The Revel of the Goblins THE- DRAMATIC PUBLISHING • COMPANY ORADuev oea UNIVERSITY LIBRARY UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN The person charging this material is responsible for its renewal or return to the library on or before the due date. The minimum fee for a lost item is $ 1 25 . 00 , $ 300.00 for bound journals. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. Please note: self-stick notes may result in torn pages and lift some inks. Renew via the Telephone Center at 217-333-8400, 846-262-1510 (toll-free) orcirclib@uiuc.edu. Renew online by choosing the My Account option at: http://www.library.uiuc.edu/catalog/ Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/revelofgoblinsfoOOhatc The Revel of the Goblins For Hallowe'en or Any Other Time \ BY ADELAIDE WESTCOTT HATCH Copyright, 1510, by The Dramatic Publishing Company CHICAGO THE DRAMATIC PUBLISHING COMPANY \Jr THE REVEL OF THE GOBLINS. FOR HALLOWE’EN OK ANY OTHEK TIME. By Adelaide Westcott Hatch. This drill may be performed by any number of young * people, male or female ; 8 is a good number. Music. Any good march, and “The Bogie Man,” from “The Yankee Circus on Mars.” Abbreviations. R., right; L., left; C., center. Costumes. Black robes made full. Each goblin carries a small umbrella covered with a full cape of some thin material long enough to hang three or four feet below the outer edge of the umbrella so as to completely cover the hands and arms. At the top of the umbrella fasten “Bogie-Man J ack-o-Lanterns” to represent the heads. These um- brellas are carried over head and are raised or lowered to increase or decrease the height of th§ Goblins. Fig. 1. ( Lights very low.) Enter at R. upper en- ince and march once around stage, gradually increas- ing in height, and into straight line across back of stage. Make a quick Bob Bow to audience. ( Red light through- out.' See Diagram 1.) 3 X X X X X X X X Diagram 1 . Front. 3 L E F T 4 THE REVEL OF THE GOBLINS Fig. 2. Advance to front, gradually decreasing to nor- mal size. Eetreat to back of stage, gradually increasing to greatest height. ( Green light throughout.) . Fig. 3. Advance to front, every other one growing short, alternate ones remaining tall. Eetreat, the tall ones growing short and the short ones growing tall. ( Yellow light throughout.) Fig. 4. Advance to front of stage by couples, the two center Goblins forming the first couple, and leading, fol- lowed by those at each side of them, who move up to form the next couple, and so on. As they advance, the tall ones grow short and the short ones grow tall. Wag heads from side to side in time to the music. At front separate E. and L., forming into a straight line across front of stage, without changing size (See Diagram 2). Make a low bow. Eetreat to back of stage, all growing normal size. (Green light throughout.) Fig. 5. Turn E. and L. and march down sides of stage, normal size. Face C., advance increasing in height, reaching their greatest height as they meet at C. Eetreat to sides, decreasing to normal size. (Yellow hght throughout.) Ftg. 6 . Those on E. side increase to greatest height, those on L. remaining normal. Advance to C., pause when they meet, short ones nod and begin to grow tall, tall ones THE REVEL OF THE GOBLINS 5 growing short. Retreat to position. ( Red light through- out .) Fig. 7. Those at R. march up stage and across back, those at L. down stage and across front, retaining size. Line at front retreats to back of stage, increasing to greatest height, those at back advance to front, decreas- ing to normal size, lines passing through each other at C. Reverse the movement, those at front retreating to back, increasing in size, those at back advancing to front, de- creasing in height. ( Red light throughout.) Fig. 8. Goblins in front line turn, facing back of stage, at the same time turning the umbrellas until the faces on the lanterns are turned toward audience. Nod to audience and march to back, increasing in size, back line marching to front of stage, decreasing in size, lines pass- ing through each other at C. Repeat the movement. ( Red light throughout.) R ! Q H T X X X X X X X X X X X X Diagram 3. Front. L E F T Fig. 9. Back line faces R., turning umbrellas back to place, and marches down R. side of stage. Front line faces L. and marches up L. side of stage, retaining size ( See Diagram 3). Face C. Lines advance, R. line decreas- ing in height, left line increasing. Retreat to sides, R. line increasing, L. line decreasing. Advance again, R. line decreasing to normal size, L. remaining normal, meet at C. and face audience by couples. ( Green light throughout.) u, OF ILL LIB. 6 THE REVEL OF THE GOBLINS Fig. 10. Advance to front by couples, partners nod- • ding to each other in time to the music, at the same time increasing to greatest height. Turn B. and L. and form line across front of stage. ( Green light.) Fig. 11. K. half of line wheels backwards to E. of stage, L. half to L. of stage, all retaining size, those at the end of the line acting as pivots. ( See Diagram Jf). Advance to C. and pass through. As they pass at C., all begin to decrease in size. On reaching sides of stage all face C. again and pass to opposite sides, increasing in height as lines pass each other. Fig. 12. March up stage in single file, across back, forming into two lines across back of stage, decreasing to normal size. Advance, front line retaining normal size, back line increasing in height. Betreat, back line decreas- ing and front line increasing. On reaching back of stage all form into a half circle, normal size. ( See Diagram 5.) Fig. 13. One comes forward to footlights (See Dia- gram 5 ), gradually growing very fall, and sings Solo, all singing the Chorus. Song: “The Bogie Man.” By Jean Schwartz. (From “A Yankee Circus on Mars.”) The Goblins advance as they sing the chorus, increasing to greatest height, and retreat while the interlude is being played, decreasing in size. (Red Light.) THE BEVEL OF THE GOBLINS 7 Fig. 14. March once around stage in a large circle, single file, gradually increasing in height. March around once, decreasing in size, at the same time slowly turning umbrella around so that face will be at back. This gives the appearance of marching around backwards. Turn, and march once in opposite direction, every other one growing tall and the others remaining normal size, at the same time slowly turning umbrellas around so that the face will be at the front. Exit B. upper entrance, gradually increas- ing the speed, marching faster and faster throughout the figure so that when they leave the stage they will be run- ning. ( Green Light.) Note. — The “Bogie Man” Jack-o-Lanterns suggested in the drill for use as heads on the umbrellas are of steel con- struction so that there is no danger of fire. Santiago OR For the Red, White and Blue A Wat Drama La Four Acts By JOHN A. FRASER Price, 25 cents CHARACTERS Capt. Oscar Hutton, TJ. S. A. In lovo with Cora. .Leading Juvenile Lieut. Fisk, U. S. A. In love with his duty Juvenile bit Milton Merry, U. S. N. In love with Bess Light Comedy Lieut. Cristobal, S. A. In love with soldiering Straight Dr. Harrison, Red Cross H. S. In love with surgery Straight old man Elmer Walton, banker. In love with Spanish bonds Character old man Phillip Basset, his stepson. In love with Ysobel Juvenile Fernando Diaz, Walton’s cashier, afterwards S. A. In love with Cora Heavy Beverly Brown, Walton’s butler, afterwards Red Cross H. S. In love with chickens Negro Comedy Cornelius Dwyer, Walton’s coachman, afterwards U. S. A. In love with “Naygurs” Irish Comedy Antonio Carlos, a Cuban planter. In love with Spain Character old man Cora Basset, Walton’s stepdaughter. In love with Oscar. .Juvenile Bess Walton, Walton’s daughter. In love with Milton Ingenue Ysobel Carlos, Antonio’s daughter. In love with Phillip. .. .Juvenile American Soldiers, American Sailors, Spanish Soldiers, Guerillas. Actual time of playing, two hours. SYNOPSIS ACT I. The ball at Walton’s, Washington, D. C. Handsome in- terior. ACT II. The Red Cross Hospital. First day’s battle of Santiago. Exterior. ACT III. Scene 1. — Interior Guerilla headquarters in the Sierra Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si- erra Cobra. Scene 3. — Fight in the mountain pass, second day’s battle of Santiago. Exterior. ACT IV. Hotel Tacon, Santiago, on the night of the surrender. Interior. NOTE. — Walton, Dr. Harrison and Carlos may double easily, and the piece played with nine males, three females. The best Cuban war play ever written. Easy to produce, but very effective. Thrilling situations, fine comedy, intense climaxes. Comic Irishman and Negro. Three magnificent female parts. Pic- turesque Spanish villain and heroic juvenile lead. No special scen- ery is required, as every regular theatre, in its ordinary equip- ment, has every set called for. Adapted to both professional and amateur companies. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Hageman'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 been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage- manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques- tions can be asked by professional or amateur that cannot be an- swered 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’ Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make- up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VL Juveniles. Straight Juvenile Make-up, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Bearcfs, 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, Cowboys, 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, Plollanders. 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. jfflEING the largest theatrical booksellers in W* 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 before ordering elsewhere. We also carry a full line of grease paints, face powders, hair goods, and other <5 mie^.e-up ,! materials. The Dramatic Publishing Company CHICAGO \ UNIVERSITY OF ILLINOIS-URBANA