Practical Instructions lor 
 Private Theatricals 
 
 By W. D, EMERSON 
 
 Mthor of **A Country Romance /’ ‘'The Unknown Rival/* 
 **Humble Pie/’ etc. 
 
 Price, 25 cents 
 
 Here is a practical hand-book, describing in detail all the 
 accessories, properties, scenes and apparatus necessary for an 
 amateur production. In addition to the descriptions in words, 
 everything is clearly shown in the numerous pictures, more 
 than one hundred being inserted in the book. No such useful 
 book has ever been offered to the amateur players of any 
 country. 
 
 CONTENTS 
 
 Chapter I. Introductory Remarks. 
 
 Chapter II. Stage, How to Make, etc. In drawing-rooms 
 or parlors, with sliding or hinged doors. In a single large 
 room. The Curtain; how to attach it, and raise it, etc. 
 
 Chapter III. Arrangement of Scenery. How to hang it. 
 Drapery, tormentors, wings, borders, drops. 
 
 Chapter IY. Box Scenes. Center door pieces, plain wings, 
 door wings, return pieces, etc. 
 
 Chapter Y. How to Light the Stage. Oil, gas and electric 
 tight. Footlights, Sidelights, Reflectors. How to darken the 
 stage, etc. 
 
 Chapter YI. Stage Effects. Wind, Rain, Thunder, Break 
 mg Glass, Falling Buildings, Snow, Water, Waves, Cascades 
 Passing Trains, Lightning, Chimes, Sound of Horses* Hoofs, 
 Shots. 
 
 Chapter VII. Scene Painting. 
 
 Chapter VIII. A Word to the Property Mam. 
 
 Chapter IX. To the Stage Manager. 
 
 Chapter X. The Business Manager. 
 
 Address Orders to 
 
 THE DRAMATIC PUBLISHING COMPAQ 
 
 CHICAGO, ILLINOIS 
 
HOW MANDY GOT THE 
 
 VOTE 
 
 A MONOLOGUE 
 
 By 
 
 MARY MONCURE PARKER 
 
 Copyright, 1910, by The Dramatic Publishing Company 
 
 CHICAGO 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
HOW MANDY GOT THE VOTE. 
 
 You see Liza Johnsing, ’twas this a way—wait a minute. 
 I gwine to laugh. Tehee! Whopee! Honey! I was 
 jest a thinkin’ of Mose’s face. Tehee! Yes, yes, Tm 
 gwine to tell you—quit gittin’ so rambunctious. I'm 
 gwine to tell you in a minute, when I gets myself compose 
 —Tehee! You see the lady what Matildy wuks fur was 
 gwine to entertain some of them suffragistes, you know 
 what I mean, them women what thinks women ought to 
 vote. Tiie funny thing was dat me an’ Mose had been 
 discoursuatin’ on dat very subjee’ jes’ dat mawnin’. Mose 
 kin throw mo’ knowledge out of his pussonnality in ten 
 ^minutes settin’ roun’ a base burner stove dan any ten men 
 -kin dissorb in a lifetime. 
 
 “Women vote,” says Mose. “Why women ain’t got no 
 right to vote,” Mose says, smokin’ an’ expecturatin’ in 
 : the stove. “Dey got ’nuff to do stayin’ home lookin’ after 
 . dey houses. 
 
 ^ “Woman’s speer am washin’ an’ ironin’ an’ fakin’ keer of 
 the offspring’s, ’thout putterin’ roun’ whar men b’longs. 
 Women wouldn’t know how to run de gov’munt nohow. 
 They’d jes’ stan’ ’round’ de polls an’ talk ’bout dey hats 
 an’ dresses!” Now, Liza Johnsing, I’d be libely to talk 
 ’bout dis ole black dress of mine, ain’t had a new one fur 
 free years, an’ as fur discussin’ dis heah thing on mah 
 < head Mose calls a hat, well the feathers on it looks lak a 
 pullet what had been out in the rain fur a week. 
 
 3 
 
4 
 
 HOW MANDY GOT THE VOTE 
 
 “Why, mos’ women don’t know what polls is,” said Mose 
 contemputuatiously. 
 
 “Now your’e gitten’ a little too abusin’, Mose Brown,” 
 says I. “Ev’body knows what a pole am. Dar’s clothes 
 poles an’ winder poles an’ de’ Norf Pole.” Then Mose 
 busted out laffin’ lak he gwine to bust his sides. “I tole 
 you dat you didn’t have no idee ’bout polls,” says Mose, 
 “polls is places whar men goes to vote.” 
 
 “I don’ know nothin’ ’bout them pollin’ places,” I says, 
 “spec dey’s saloons ef de men goes dar. But I knows 
 ’bout de Norf Pole, Mose Brown, an’ ef a woman had gone 
 dar da wouldn’t been none of dese yeah disputations goin’ 
 on. She’d a brung it back'fur proof, an’ dat would a 
 settled it.” 
 
 “Look a heah, woman,” Mose say, “you ain’t got no 
 bettah idee ’bout de Norf Pole dan you has ’bout pollin’ 
 places. Don’ you know dat de Norf Pole runs clar froo 
 de Earth an’ sticks out at each end? How you gwine to 
 pull it out?” 
 
 Well dat kin’ of floored me, Liza, kase I nevah knowed 
 befo’ dat de Pole did run clar froo de earth. Course I 
 might a knowed, kase dat’s what keeps de earth togedder, 
 what it turns on, course. 
 
 “Sides,” says Mose, continuin’ (an’ Mose’s conversation 
 is one long continuation when he gits started, lie hoi’s 
 on lak a dog to a bone, nevah do want to let go,) “’sides 
 woman, don’ you know de Bible say woman am de weaker 
 vessel? Didn’t de Lawd make Eve outen a rib of Adam 
 fur to show she was in subjugations to him?” 
 
 Liza, I’m so sick of dat rib story de men’s is alius 
 bringin’ up, I clar I suttinly am, an’ I fires up an’ says, 
 “Go on, man, I don’t take it dat a way and neveh did. 
 The Lawd kep’ makin’ an’ improvin’ an’ improvin’ an’ 
 
HOW MANDY GOT THE VOTE 
 
 5 
 
 consequentious Eve bein’ made after Adam shows she was 
 a improvement on him.” 
 
 Well, Liza, to get to my story—you see I went ovah 
 to he’p Matildy, kase the lady what she wuks fur promised 
 me a dollah an’ a half fur the afternoon, an’ I tended do’ 
 when the women come in. Dere was a lot of these heah 
 little foldin’ cheers an’ the women set roun’ lak in a 
 church, an’ one woman talked, well, dey was all talkin’ 
 some of de time, but one of em did de mos’ talkin’. I 
 can’t member all she said (I was in de hall mos’ of de 
 time an’ I couldn’t hep bearin’ some.). She said de 
 women was clawin’ an’ tearin’ fur dey rights in, let’s 
 see, whar was de place ? Hit sounded som’thin lak Engle¬ 
 wood, but seem lak twan’t dat needer, kase I does washin, 
 dere ev’y Monday an’ I suttinly would a heard ’bout sech 
 goin’s on. Well, Liza, she say anyhow dat dey was clawin’ 
 somewhar an’ dey ought to get up an’ claw an’ tear ovah 
 heah. She said, too, Liza dat women was classed wiv 
 children an’ ijits. I clar foali gracious, Liza Johnsing, 
 some of dem acts jes lak ijits, sometimes fur sho. An’ 
 she tole ’em, too’ dat women had either ought to be sup- 
 poted by the men or else they’d ought to vote, an’ I come 
 neah bustin’ out laffin’ when I thought of Mose suppotin’ 
 me. Mose ain’t done a lick of wuk fur ten yeahs. Says 
 his side’s too weak. You’d think he was Adam wid one 
 rib gone. Well, Liza, after we’d give them suffragistes 
 some tea an’ wafers, I s’pose them brainy women don’t 
 need substantious food, Matildy an’ me had a good square 
 meal in de kitchen, an’ she give me some butter an’ sugar 
 an’ things to take home with me. Course she didn’t say 
 nothin’ ’bout it to the lady what she wuks fur. I kep’ 
 turnin’ ovah an’ ovah in my min’ what dat woman said 
 when I was settin’ in the cah goin’ home an’ made up my 
 min’ dat Mose was either gwine to suppote me or else 
 
6 
 
 HOW MANDY GOT THE VOTE 
 
 shet his mouf up on the question of women’s votin’, kase 
 I was sick of the superior air he sumes when he speaks 
 'bout women bein’ the weaker sextes. I f'oun’ Mose settin’ 
 in the same spot. Mose is as patient as a ole hen ’bout 
 settin’, an’ a honen’, Mose kin hone fur mo’ things in a 
 minute dan you kin git in a yeah. Sometimes it’s water- 
 million an’ sometimes it’s ‘possum an’ sometimes it’s 
 chicken, but he ain’t nevah honin’ fur wuk. “Mose,” 
 says I, “I don’ keer nothin’ ’bout votin’.” “Course you 
 don’,” says Mose, “tain’t a women’s speer.” “An Mose,” 
 says I, “I ain’t gwine to wuk no mo’.” 
 
 “Aint gwine to wuk,” says Mose. “Why how we gwine 
 to live?” 
 
 “Live ? Why you gwine to wuk an’ ’suppote me. Ain’t I 
 the weaker vessel what the Lawd made?” 
 
 Liza, dat niggali putty nigh turned white, he was so 
 skeered. “Mandv, honey,” says Mose, “you know what, 
 I neveh has passed sech a misserble day in my life. I’se 
 had de misery in mail side an’ I aint had no appetite.” 
 
 “Who et them poke chops ?” I says, lookin’ at de em’ty 
 fryin’ pan on de stove. 
 
 “AVell I had to worry somethin’ down, chile, fur feali 
 of feelin’ wus. I tell yo’, Mandy, ef I don’ feel bettah, 
 I’m gwine to take to mall bed tomorrah. I’m a sick man, 
 honey.” 
 
 An’ t’want no foolin’ with Mose, Liza, I had dat niggah 
 skeered putty night into fits. You nevah seen a man so 
 subjugation in yo’ life. 
 
 Why he was lak a lamb, an’ he sho nuff staid in bed 
 fo’ a week. When Pete Williams come ovali one day he 
 brung up the subjec’ of his own acco’d in mail hearin’, 
 the subjec’ of votin’: 
 
 “Dar’s goin’ to be a big change in dis heah country, 
 Pete, an’ I’m gwine to lie’p bring it about. That’s ’bout 
 
HOW MANDY GOT THE VOTE 
 
 7 
 
 women’s votin’. Don’t the constituency of the United 
 States say dat all men’s is free an’ equal? An’ dat means 
 de women, too, of course. Yes sail, I tell yo’, man, dat 
 de women has to have a voice in dis heali gov’munt, an’ 
 I’m gwine to vote dat a way at de next ’lections.” 
 
 Lize, I neahly burnt de shirt I was ironin’, fur laffin’. 
 I sho has Mose’s consent to vote ef I wants to, chile. 
 Wait a minute, I got to laugh agin when I thinks of 
 Mose’s face. 
 
A ROSE O' PLYMOUTH 
 TOWN 
 
 A ROMANTIC COMEDY IN FOUR ACTS 
 
 By 
 
 BEULAH MARIE DIX 
 
 and 
 
 EVELYN GEENLEAF SUTHERLAND 
 
 PRICE, BOUND IN CLOTH, $1.25 
 BOUND IN PAPER COVER, 50 CENTS 
 
 This comedy is dedicated to Miss Minnie Dupree, who 
 first impersonated “Rose,” the exquisite female leading 
 part. There are four male and four female characters 
 in the play, which takes an entire evening. The cos¬ 
 tumes are of the period of 1622, in New England. 
 
 SYNOPSIS 
 
 Act I—The Kitchen in Captain Standish’s house. An 
 early August morning—Stolen Fruit. 
 
 Act II—The Dooryard of Captain Standish’s house. 
 An afternoon in October—A Maid’s Toys. 
 
 Act III—Same as Act I. A night in March—The Red 
 Light on the Snow. 
 
 Act IV—Same as Act I. The next afternoon— The 
 Better Man. 
 
 Address orders to 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO, ILLINOIS 
 
iiageman's Make-Up Book 
 
 By MAURICE HAGEMAN 
 Price, 25 cents 
 
 The Importance of an effective make-up Is becoming' more appar 
 ent to the professional actor every year, but hitherto there has beer, 
 no book on the subject describing the modern methods and at tub 
 same time covering all branches of the art. This want has novr 
 been filled. Mr. Hageman has had an experience of twenty years 
 as actor and stage-manager, and his well-known literary ability has 
 enabled him to put the knowledge so gained into shape to be of 
 use to others. The book is an encyclopedia of the art of making up 
 Every branch of the subject is exhaustively treated, and few ques 
 tions can be asked by professional or amateur that cannot be an 
 swered by this admirable hand-book. It is not only the best make* 
 up book ever published, but it is not likely to be superseded by 
 any other. It is absolutely indispensable to every ambitious actor 
 
 CONTENTS 
 
 Chapter I. General Remarks. 
 
 Chapter II. Grease-Paints, their origin, components and use. 
 
 Chapter III. The Make-up Box, Grease-Paints, Mirrors, Face 
 Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine. 
 Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
 Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists’ Stomijs,. 
 Coid Cream, Cocoa Butter, Recipes for Cold Cream. 
 
 Chapter IV. Preliminaries before Making up; the Straight Make 
 up and how to remove it. 
 
 Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
 Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up 
 
 Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
 Men, Young, Men in Ill Health, with Red Wigs, Rococo Make-up 
 Hands, Wrists, Cheeks, etc. 
 
 Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
 of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
 Old Age, Ruddy Complexions. 
 
 Chapter VIII. Comedy and Character Make-ups. Comedy Ef 
 rects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 
 
 Chapter IX. The Human Features. The Mouth and Lips, the 
 Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 
 
 Chapter X. Other Exposed Parts of the Human Anatomy. 
 
 Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
 a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
 Wigs, Ladies’ Wigs, Beards on Wire, on Gauze, Crape Hair, Wool 
 Beards for Tramps, Moustaches, Eyebrows. 
 
 Chapter XII. Distinctive and Traditional Characteristics. North 
 American Indians, New England Farmers, Hoosiers, Southerners. 
 Politicians, Cow-boys, Minors, Quakers, Tramps, Creoles, Mulattoes 
 Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur¬ 
 ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, 
 Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards 
 Portuguese, South Americans, Scandinavians, Germans, Hollanders 
 Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys* 
 sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary 
 Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 
 
 Address Orders to 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO. ILLINOIS 
 
PLAYS 
 
 And Entertainment Books. 
 
 JIJEING the largest theatrical booksellers in 
 ^ the United States, we keep in stock the most 
 complete and best assorted lines of plays and en¬ 
 tertainment books to be found anywhere. 
 
 We can supply any play or book pub¬ 
 lished. We have issued a catalogue of the best 
 plays and entertainment books published in 
 America and England. It contains a full 
 description of each play, giving number of char¬ 
 acters, time of playing, scenery, costumes, etc. 
 This catalogue will be sent free on application. 
 
 The plays described are suitable for ama¬ 
 teurs and professionals, and nearly all of them 
 may be played free of royalty. Persons inter¬ 
 ested in dramatic books should examine our cat¬ 
 alogue oefore ordering elsewhere. 
 
 We also carry a full line of grease paints, 
 face powders, hair goods, and other “make-up” 
 materials. 
 
 The Dramatic Publishing Company 
 CHICAGO