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: