, John, quick, bring the table, Fig. 7.
and get the porter to help you, as we shall want him to help to hold
the patient. John says, ‘‘ Yes, sir,’’ and jumps over the light, and
instantly returns with the porter, and carrying the table. This must
be neatly and adroitly managed to have good effect. The table must
be placed as near as possible to the light at the back, and the two
characters, John and the porter, lay hold each of one end, jump re-
gularly and together over the light, to give the proper effect. It
ought to be a very light, small pine table, made for the purpose.
[See Fig. 8.] When the table is over, the doctor should still go on
with his orders and directions, and keep the scene up by talking to
the patient and ordering the assistants about, as, “‘ Dear me, my
man, howdo you feel now?’ andat this the patient should moan and
groan, and throw up his legs asif in agony ; then the doctor should
take him by the leg, and say, ‘‘ Ah ! oh ! my man, you have had
some money left you lately,’’ at which the patient should shake his
head : ‘‘No, no” Then the doctor, holding up his leg, should say,
SHADOW PANTOMIMES. aia |
‘* No, no! What do you mean by no, no? when here's a good Jeg-
i-see (legacy).’’ The doctor still goes on talking— ‘‘ Now, John,
pring the saw, my favorite hackemoffquick ; and my large knife,
the two-foot ham carver ; and you, porter, go for the Chloroforum-
nosecerumsniffernmpainstopperum.’’ John and the porter now jump
over the light, and as quickly come back, one with a profile bottle,
[See Fig. 9,] and the other with the saw and knife, [See Figs 10 and
11,] the doctor, during this, keeping up the attention of the au-
dience in front, by his by-play, and the patient assisting in the il-
lusion, by grunting, groaning, moaning and kicking up his Aeels.
*: My little page, Jim, says that if he attends to these directions
Cece he'll do very well ; in fact. he will act with his com-
rades in toetoe, and not put his foot in it.’’ (N. B.
These are old jokes.}] The instruments, the saw, the
knife, and the bottle should be placed on the table,
# which table should be pushed a good deal to the
# side, and the patient brought as much as possible to
| the center ; then the doctor should commence by
taking the profile knife, putting it between his.teeth,
4 and then tucking up his shirt sleeves ; this will give
{ quite a manslaughtering aspect to the affair, and have
oc a killing effect. (As our Jim says that manslaughter
Fig. 9. is the same as man’s-laughter.) John and the por-
ter should also tuck up their sleeves and take their places—one be-
hind the patient, to-hold his head ; the other at his side. to hold
his arm, when, after some by-play by the doctor, of moving the
patient’s arm up and down, examining the teeth of the saw, and
sharpening the knife on his hand, he should call for the cloth ;
this the porter must bring from the table. Then he must call for
the Chloroforumnosecerumsnifferumpainstopperum. The porter then gets
the bottle from, the table and gives it to him, and he appears to
pour some of its contents on the cloth, and then pass it back-
ward and forward under the paticnt’s nose. The patient seems
to quietly doze off to sleep, and his head falls back, and then
Fig. 10.
comes the final operation of taking off the arm, which must be
done by the assistant holding up the profile arm, and the doctor
cutting round the same with bis knife ; then, taking the profile
saw, sawing through the bone. While this is being done, if the
doctor for any one else very sharp set) can make a-noise with his
12 SHADOW PANTOMIMES.
mouth like sawing wood, all would be very well, and the illusion
improved. If genius of this kind is not discoverable, get some
one at the side to give the effect with a real saw and a piece of
wood, which would be much better. Behold, and see the arm is off,
and held up in triumph, asa proof of the doctor’s amputating
skill. Then he should say ‘* Now, John, go down into the sur-
gery for a pot of my Leviveremlikewinkin, mv instantaneous life-re-
storer.’” John jumps over the light for the pot. [See Fig. 12.]
The doctor.still goes on talking: ‘* This instantaneous composition
is the greatest invention of the age. It is made from the real
Egyptian mummy dust, and was invented by a@ mummer or a
mummy, who brougnt himself to life again, after being defunct
sixteen thousand years. It’s astonishing what it will do, and more
astonishing still, what it won’t do. Tl just tell you a story of it
in connection with a pig’s fail. Farmer Oatstraw had a pig he
called Porkibus. Now Porkibus was called Porkibus because—be-
cause he wasn’t called
anything else ; and Por-
kibus, as I have said be-
fore, was a pig with a ida
curly tail. Oh, I didn’t Fig. 11.
say it before, didn’t I? of course not. The tail’s behind, isn’t it ?
of course it is. Very well, then to proceed with it. You must
know that when Porkibus was very young, he was so frightened
by a small cross, dog, that he became curly-tailed ever after.
Now, this same curly-tailed pig met with a sad accident ; one day,
jumping out of his stye to show his style, his tail canght on a hook,
while he was hooking it. That hook had escaped his eye, and he
didn’t see it, and by this sad mischance he chanced to lose his
Tas much valued curly appendage. Now, three appli-
cations of my valuable reviver and restorer not
only caused the tail to crop up again, but every
morning half an ounce of pig-tail baccy was found
growing to the end of it; in fact, as regards the
baccy, every morning there were returns of the
very finest cut, and every month a crop of half-
PRY a-dozen corkscrews ; but that perhaps you'll say
ig. 12, we Pie Li, 3
is a corker ; but I really assure you I am draw-
ing it mild. So much for the pig. Now, John, where is the won-
derful ointment ? and now for the patient’s arm, to practice my
wonderful discovery.’” A piece of rag is taken by the doctor, and
he appears to anoint the top part of the arm and shoulder, the
fastening at the side of the patient that has secured the arm is
Joosened by the assistant, and the patient gradually works the
arm out, and waves it aloft in triumph; when the four charac-
ters, patient, doctor, assistant and the porter perform a grotesque
dance, and then exit over the light, the patient. with the chair,
the doctor with the saw, knife, bottle and pot, and the two assist-
ants with the table, each taking hold of one end, as when they
brought iton. — ce ae ah? i
SHADOW PANTOMIMES. 418
THE HAUNTED HOUSE; OR, THE FRIGHTENED TRAVELER.
Properties required.—A sofa without a back, to be placed on one
side near the curtain, with:a sheet spread on it to give it the appear-
ance of a bed. A lot of candles in candlesticks, two policemen’s
clubs, a gong, a carpet-bag, a valise, some old hats, caps, pants, tin
plates. basins, &c., some live cats and dogs. down to the foot of traveler’s bed.
and bends the stick over him and
hits him with it and then stoops
down. The traveler wakes up and
pushes his hair up, looks very much
frightened, and the ghost com-
mences to raise up the stick and_
stupds up straight, making a very
SHADOW PANTOMIMES. 15
tall ghost. The traveler struggles to speak and finally exclaims,
“Oh! oh! a g-g-g-ghost.’’ When the ghost immediately jumps
_ over the light and disappear. The traveler looks around, and
feels very much relieved, and is about to lie down again, when the
person back of light throws over it some cats and dogs, which are
to be made to run off. ‘Traveler sees them. and exclaims: ‘‘Oh,
my! the house is haunted,’’ and pulls the sheet upover his head
and exposes his feet and lies down to sleep. when a burglar jumps
over the light, with a lantern and large knife, [See Fig. 10] looks
cautiously round and goes to traveler’s vest, which he has placed on
a chair, and takes out the traveler’s watch. a large one with a chain,
holds it up to show it, and then puts it in his own pocket; then
goes over to the traveler, and holds up the lantern over him, looks
at him, and threatens him with the knife, then catches him by the
legs of his pantaloons and pulls them off, and waves them above
his head in triumph, and then jumps over the light. (N. B.
The traveler can have another pair of pantaloons underneath,
but tied at the ankles to look like drawers.) The traveler
jumps upe and exclaims, ‘‘Murder! Robbery! ‘Thieves! ’’ jumps
out of bed and then jumps over the light. The landlady runs in
from the side with a lighted candle, and with her night-cap on; sees
the traveler gone, and exclaims: ‘‘ Here, you sir, come back and
pay for your lodging,’’ and jumps over the lightin pursuit. Then a
lot of ladies and gents in their night-gowns and night-caps, repre-
senting the disturbed lodgers, and with lighted candles in their
hands, rush in from both sides in alarm, and exclaiming, ‘‘Robbers !
Police!’’ and then jump over the light. ‘Then two policemen
rush in from the sides and flourish their clubs, then jump over the
light. ‘This last part must be done very quick, and will be found
very laughable.
WE WON’T GO HOME TILL MORNING; OR, RECOLLECTIONS
OF THE OPERA.
All the properties required for this sketch, are two pint cham-
pagne bottles filled with water, and with corks that may be easily
drawn out with the fingers. Two policemen’s clubs, coats, caps, &c. A
night-cap and dressing-gown, and a large padded club, for the old
gent. ‘I'wo large cards, with the names of George and Frank cut out,
so they will reflect plainly on the sheet.
This laughable ‘“‘ Bon Mot” is commenced by two young men
entering simultaneously from opposite sides, and keeping close to
the sheet, without touching it, and walking rather unsteadily, as if
they had been out and enjoyed themselves and indulged rather too
freely in a very bad habit. As they walk along they knock against
each other in the center of the sheet, and both stagger back very
indignantly and commence talking and menacing ‘each other, say
16 SHADOW. PANTOMIMES,
ing, ‘‘ What do you mean, sir, by knocking against me in that
manner?’’ One of these quarrelsome young gents says, ‘* ft was
your fault, sir.’’ The other says, *‘ No. sir, it was net my fault, it
was your fault.’’ Number one says, ‘‘ Sir, if you doubt my word,
when I say it was your fault, sir, you insult me, sir.”’ Number two
says, ** No, sir, you insulted me, and I demand the satisfaction
due a gentleman. ‘There’s my card, sir.’?” Number one takes it and
says, ‘‘ Very well, sir, accept mine.’’ They exchange cards, and
while looking at them hold them up, so the letters will be reflected
on the sheet, and the audience able to see them. Then number one
exclaims: ‘‘What! George!’’ Number two exclaims, ‘* What!
Frank!’’ Then they both throw their cards back over the light,
(and they will have the appearance of having gone up in the air)
and: they both embrace and shake hands. Number one says: ‘‘I’m
very much surprised to see you; where have you been so late? ”’
Number two says: ‘‘ Why, I have been to the opera this evening.’’,
Number one says, ‘‘ Were you there? why, I was there myself; 1
went to see Faust, and liked it first-rate. But talking is dry work ;
suppose we take a smile.’? Number two says, ‘* It’s too late, all the
public houses are shut up; but I’ve got a private bottle in my pocket,
so take some of this.’’ [Offers bottle] Number one says, ‘‘I’ve got a
private bottle, too, [Shows it] and a novel idea with it; suppose we
change bottles and drink each other’s health.’’ Number two says,
‘* Acreed.’? They exchange bottles, and then touch the bottles to-
gether, and drink, and touch the bottles and drink again, and repeat
it, and gradually get a little tipsy, and stagger nearer the light, al-
ternately, and back again near the curtain. (This will make the il-
lusion of their bodies, growing larger as they near the light and
smaller as they near the curtain.) Number one says, ‘‘ Hic, George,
do you remember how the soldiers’ chorus goes?’” Number two says,
‘*T believe you, my boy, hic,’’ and sings a few bars of chorus, la,
la, &c., then breaks into the old song, ‘‘ We won’t go home till
morning, we won’t go home till morning.’’ Number one says,
‘*Stop! stop! that’s not it, it goes this way,’’ and sings part of
chorus, la, la, &c., and gradually breaks into, ‘‘ We won’t go home
till morning, hic, we won’t go home till morning, hic, we won’t go
home till morning, till daylight does appear.’’ Then they both sing
very loudly, and an old gent in dressing-gown, night-cap, and slip-
pers, comes on from side with a lighted candle in his hand, and says,
‘* Look here, men, if you don’t go home, or somewhere else with
your noise and bawling, I’ll call the police, and have you both ar-
rested and sent to the station house.’’ They both sing louder, and
the old gent calls, ‘t Police! Police!’’ and they throw water from
the bottles in his face, and he runs off, and they both laugh and sing
still louder, when two policemen jump over and stand near the
light, (this will make their shadows very tall) and hold their
clubs up over the heads of the young men and threaten them, at
which action, on seeing it, they appear very much frightened, and
hvld up their bottles to the shadows of the policemen’s noses, at
which they lower their clubs, as if they liked the smell, and walk
SHADOW PANTOMIMES. 1}
sideways, nearex to the curtain, and take the bottles from the young
men, and laugh and slap the young men on the back: and get very
jolly, and all laugh, and the young men sing again, and the police-
men keep on drinking, and finally get slightly intoxicated, and join
in the singing, going nearer to the light, and then nearer the cur-
tain again. In the height of their merriment the old gent comes on
and says, ‘‘ Yon won't go home till morning, won’t you? I'll see if
I can’t help you a little.’’ He rolls up his sleeves and goes off, and
re-enters with the large club, and he swings it round and‘hits num-
ier one. and he jumps over the light, (which will look as if he had
knocked him up in the air—to help the illusion let the old man look
up after each one has gone) then hits number two, and he jumps
over the light, then hits the first policeman, and he jumps over the
light, then hits the second policeman, but he does not move, at
which the old gent looks astonished, and hits him again, but he does
not move, at which the old gent looks very angry, and wets his
hands and prepares to hit the policeman harder; the policeman look-
ing round sees this, and jumps over the light of his own will; the
old gent swings the club round with great force and lets it go out
of his hand and over the light. (Some person. back of light must
catch it to prevent the noise of its falling.) When the old gent sees
the club gone he is very much astonished, and jumps over the
light with his back to the sheet, and his arms and legs extended to
their fullest extent. Then the young men, and the policemen, and
the old gent jump forward alternately over the light, the old gent
last, and all the others pummel him vigorously, and catch him by
the collar and the coat-tails and lift him up and throw him over the
light, and then all laugh loudly and follow.
JOCKO; OR, THE MISCHIEVOUS MONKEY.
A Comic SHapow Pantomime.
Properties reguired.—A working monkey-mask for the monkey ;
a nicely dressed rag baby, about three months old ; a cradle, and
a low rocking chair ; a bowl of sawdust, and a large spoon ; eye-
glass for the traveler, and a whip and valise or carpet-bag for the
servant ; a morning-gown, split up the back in two halves, and
sewn loosely together, so that it will pull apart easily again ; a chair
and a table, with books, writing paper, bell, inkstand with two
quill pens on it ; a basket containing a glazed muslin table-cloth ;
«a decanter half full of wine or ale; a plate with some flour and
water mixed like thick paste or thin dough ; a plate with a large
siice of bread on it; a table-knife ; a large earthenware bowl ; a
long stick ; some short sticks ; brooms, poker, shovel, &c.
This comic pantomime is commenced by the monkey jumping
over the light, and performing several antics, such as rolling over,
18 SHADOW PANTOMIMES.
walking on all fours, scratching himself as monkeys do, &c.; then
. jumping back. over, the light. .Then the, old woman comes» on
from the side, withthe baby in her arms, and stamps her foot and
calls, when a negro servant enters with the cradle and low rocking
chair, and places. them for her use on one side near curtain, and goes
off, and bringsonia bowl of sawdust and a large spoon, and
gives them to the old. woman, and then he goes off, and the mon-
key comes on and jumps on the back of the old woman’s chair, aud
watches her, fveding the aby with the’ spoon from the. bowl.
When she, has given the child two or three spoonfuis she motions
it is sleeping, and carefully puts itin the cradle and rocks it to sleep,
and then goes off at-the side. The monkey hides himself when she
gets up, and when she goes off he comes out and rocks the cradle,
and tastes the sawdust, but does not like it ; then takes the baby
out of the cradle, and sits in the chair with it, and it is supposed to
wake up and. cry. very, loudly.. (Some one at back must imitate as
near as ‘possible the child’s' crying.) The monkey feeds it with the
spoon, then, puts the bowl of sawdust over its head and stops its
crying ; then throws.the bowl and spoon off, and rocks the baby in
his arms inthe rocking chair, and finally falls over backwards with
the chair and the baby. also, and gets up and throws the:chair and
cradle off at. the side ;. then’ the baby cries, and he picks it up, and
rolls it on the floor, jumps overit, pushes it with his foot, scratches
its head, and throws it up.and catches it. It is crying all the time ;
he knocks, its head on the floor, and tries to stop its crying, but can-
not; and swings it, round and round, and finally throws it over
the light, and then jumps over afterit.. The old: woman enters from
the side, and looks round as if}in search of the child, but cannot
see it ; throws her arms up wildly, and screams, and then jumps
over the light. Then the negro servant enters, looks up and Jaughs
at her, motions she has gone up, and he jumps over the light.
Then the.monkey. returns,.jumping over the light, and frolics about,
and finally runs off. Thena traveler jumps over the light and looks
around with his eye-glass, and then claps his hands as if calling,
when servant jumys over the light with the whip and the valise,
and follows behind the traveler, who walks across and across, near
curtain, and turns rather’ suddenly and knocks against, the’ servant,
and givés him a good smart slap in the face, then tells him to go
to the house and knock at the door. Servant goes to side and strikes
as if he was hitting the door, and old man entering at this moment,
gets the third’ Knock on his head ; the servant runs back and his
master kicks him, and’ pushes bim away ; then old man and the
traveler go to embrace, when the servant gets in between them by
accident, and they both embrace him, hen: see. their mistakes, and
both seize him and throw him over the light ; then the traveler
motions to the old man that he has come to marry his daughter.
The old man is pleased | and rubs his hands, and motions it is all
right, andasks in pantomime if traveler has plenty of money. . He
motions that he has lots of it, and will give it to him for his daughi-
ter. Old man motions all right + he will go and fetch his daugh-
SHADOW PANTOMIMES. 19
ter, and introduce her to him, and. he goes off. . The traveler
Jooks pleased, and adjusts his cravat, &c.. Old man enters. with
his daughter, and motions to her that she must marry the man
who has plenty of money to give her. She bows to him, and tra-
veler bows to her very low; while doing so, the monkey runs in,
and pushes tiaveler with his foot, and runs off. The traveler falls
forward on his face. Old man helps him up, and puts his daugh-
ter’s hand in that of the traveler, and. blesses them, and invites
them into the house to eat. ‘They consent, and traveler leads
girl by the hand, and they follow the old man off at. side. Ser-
vant jumps on over light, and. motions how they threw him up
in the sky, and that he has only just come down. . When he is
explaining the monkey comes on and bites his leg ; the servant
tries to kick him, bat the monkey runs off and avoids it. The
old man now enters, and is expressing his pleasure at the engage-
ment he has made for his daughter. When the servant sees him
he thinks it was the old man who bit his leg, and slaps him in
the face, and as the old man turns the servant kicks him off. at
the side. The servant feels very proud of this, and strutting about,
stands in center with his legs wide open, when the monkey runs
through them, and upsets the servant, who gets up and. panto-
mimes that something ran through his legs and knocked him
down. Folds his.arms and stands wondering what it was, when
monkey runs by his legs and knocks him down again. He _ sits
up, folds his arms and shakes his head, as if, in determination not
to rise up: and be knocked down again, when his’ master enters,
and seeing him on the ground, looks at him and asks in action,
what he is doing there. The servant, in astonishment, gets up
and accuses the master of running through his legs and knocking
him down. ‘The master shakes his head and. denies the imputa-
tion, and tells the servant to go and get his loose morning-gown
for him. The servant is going away to get it, when the monkey
enters quickly and pulls him back by the coat-tails, until he knocks
backwards up against the master, who turns and gives. him:a kick,
and very angrily motions him to go for the dressing- gown, The :
servant in pain goes off, and the master motions that the servant's
brains are flighty, and he is very foolish, then claps his hanis as. if
calling servant, who slowly. enters with the dressing-gown, and
holds it out—and the master puts his arm carefully in.one sleeve,
and as he is about to put his arm in the other, sleeve. the) monkey
enters and pulls the servant back by the coat-tails. and be. falls in
the center on the floor, and as he was holding. on ‘the gown) it has
split up the back, and he has half of it in his hands, and the other
half is on the master’s shoulders, and he is feeling with, his.arm. for
the other sleeve; the servant sees him and laughs at him, and gets up
and goes and puts the other sleeve on the master’s arm, as he is reach-
ing for it, and pins it together at the back. (The master walks away
to the other side, and the servant laughs at him; the master hears
him, and turns and looks at him angrily ; the servant looks very
innocently, and motions, asking what his master. requires, ; the mas-
20 BHADOW PANTOMIMES.
ter motions him to go in and bring him out materials to write with.
The servant bows and goes off, and brings on quickly a table with
books, some writing paper, two quill pens, inkstand, small hand bell,
all on it, and then gets chair, and places table and chair to.one side
and near curtain, and invites the master to sif'and write; the master
goes to sit in chair, when the monkey enters and pulls chair away,
and the master falls, and gets up quickly and angrilv, and slaps the
servant in the face, (the effect of this will be heiohtened if the servant,
the moment the master slaps at his face, will clap his hands loudly together
the same as regular pantomimists do in a pantomime), and then
picks up the chair and sits down and leans over to write.
While he is doing this, the monkey enters, and pushes the master's
head from the back, so that his face appears to strike the table, and
the monkey runs off, and the master motion: pain, and then hits
the servant on the head for it. Servant cries, and in action asks,
why did you hit me? The master says in action, because you pushed
my head on the table. The servant motions, what, me push your
head on the table? Iam sure I did not. The master in action says,
you did. The servant, in action, says, no J did not. After contra-
dicting and accusing each other for several times, the servant puts
one hand on his heart, and raising the other hand in the air, moves
his mouth as if swearing that he is telling the truth. The master,
in anger, sits at table and writes, and folds letter, and gives it to ser-
vant ; and in action tells him to go off and post it. The servant
takes letter, and motions putting it in a letter-box, and goes off
with it. The master takes off dressing-gown and puts it on chair
and goes off the other side. The monkey enters and jumps on table,
and then on the chair, and puts on the dressing-gown, and rings the
bell, at which the servant returns, and motions that he heard his
mastor ringing the bell, and he has come back to see what he re-
quires, and then he goes over to the monkey, who gives the servant
some sheets of paper. Servant looks at paper and motions his mas-
ter has gone crazy, and laughs at him, and is going off with them,
when monkey rings the bell again, and he returns and goes to
monkey, who gives him some books and inkstand ; and he is go-
ing off with them, when monkey rings bell, and he returns, and
monkey loads him with books, and then turns and looks at him and
chatters with his mouth, and rings the bell in his face. The servant
looks at him in astonishment, and throws the books at him, which act
the monkey avoids, and the servant gets a whip, and tries to whip
the monkey, who eludes him and runs off ; the servant stands with
the whip and threatens him.if he returns; when the monkey
jumps over the light, and jumps on the servant’s shoulders, who
slashes and cuts around with the whip, when the monkey jumps off
his back and jumps over the light, and the servant sees him and
follows him, then girl comes on and moves the books, writing ma-
terials, &c., from the floor, and fetches on a basket, and takes
from it a glazed muslin table-cloth, and spreads it on the table, and
then puts on a decanter of wine, an earthenware bowl, a plate with
some flour and water mixed like paste, or thicker, so as it clings
SHADOW PANTOMIMES. 21
together, a plate with a Jarge slice of bread on it, and a table knivze ;
all these things she takes from the basket she brings on. Just as
she gets the table spread out, the servant jumps back over the light
and stands in center, and throws his whip down, and motions he
cannot catch the monkey, and is in despair, and folds his arms,
when monkey jumps over the light, and picking up the whip, gives
the servant a smart cut on the leg, and dropping the whip runs off.
The servant jumps about, motions he is in great pain and rubs his
leg, and finally looks up and sees the girl, and accuses her of cutting
him with the whip. She shakes her head and denies it. He nods
his head and indicates she did doit. She motions, ‘‘No.’’ He looks
at her comically, and asks her by action for a kiss. She tie him.
He motions he will catch her and then kiss her. She motions all
right ; if you can catch me you can kiss me. He runs after her
around ‘the table, and then she runs off at the side, and as he is fol-
lowing her, the monkey runs in and jumps in his arms and kisses
him. The servant struggles to free himself from the embrace of
the monkey, who pushes him down and jumps over the light. Ser-
vant gets up and threatens him with the whip, and motions that
the monkey has climbed up a tree, and he goes towards the table,
and sees the eatables,&c., and is very much astonished and pleased, and
throws the whip away, and goes to the table and sits down, drinks out
of decanter, and takes from the bowl with his fingers, as if eating lumps
of sugar, and then takes up bread and bites it, and eats, then shows
the knife, and dips up some of the paste, and shows it asit hangs
on point of knife, and laughs with pleasure, and then he spreads it on
his bread, and is settling himself down tothe enjoyment of his meal,
when the monkey comes in and plays several pranks on him, that
the circumstances of the situation may suggest, such as hitting
his toes, pulling his hair, tickling his face, &c., and finally, as the
servant is eating the bread, he rubs the bread in his face, and the
thick flour and water sticks to his face, and the monkey runs off,
and the old mau comes on at this moment. The servant, think-
ing it was him done the trick, slaps the bread in his face, and as
the master is entering behind the old man, the servant rubs his
face in the master’s, and then runs off. The master and the old
man are both trying to catch the servant ; they catch each other
by mistake, and commence each to pummel the other until they
discover their error, and both apologize, shake hands, and go off in
pursuit of the servant. As soon as they are off, the monkey enters
and sits up at the table, drinks out of the bottle, and licks out the
bowl, and, catching the table-cloth, by a very quick jerk can pull
this table-cloth off the table, leaving the things that were on the table-
cloth on the top of the table,as.if they had been origina ly placed there
(N. B. This trick requires a gréat deal of practice, anu I would advise
intending performers to be sure of its accomplishment before attempt-
ing the feat, as a failure to perform it will spill all the things on the
floor, and mar the effect desired to be produced.) Then the monkey.
putting the table-cloth on the floor, rolls over in it, and comes up with
it over his shoulders, like a cloak, and walks around with it, then
22 SHADOW |" PANTOMIMES.
throws it off, and jumps on tate, and throws plates and knives off,
and ther. places his feet on each side of the neck of the bottle, and
stands on the part of it’ that swells out. and gets up into a straight
balance, and then stoops down and gets the bowl, and drinks out. of
it until it is empty, and then jumps off the bo. tle on to the table.
(A few hours practice will accomplish this feat very easily, with per-
severance as your motto.) Then the monkey puts the bowl on his
head, like a hat, and takes up the bottle to drink, and leaning ‘his
head back, the bowl falls off his head and breaks, and he turns
quickly round and looks on the floor at the damage he has done ;
then the servant comes in with a long stick and strikes at the mon-
key as he is on the table, but the monkey j jumps off and eludes him,
and dodges the blows from the stick several times, and finally seizes
the stick from the servant and beats him most unmercifully until he
runs off. ‘Then the monkey pushes the table, chair and other things
off, to give a clear field, and waves his stick about. When the mon-
key has his back ‘tur ned, the servant enters with a short stick, and
calling on the others, who enter, they advance on the monkey to
beat him, when he turns roand suddenly and belabors them all, as
they run ‘around to avoid the blows, some jumping backwards and
forwards over the light as they get struck, and some falling’ down,
and all getting a very severe beating from. the monkey’ Ss in-
discriminate blows. In'the height of the melee, when the laughter
is the loudest, suddenly shut out the light at back, and turn up the
lights in the adience part of the room. This will have the effect as
of a sudden falling of the curtain on a laughable tableau. .
'Nors.——-The long stick mentioned can be made of five or six canes
or rattans tied together, and about six feet long. This, when strik-
ing on a person, will make a loud noise, but will not hurt. The per-
son playing the monkey can wear almost any tight-fitting dress, and
a monkey-mask with a moveable jaw, which can be purchased by ad-
dressing the publisher, O. A. Roorbach, 102 Nassau St., New York, or
the costumes, properties, &c., ‘can be procured. of Tony Denier, who
personally superintends the production of all styles of parlor and
school entertainments, or out-door fétes, and furnishes, if required,
all the necessary concomitants to render them complete. See Tony
Denier’s book on Tableau Vivants for the Parlor, which can be had
by addressing th € a
THE -MADCAP BARBER ; OR, THE, UN EF ORTUNATE VICTIM.
‘ INTREMEDE Comxgur.”’ ‘
Accessories needed.—A barber’s pole, cut out of stiff pasestaobia: a
sign, with the letters cut out to read, Frizzle, Barber, to be nade out
of stiff pasteboard, a newspaper, a large ‘bell to: ring, ‘some Carpet.
bags'and satchels, valises,; coats, shawls and bundles for travelers, a
SHADOW PANTOMLMES. 4s
bandpox, a. satchel with crockery ware in it to break, a chair ready
back of light, along cloth such as barbers use when ‘cutting hair, @
_ Jarge bowl of thick lather, and a large. brush, a large wood-
en razor, a leather strap about three inches wide and a yard
long, with a strong cord loop on one end, to go over a man’s
head.
. The round circle i is used the same as in the amputation
{4 extraordinary, with the barber pole fastened on one sida
~ 4 [See Fig.14} and sign on the other side, [See Fig. 15] and
4 1s commenced by the barber (in a comical dress and apron,
and a wig; with the hair standing up very straight) jump-
Ig. 15. | gee
ing over nfither light and exclaiming, , ‘Well, here I am, the
re creat barber extraordinary to the man in ‘the moon ; T’ve
shaved his royal highness for the fortieth time: to- day, and
-now havenothing to do, and Iam go anxious for another job,
4 io tryas an exper iment my new patent double-edged razor,
| that cuts both ways at once, and ‘shaves you before you
Py: 14 shave hardly sat: down: in the chair ;' I only wish that some
verdant visitor would only arrive ‘here, that I might test the pow-
ers of my new invention, It’s astonishing that we have no
more visitors .in this lunary sphere of | ours—by ours, I mean
the man in the moon and: myself; in’ these days of telegraphs
under the sea; and railroads under the earth, it’ astonishes me
that-no one builds a railroad in the air. It’s a well-known fact
that the moon is inhabited, and:why don’t some enterprising Yankee
come here and start: business, or why don’t the Government buy us
out, now they’re in that: business—by-the-bye, the last subhudiiiy
Tribune that captured off the tail of a little boy’s kite, as it flew up
near the moon, informed me that ah erial railroad was to be built
to the moon, and was to be finished on the fourth of July, 1968
that is this very year,-and this the:very day; I’ll read the paper and
see if Iam correct.’’ Goes and gets the newspaper; says, "Oh, here
it is,’ and reads :.‘* Shares in the great rial railroad for sale ; price
twenty-five dollars:each share, and no greenbacks taken. This road
will be completed to the moon, July fourth, 1968, and will open up
a large field to. the industrious. young men of both sexes, and offer-
ing extra incucements to the pleasure-seeking: traveler} and new ex-
plorations. for the adventure-seeker. Fare as low as by any other
router: vie Beware of bogus balloon swindles. That's it; and hark,
G4 AH ADOW PANTOMIME.
in the far-away distance | think I hear the bell of some snorting en-
gine on its way hither ; yes, that’s it, (some one outside rings bell
and imitstes cars) and by the shouts, loaded with passengers. Now,
Frizzle, my boy, keep-a sharp look out, and your fortune’s made.’’
A bel} rings in the distance, in imitation of the arrival of a train of
cars, with shouts of hackmen, porters, &c., when passengers enter
and cross from side to side with bags, baggage, &c.; he importnnes
each one to get shaved, but they all refuse, and go off at other side,
when a tall country Yankee, in the well-known costume of bell-
crowned hat, long-tailed coat, short-legred pantaloons, with straps.
a frilled shirt and standing collar, large necktie, a full curly wig,
and a tight cap underneath, to look like a bald head ; he carries «
bandbox and a satchel when he enters, and as parber is walking
across in Gespair, at not getting any customers, he and the Yankee
knock together in center, and both fall, when Yankee exclaiins,
‘*Confound your picter; is this the first salute I get for all my
trouble in coming to your outlandish country? Say, (he gets up)
what do you mean ; if it’s fighting you want, get up again and I'll
knock you down quick’rn greased lightning ?’’ The barber shakes
his head, and in action apologizes, when the Yankee says, ‘‘Well, as
you apologize, I’m satisfied ; so get up here, and let’s be friends,
for it’s not my country fashion when a man’s down to keep him
down, but try and help him up, so give us your fin and let’s have a
confabulation.’’ Takes barber’s hand, and pulls him up, and says,
‘‘T say. lookee here ; is this the moon I’ve hear’n tell of ?’’ Barber
says, ‘‘ Yes, sir; this is the only original moon.’’ Yankee says,
ell, then I suppose I’m all right ; I bought a through ticket on
the new erial railroad, and am right glad I am here at last, as I
came here with the intention to civilize you lunartics, and if I like
your country, why I’ll buy you out, bag and baggage. Now tell us
who you are, and how we can trade jack-knives ‘together.”” The
barber says, “J am the great Frizzle, seventh son of a seventh son,
and barber extraordinary to his serene highness, the man in the
moon, whom I shave forty times every day, and still—like Alex-
ander—I sigh for more beards to mow off. Iam the only inventor
ot a new patent hair rejuvenator, also the world-astonishing two-
edged razor, that will shave a man on both sides of his face at once,
and comb his hair and brush his whiskers at the same time, by an
ingenious contrivance in the handle; and if you should require any-
thing of the kind done, I shall be pleased and happy to show you
my new invention, and put to practical test its wonderful powers on
your handsome face.’’. Yankee says, ‘* Say, old Frizzle, if your
razor comes anywhere near your double-action tongue, I'd like t
see it, and give you a job, as I like to, encourage native talent in
every way. So here, take my valise.’’ The barber takes it, ani
throws it off at one side, and as itis filled with broken crockery ware
it makes a great noise as it falls. Yankee says, ‘‘ Lookee here, bar-
ber ; can’t you manage to be a little more careless ? that valise has
got a magnificent set.of china ornaments that I bought as a present
for my Mehitable Ann, and I don’t want ’em broke.” Barber mo-
EKADOW PANTOMIMES. 25
tions it is all right, and. jumps over the light. Yankee looks up
after him and says. *t Well, jewillikins, this is the strangest, country
I’ve ever been in; I wonder wheve he bas*gone to? Leuess he must
have gonein the attic room.” ‘Then he looks up and calls ont; Hf
barber!’’ The barber at back of lightsays, *‘All, right, sir, be down
in one minute.’’ The Yankee laughs heartily, and barber jumps.over
the light in front of the Yankee, who js very much astonished at his
sudden appearance. Barber bows, and motions Yankee to sitin the
chair, and as he goes to sit in it, barber picks up the bandbox, and
puts it on the seat of the chair, and Yankee sits down on it aud
crushes if, then jumps up and shows the bandbox all crushed, and
says to the barber, ‘‘'Phere’s another ten-dollar hat gone to thun-
der; by Jingo, I won’t stand this.” Barber says, ‘* Well, sit down,
then,’’ and seizes bim and pushes him down in the chair ; then takes
the bandbox and throws it over the light, and jumps over after it.
The Yankee, bewildered and in astonishment, says, ‘‘ Well, they do
say that when you’re in Rome you must do as the Romans do, so I
suppose now I’ve got to the moon, I must do as the mooneys do, so
Vii resign myself to my fate, and then take the first train back to
Pumpkinville, marry Mehitable Ann, and settle down to a quiet life,
and never more ¢o roaming, Barber now jumps over the light with
a long cloth which he shakes in the Yankee’s face, who waves his
hands about to keep it from his eyes, and calls out, ‘* Look here ,
flip that there rag of your’n some other way, will you?’ Barber
then takes cloth, and putting it in front of bim, ties the ends at the
back of his neck, and pulls them very tight. When the Yankee
struggles with his bands and feet moving, and calls out, ‘‘Oh! oh!
you re choking me.’’ The barber laughs at him and pushes him down
in the chair again, and then jumps over thelight. The Yankee looks
after him in astonishment, and the barber immediately jumps over
the light with a large bowl of lather and a very large brush, a large
wooden razor, [See Fig. 16] a wide strap about a yard long, with a
Fig 16.
Ftrung cord loop at one end, to go over a man’s head. He puts the
things down on the floor, and the Yankee looks at them, wondering
what he is going to do with them, when the barber says, ‘‘ Ah, now,
tilustiious stranger, I’ll show you how we manipulate our customers
when performing the grand and sublime art tonsorial.’’ Yankee
says, ‘‘ Lookee here, you, I don’t want none of your foreign fandan-
goes ; I only want shaving. Barber says, ‘ All right, my worthy
26 , SHADOW PANTOMIMES.
sir ; I will just sharpen my wonderful razor, and then you shall see
what you shall see—your face cleanly shaved, your teeth cleaned,
and your hair nicely shampooed, in the short space of the winking
of an elephant’s eyelid. So just put this over your head.’’ He puts
the loop of strap over his head, and savs, ‘‘ This, you see, is my new
invention—the flexible razor-strop. You will admire its action as
soon as you see it used ; and this is my wonderful razor.’’ He takes
up the large razor, and shows it to the Yankee, who starts up, as he
deliberately opens it, and exclaims, ‘* Here! I don’t want shaving
with that murderous weapon. Why, if your hand should slip, you
would cut my head off my shoulders. I tell you I don’t want to be
shaved—I want to go home!’’ Barber pushes him down in the
chair, and then seizes one end of strap, and commences to rub the
blade of the razor backwards and forwards, near to Yankee’s face,
and finally hits Yankee in face with the razor, and he falls over
backwards, with the chair, on to the floor, exclaiming, ‘‘Oh, I’m
cut. Oh, dear; oh, dear.’’ The barber drops razor, and puts the
chair up again, and seizes Yankee at back under his arms and jumps
him over the back of chair, into seat of chair again, and then gets
the bow] of lather, and stirs it up, and shows the large brush. The
Yankee looks at it in astonishment, with his mouth wide open,
when the barber puts the brush in his face, and he gets the lather in
his mouth and coughs and splutters over it very much, when a lady
enters from opposite side and taps the barber on his shoulder at
back, as if going to ask him a question, when the barber suddenly
turns and dabs the brush in her face, and she screams and runs off.
The barber laughs and imitates her screaming. The Yankee sees it
and laughs very hearty, and as he is laughing the barber dabs the
brush in his face again, and lathers him all over his face and head,
when a lame man with a large hump on his back, and stooping very
much, comes in to get shaved. He goes to barber and taps him on
the shoulder, and the ‘barber turns and dabs brush in his face, and
as he turns to go off dabs the brush on him several times until he
runs off, then barber laughs and finishes lathering the Yankee, and
puts the bowl and brush off, and then with the large razor com-
mences to shave him, and scrapes the lather off his face with the
razor, and wipes the razor on the knees of the Yankee’s pantaloons,
which the Yankee sees, and call out: ‘‘ Here! what are you doing?
Do you know you'll spile my best Sunday go-to-meeting pants?
Just you wipe your darned stuff on some other place, will yer?’
The barber laughs, and then seizes him again and goes on scraping
off the lather, and as Yankee puts up his foot, the barber is looking
for some place to wipe his razor, and seeing the Yankee’s foot up
he wipes the razor on the sole of his boot. The Yankee all the
time he is getting this rough treatment is trying to get up, but the
barber pushes him down each time into the chair, and goes on with
the action of shaving him and flourishing the razor about, which
still frightens the Yankee very much. The barber then dances
around and shaves him very rapidly, and finally jumps up, standing
on the Yankee’s knees, and, in numerous grotesque positions, goes on
SHADOW PANTOMIMES. ay
with the shaving; then gets off, and while doing so, he seizes the
Yankee’s wig and pulls it off and holds it up in triumph, leaving
the Yankee with a bald head, who immediately claps his hands to
his head, is astonished when he feels he has no hair on, and threateus
and pursues the barber, Who, to avoid him, jumps over the light,
and the Yankee follows. _
N. B.—If it is required to perform two or three of these pieces
in order to constitute a full evening’s entertainment, it will be well
immediately one is finished, to place something in front of the
light to keep it from shining on the sheet, and during this clear away
the properties, &c., used in the last piece, and place those needed
in the following one in their places ready for use; then remove the
shade from the front of the light, and Jet some one in a loud clear
voice announce the name of the next performance, so that all may
hear it, and their attention drawn to the performance.
CRIBBAGE; OR, THE DEVIL AMONG THE CARDS.
The articles called forin this amusing sketch are: