The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN APR ia 1938n APR 4 3 1899 OCT 22 1999 AUG 4 3 1990 L161—O-1096 THE BOOK OF ENTERTAINMENTS AND THEATRICALS erie ht ‘ vA ay ait i 4 At TA Ad 1 Att BEN ty arti said sy afi ye yehe Ay AA aN hah i aia G 1 Sea Ae Ti Pie M Pees! ut iy aH 7 HY i Ch fy Dan ts iy \ / eae Poa {ental iV vi ee ¢ : * 7 : ’ Ne i ns , wr at LA - ; f ( > Aa Jy, ..' i y ¢ So me” at : A ' _ @% - + _ eal, ee a ee ' ee 7 7 a} o ‘4 es | Tithe oe ae isthe (BUN aes oe ae Rete | te? DATHESIGRARY. ou eee oe Pre Obani. Ay 2 7 p UNIVERSITY OF ILLINOIS Rist Sa Me : { f X : oa) 5 iy - T of i ve ‘ i ” a - | J 4 ‘ ’ _ ‘ —" . i! mot 1 sa eke Ss eat to .| ieee, 6 Mina = - > j ~ : é A’ aly ’ . i : “ ' > re ke , ae: i‘ , , . ag ial ; "7. r ‘ me aie Tew S558 eo s* ware ert oe (tE~2 26nd 209) ‘eues0jo40 UaaI3-ystn]q B ysuriese syjem A}10 pivo0q afyord Jo MOI puUNnoIs e& PUR sUTe}IND plos plo YIM auaos [e}UaIIQ a[duIs VY Welirg uoszVA, AQ UsSISECT > The Book of Entertainments and Theatricals by Helena Smith Dayton and Louise Bascom Barratt Illustrated New York Robert M. McBride & Company 1923 COPYRIGHT 1923 By ROBERT M. MCBRIDE & CO. ‘AT RA a ES a eS Printed in the United States of America Published, 1923 > Sa Rial 1 eit ea a te, a . ting, ~\ g tthe “sJ ~ = Pm en, en, . nee ‘3 oe ae at, Vee “ ed CONTENTS CHAPTER I PAGE CONCERNING THE ENTERTAINMENT COMMITTEE . . mate Committee work is at some time inevitable. Organization affairs must be properly conducted. How to select capable workers. Importance of knowing history, aims and policies. Why definite plans for discussion should be worked out in advance of meetings. Value of the background members of committee. Coping tactfully with impractical suggestions. The danger of accepting gift horses. The value of inviting suggestions from the organization at large. What to accept and what to discard in criticism. CHAPTER II THE IMPORTANCE OF AN IDEA . wand ey inite ea dap & It is essential that a function should be built around an idea. Putting novelty into an old theme. Method of acquiring ideas. Adapting transported novelties Locale often suggests possibilities. Value and danger of timely ideas. The lure of an attractive name. CHAPTER III MAKING ARRANGEMENTS : : Perna? . ’ : . 21 Why the date should be first detail decided. Selection of place. Contracts and agreements. Estimating attendance. Pricing tickets. Controlling expenses. Engaging music. Licenses, permits and fire laws. Private detectives for large gatherings. Sending out invitations and announcements. CONTENTS CHAPTER IV “ PAGE PLANNING THE PRINTING . ° ‘ ° . iow SEs. & The importance of attractive announcements. Use of illustrations. Laws governing proportion. Arrangement of type and illustrations. Follow-up notices. CHAPTER V PUBLICITY > ° ; : BL nt ‘ . wh ore Forms of publicity. Preparing newspaper stories. Publicity photographs. Posters and window cards. Circulating signs. Billboards. Advertising space. & CHAPTER VI THE TICKET PROBLEM . suite be he . o\ jet » 56 What information should be printed on ticket. Advantage of different colored stock for special occasions. Tickets for dinners. Advance sale of tickets. Why tickets should be numbered. Keeping record of purchasers. Supper checks. Collecting and selling tickets at door. Complimentary tickets. CHAPTER VII DECORATIONS. . . ee rh Modern parties require effective backgrounds. Value of original amateur decorator over stereotyped professional. Keeping expenses within bounds. How to transform ballroom into any locale. Use of paint. Decorative lighting. Booths and tents. Use of fabrics. Outdoor effects. Decorative suggestions. Where designs may be found. How to get work done. Practical decorations for outdoor events. Making effective flowers quickly. Easily made favors. , vi CONTENTS CHAPTER VIII PAGE COSTUME DANCES . e . Baap Reh Que adi a > 8 - 83 Why costume dances are popular. The new note in costume affairs. Unusual bails given in New York. Ideas for costume parties. The mooted question of admitting guests in evening dress. Business arrangements. CHAPTER IX COSTUMES . ° : ° ° Sead We Tce MR sa Tra ede sam RT AN regal KAS The rented costume and what to avoid. Assembling impromptu costumes. How to make Turkish trousers, ballet skirts, pirate boots, Chinese hats, etc. The etiquette of borrowed costumes. CHAPTER X CHARITY BAZAARS ° ° . . atts Na dos at ’ - 118 Conformation to general scheme most effective. Popular booths. Street fairs. Famous and picturesque fétes. Large committees desirable. Soliciting donations. Consigned articles. Publicity. Underwriting project. CHAPTER XI SOCIETY CIRCUS. . . ° ‘ ° wee ° ° - 140 Posters and other advertising. Selection of acts. Arrangements of rings and seats. How to make animal costumes, chariots, etc. Side shows and booths. Regulation of motor traffic. CHAPTER XII PAGEANTS ° . : ° ° . . wR ete ew ° » 152 History and growth of the pageant. Value of pageant to a community. Varieties of pageant. The business side. i vii CONTENTS How to write a local pageant. Inception and growth. Selection of location. Choice of episodes. Examples of episodes. Costuming. Music. Dialogue. Rehearsals. CHAPTER XIII PAGE DINNERS. ; . . ° 0 isa a ae e. hhe - » 163 Why menus lack variety. Business arrangements. Arrangement of tables, ete. Controlling speakers. “Speechless” dinners. CHAPTER XIV COLLEGE REUNIONS . ° ot) pe CM i » 173 Arousing interest. Enlisting talent. Spirit of competition. Arranging for songs, etc. Necessity of filling every hour with activity. The question of returning with families. The class dinner. Insignia and uniforms. The Year Book. Planning class program to dovetail with other college events. What information should be sent classmates. Managing finances. CHAPTER XV EXHIBITIONS . ° . ° . ° . * ’ . » 185 What an exhibition accomplishes. Ideas for exhibitions. Management. Creating interest in subject. CHAPTER XVI RAISING MONEY 00000000000 Ue UC SS Putting imagination into soliciting. Sub-letting lecturers, theatres, etc. Sale of bonds on club houses. Making a game of the job. Value of emotional appeal. Rummage sales. Small schemes realize important sums. Vili CONTENTS CHAPTER XVII PAGE DRAMATIC PRODUCTIONS . Sith a ete Maer ah oa age 410 Kinds of plays to select. Where to find them. Sample bills. Metropolitan successes. Typed parts. Explanation of script directions. Helpful rules for novice actors. CHAPTER XVIII REVUES AND VAUDEVILLE . : PURE Aha 4. She arin caine $k How to arrange. How to rehearse. How to avoid waits between scenes. How to costume. Sample bills. Where to get orchestrations. Necessity of a musical director. Speeding up the show. CHAPTER XIX SCENERY ... . PT UN Ra ea ana UN a ee Ye 4 | Canvas sets. Draped sets. Cycloramas, back drops and borders. Wings and backings. How to make a window. Illuminated columns. Examples of scenes. Selection of fabrics. Floor cloths. Grass. Use of linoleum. CHAPTER XX LIGHTING . . ° . . ay ie, Qe Se pat Branch in? whe ae First step in lighting. Old traditions. Borders. Strips. Foots. Spots. Floods. Dimmers. Gelatines. Effects of different colors on fabrics and faces. How to color bulbs. How to arrange lights on small stages. CHAPTER XXI STAGE PROPERTIES AND DRESSING Say msis lea ie, Se alee aee What constitutes properties. How to rent, buy or make them. ix CONTENTS The care of properties. The importance of stage dressing. CHAPTER XXII PAGE STAGE COSTUMES . . . : ° : ° . ° . » 251 Necessity of authenticity. Clothes conventions should not be ignored. Styles and colors to be avoided. Safest colors. Advisability of appropriate dress, Dressing in character. How height may be affected by clothes. CHAPTER XXIII MAKE-UP . ‘ , ° : . ° . 4 . Ph a » 256 Use of professional make-up men. Varieties of make-up. List of make-up material. “Placing” features. Formula for applying grease paint. Straight make-up. Dry make-up. Miscellaneous necessities. How to depict age. Wigs, whiskers, etc. Character and other make-ups. How to remove make-up. Use of pictures. CHAPTER XXIV MECHANICAL EFFECTS > , . . 4 Py er . . 269 How to make thunder, rain, snow, noises, etc. CHAPTER XXV THE STAGE DIRECTOR . ° ° . » . * . . » 275 Calling rehearsals. Management of cast. Property lists, changes in script. Light and music plots. Rehearsal of stage crew. Clothes baskets excellent property containers. Eliminating prompter. Assigning dressing rooms. Posting scenes in consecutive order. Duties of call boy. Professional conduct during performance. x CONTENTS CHAPTER XXVI PAGE HOW TO BUILD A PRACTICAL STAGE ... * ° 2 a BSA CHAPTER XXVII MISCELLANEOUS DUTIES OF A COMMITTEE - ‘ : » 291 <> LIST OF ILLUSTRATIONS ILLUSTRATIONS IN HALF-TONE UII MER is a" ay ge) eos.) 6 dhe 0. wih a) deromtisptece _ FACING PAGE EE SINENTS cS AUR a UP pat) gh! Negi) Va to e,.4 8 pe ca ie erie rr maearostreet: MUral |). ) 6, 8) ies. ee a hie. ote, eels Be Secemeeemwaniogy vittangement §. . «se .6 ew et ee te) $6 MameereUtOOr Set. 6k ef 6 dior Ae BR ari rea re PU ermmmmmeonenenrsiny for a Show .. (ews 6 |e .\'e, «ee IE NUM sl 5 iwc lg lb 4) ede | toys We an Wile! 6 ee werk ae Semeemmermvcie erocess of Construction... 36006 6) ee ie fe eh 8 OS Sememoco se); moval Gardens of Delhi” <)) 2...» \e)) 6 \e te OF meme nouty cea islanders." . 0.) 0) ese ele ee ee EET PIGUTENGS fe ie a) eer wt lee ete elie tet RS Main Street is not Dull when the Circus Comes . . ..... 4 IU DIG go Mi) a)! 6 Shey janitor Je Qos, hal) sel vel @ Lom imei ee meCemmmearanmnnle Costume ;. ss. 6 << ha le a NRO) we EEO Porcelain Figures with Oil-cloth Costumes . . . . . ... .. A1I7 ieonection Of Garden Implements . . . « «© © « « « « ©, 137 Pirin vinw or southampton Fair. 3. 3 ke ele ee we 138 Water Adds to Pageant Pictorial Effectiveness . . . « . « « 159 EEIMELSE sng Sosy hat a otie! Well GaN Jeviies teh rey wR OO An Atmospheric Setting from a Recent Revue ..... « . 202 Brilliant Oil-cloth Flowers Against a Cyclorama . .... . . 203 Fashion Models of Yesterday Go) ry Welikea Ate at EIR TY ee oe %, bbs we | ak Mame eee ION SEAN, | i) eo 6 wile oe el fel ele ve el a eee EMA Satay ale ve (lel Vey t ech a! wl ee he hee Vie bee ILLUSTRATIONS FACING PAGE Elizabeth’s (Court in Greenwich Village |.) \'.).\ 0!) <\\ "eu ee ee eens An) Easy Orientalr Set eee 8 ee ee ne An English Baronial Hallo) 60 ie) fea esol iene ce reas Annual Park Avenue Fair.) '3 668 ).6))) 06 penton eens aie Park Avenue Fair 0f 1923 0000 a) ec Examples of Character Make-up’). 6) 'e)\, 6 ile) Wel eee oe A\\Japanese’ Print, Tableau 6) 0a)! eek ey oy *“Desert' Dance”’ Mural Decorations . < .\))'s Je) je) «|e elena “Ivy Ball” Decorations . e . e . e e e @ 6 ee e e e eel yf ILLUSTRATIONS IN TEXT PAGE No) Subject is too Old)to, Adapt oj.) a) e) 18) 3. el et) Ae A Poster should Appeal to the Eye \.. ,. | «'.«. \) 0 ter) ellnie cea ieann aes Announcement of | Costume Dance) .)0 006) Charts of! Physical and Optical Centers) ...\. ¢))//si eee Arrangement. of ‘Type (soi) ye ee Arrangement of Lettering 00) ee a 6) me Nec Specimen of Folder (oi) se Re a Design Announcing Auction). 4006) 6) ie ie) alee Booth Designs . Sy el elles iG lkepeilels te Jk el enn eG hr Compo Board) Booth 200300 o'er eal eit ae Poturistic: Flowers (1.3 ie ee) eo el Flower Patterns 0/0065 je ie eee) el Nites wil ehh einen delet Figurine (Foundations (600008) 8 eo) eis le la) an an Costume Ball Invitation Pre iervmrrnr mun re eh A Final (Notices 3.0/0 ee ee ear es ee Turkish / Trotisér,/Desigm 20/0) 06 elie 01) 0 i set! el ie Chinese Hats and Pirate Boot... 0.) 6) 6) 6 8) 0 eee Blower |Bootu i) Mie ae el pe le ile by eel) UE oe Se xiv ILLUSTRATIONS PAGE ME RSTO SLY nS ge gh! gia vigil light ig aiig Ost rall iat wie Taal ats etip Ay Tk A TERE ie gia yo mult wii WL PY wh himiol ei Niad oat ihe Aad MIELEC) il) Uy i gi ha Yl, gS hae Nhllig Jere il ea Sep ie \late lice ke RAR EME DS oie) stelle er ile i Bi tiple em. ely wheelie lek RAT ee OEE ENA PO A OP oC AN IETS) Wie sah win eit aye immed teil Te@el alot Neale imGh aes NMR lala) ii'g a Nay) aS) heii! ih Geyh sms Rue! ra) ott wil ced) oyt Wea beep Diagram for Mountain and Column. .... . Luan iam IRENA CHEAL, OTA a gi wih estes dial ten OD THE BOOK OF ENTERTAINMENTS AND THEATRICALS yay SHUSPLAN Ah bi Lal 4 « hy 2 CHAPTER I CONCERNING THE ENTERTAINMENT COMMITTEE Committee work is as inevitable as babies and false teeth. Some time, some where, no alibi will serve and the most in- veterate committee dodger will be scheduled to build a new club house or order a banquet. When that day comes it is better to accept without modest comments to the effect that somebody else can do the job better or that one really hasn’t time. Both pleas may be true, but they also apply to most of the club members. Organizations do not con- duct themselves and to belong to one without willingness to assume a share in its burdens is as bad taste as to expect the neighbors to furnish one’s meals. ‘There is nothing more disarming than gracious acceptance. It obviates the necessity of overcoming doubt inevitably engendered by reluctance and automatically stills many a comeback. Those who have had the experience of trying to collect a donation from a man expected to give five thousand dollars know that when he talks fluently about the worthiness of the cause and his extreme delight in presenting fifty and bows his callers out with thanks for having troubled him there is absolutely nothing more to be said. ‘The same is true of the offered position—a smiling acceptance creates the impression that one is equal to the situation even though one’s knees knock and one believes committees an invention of the founder of sin. _ Just when the reviled things first came into existence nobody seems to know, but it is not improbable that prehis- toric man organized the original representative three or pa THE BOOK OF ENTERTAINMENTS five to chase pterodactyls out of the spinach beds. Cer- tainly committees are a necessity, for assemblies are too large and unwieldy to accomplish results without delegating members to act as ‘‘eyes and ears,” “‘head and hands,” and more important, at least in the minds of weary commit- teeites, “FEET.” The inexperienced committee worker, when actually caught and branded, usually suffers acutely from an “infe- riority complex.” The task looks mountain high and ocean wide. It seems impossible to put it over. Further- more, one never has the slightest idea how to go about it. Instead of formulating plans the mind seems suddenly to have indulged in an unauthorized Sabbatical leave. Then the clouds part! ‘The thing to do is to consult the previous chairman! Fatal anticipation! The ex-chairman has forgotten what was done before. ‘Everything has been changed since then anyhow,”’ it is airily explained. Information is so niggardly as to be practically negligible and reports are discouraging. If sugggestions are offered the result is disastrous for they serve to stifle imagination and initiative. It usually saves time, therefore, to depend on oneself and not try to model procedure on previous experiments. The more original the plan the less violent the opposition. At least that bugbear, ‘‘We tried that and it didn’t work,” is effectually throttled. In the case of a committee chairman one of two things occurs. The fellow workers have already been bequeathed or must be selected. In the first instance it invariably seems monstrous that one must be saddled with the incu- buses provided, but this viewpoint is easily dispelled upon remembering that committee work is really a valuable means of self-education and discipline. Through it toler- ance and broad mindedness may be achieved. Almost in- variably, too, it brings out through close contact and the [2] THE ENTERTAINMENT COMMITTEE stimulation of party feeling undreamed of points in the characters of fellow workers. Where the selection of a committee depends upon its head, a very natural mistake is usually made. Big names or names of those who have served on previous committees are almost invariably chosen. Now one celebrity on a committee may give it prestige, but too many are apt to result in a body of slight accomplishment. It is more or less customary to pass over back-sliders and little known members. Yet these persons are frequently, if not invari- ably, the most efficient workers. It is axiomatic that the only way to like a cause is to work for it and that benefits are derived from an organization in proportion to the amount of work put into it. A club run by a nucleus year after year is apt to be or to become a weak organization because the other members are deprived of the stimulation of giving constructive labor. The things that come too easily never have been and never will be appreciated. Because Xyla Zee has never done anything of the kind is no reason that a person should not or could not startle the society with brilliant coups. There- fore, excellent club policy is to seek out submerged members and bring them into the limelight. Wise is the committee leader who remembers this for such an action will furnish large rewards in the way of actual accomplishment. With the personnel of the committee complete, the next measure before actual formulation of ideas is to become acquainted with the general policies and politics of the society and the views of its members. This familiarity with club ideals, history and the details of the situation which gave rise to the need of a committee is not only essen- tial in preventing clashes and false moves, but a really suc- cessful committee is impossible without a thorough knowl- edge of club personnel. For this reason every committee should catalogue the material it may need. It is not, of [3] THE BOOK OF ENTERTAINMENTS course, necessary to commit to paper the item that Zam- boula Slam is a singer; that Wilda Catt’s husband is a printer, and Zev Zeedner knows all about spiritualism, but all this should be noted in the committee consciousness. Every organization is composed of many different kinds of people from various walks of life. In this variety of tastes, conceptions, desires and interests lies the strength of the assembly, for it would soon die of stagnation and inertia if all were alike. Now some of these members will be ex- cellent for amateur theatricals, others are home lovers or decorators, still others are musicians, artists, etc. Where the cataloguing system is employed, someone who has always lived in a boarding house and does not know mar- quisette from a canary will not be put on the house com- mittee. Again, sworn enemies will not be assigned the same task. ‘The man or woman eminently fitted for one variety of job may make a mess of something else. It is, therefore, essential that individuals should be chosen with foresight and knowledge. It is not at all unusual to hear a chairman say, “‘I left that to X and a dreadful fizzle was made of it.’ Exasperating, of course! But the chair- man should never have assigned a task which could not be performed by the person chosen. This cataloguing system, while more intricate, will obtain for any committee far more satisfactory results than the old method of selecting Dee because of popularity or because that good person seemed less capable than anyone else of using an icepick on the skull of the appointing chairman. Sometimes the chairman would like to use an ice pick or a shot gun on some of the members at large, because they make necessary one of the most important functions of a committee, viz, the sidetracking of suggestions. There is nothing more customary or more disheartening, when an attempt is being made to do something different, than to be accosted with suggestions incredible in their banality. [4] THE ENTERTAINMENT COMMITTE No dinner, pageant, or dance has ever been given that some thoughtful soul did not advance the suggestion that Japanese parasols be used as decorations and favors. More- over, when the club is located in a large city where there are numerous Oriental stores, the well wisher always knows of the “loveliest place’’ in a town three thousand miles away where things can be bought. Just to be helpful letters are usually offered to Mr. » ‘Well, I can’t remember his name, but he’s at the first counter on your left as you go in.” Occasionally the ideas brought forward are not pro- verbial “chestnuts,” but suggestions which run counter to club policy or are apt to jeopardize the institution’s repu- tation. The inclination of the weary committee member is to brush aside these useless contributions with irritation or impatience. Such a course is unsound for several reasons. One is that the more strongly a club stands behind its committee the more advantageous it is for both. There- fore, it is never well to alienate members by hasty answers. Again, the fact that one person one day advances a per- fectly ridiculous suggestion does not argue that the same person won’t bring forth a scheme of exceptional merit on another occasion. ‘To administer a snub is to cut oneself off from possible help at some future time. The chances are that out of ninety-nine volunteered suggestions there will not be one worth repeating, but in the hundredth may lie concealed the germ of a thought that is really priceless. It is advisable, therefore, to listen attentively, answer letters courteously, but in so far as possible avoid making definite replies. By stalling for time there is the chance that the originator of a pet offering will forget it or take a trip to Palm Beach or conceive a scheme more appealing. A wise speech for such occasions, therefore, is something like this, ““That is an interesting idea. I'll talk it over with the committee. While we have made arrangements which I [5] THE BOOK OF ENTERTAINMENTS fear will preclude using your scheme, I’m sure it will be pleasant to work it in if we can.’ Later a courteous note may explain that there does not seem to be room for the plan at the moment, but that it might be taken up with the new committee the following year. In some instances, it is better to explain frankly why a suggestion is not feasible. When Mrs. Plank insists upon inviting Mr. Hicks for a course of lectures there is no use postponing the issue if he happens to have been implicated in the murder of the president’s husband or forced her father into bank- ruptcy! Such complications should be explained. While these instances may seem extreme, they are no more un- usual than some of the questions which arise. Either through ignorance or because of lack of thorough investiga- tion of proposed measures, the most unbelievable ideas are invariably advocated. ; One of the most dangerous suggestions always comes when the committee is worn out and several planned events have fizzled or seem very wobbly. ‘I know just the singer you want to take Galli Curci’s place,’’ beams a well wisher and the whole committee experiences a wave of relief. Galli Curci is laid up with tonsilitis, the tickets are sold, the refreshments are bought, a speaker is coming from Boston. What can be done? The natural reaction is to fall on the neck of the heaven sent one and weep in one voice, “Oh, can you—will you get her?”’ Such temptations should be treated like snakes. Nobody’s word should ever be accepted in such instances without considerable verification from other sources. Judgments vary. Of three hundred in a club a proportion will still be in the golden oak period of taste. One’s test of a voice is a shriek which can be heard above a steam riveter; another considers ability to race through Rigoletto from memory as an Open Sesame. It is, therefore, paramount that the standards of the person making the recommendation should be well known. Unless [6] THE ENTERTAINMENT COMMITTEE suggestions in this regard can be backed by the seconding of critics in the line it is better to ignore them. Occasion- ally a prize may be lost, but the chances are more generally in favor of the committee’s being saved from disappoint- ment and sure criticism. Often, too, suggestions come which are bad and which the committee knows are bad and yet which claim atten- tion as matters of policy. It is not unusual to see an excel- lent program marred by a number of questionable merit. When such an instance is probed it is usually found that the owner of the hall offered a reduction of the price if his wife were given a try out or that the rich Mrs. Graball had promised the club four much needed rugs and it had seemed impolitic to ignore her suggestion that her niece recite Gunga Din. It is unfortunate that such matters should be considered, but it is probable that assemblies will never reach the state of perfection where a certain amount of lobbying will not exist.. Sometimes committees ignore it and achieve a perfect function, but it is a question whether _any affair, no matter how brilliant, is really satisfactory if it makes enemies for the club or of its members. While the committee usually discovers that most sugges- tions require elimination, a point should always be made of asking for them quite early in the game. ‘This may be done by individual letters to members or by a request in an open meeting. These invitations are seldom answered. They are really only an invention for the protection of the committee. When criticism begins such as, ‘‘Did you ever hear of such a ridiculous plan?” or, “I’d never have the nerve to put it on,” the committee has only to say, ‘“‘We asked ~ you, but you had no suggestions.’”’ Moreover, if all are ap- proached for ideas they acquire the feeling, even if they offer none, that the final plan was part of their creating and so are apt fo be better satisfied and content. To accept a place on a committee without expecting crit- [7] THE BOOK OF ENTERTAINMENTS icism is as unintelligent as to think the world is flat. There never was a plan consummated yet which met universal approval. There never will be one. A program, func- tion or scheme may be put over with such eclat that every- body wants to claim part of the credit, but while the actual preliminary labor is in progress there are always “kicks.” Criticism is of two kinds—constructive and destructive. Some of it is helpful in aiding the committee to get a better perspective on its endeavors. Most of it is actually per- nicious. When a committee has worked night and day for two weeks on a dance only to hear, ‘‘What rotten refresh- ments,’ the inclination is to color the air with a fancy exhibition of pyrotechnics. The proper thing to do, how- ever, is to analyze the statement. Was it made because Mrs. Blank’s husband is the town’s Sherry and was underbid? If so, the matter deserves no serious attention. If, on the other hand, the complaint originated from one seldom known to murmur, further investigation is necessary. Many may invite criticism, but nobody really enjoys it. Perhaps there is no better indication of a great nature than ability to listen to it. The committee which can bear fault- finding with equanimity and carry on under fire to the best of its ability is sure to find itself eventually scheduled for cheers and medals, and, most wonderful of all, the glorious sensation of having been right all the time. It is no easy matter, when a committee conducts matters successfully, to keep a modest heart and the face of an un- sophisticated school child. Yet there is nothing more per- nicious or more detrimental to committee triumphs than to allow a feeling of self importance or self consciousness to — pervade one’s attitude. Such a viewpoint is ridiculous, for someone else would do the job if that particular incumbent or incumbents were incapacitated. As long as the Ego is unannihilated, slights, criticism, and suggestions [8] THE ENTERTAINMENT COMMITTEE are sought, found and resented. When an impersonal attitude is cultivated it is possible to listen even to a béte noir with equanimity. If the thought is constantly held, ‘This is for the Club. I am the Club’s deputy,” the embar- rassing personal feeling of dislike for certain members and reluctance for undesirable jobs will either disappear or be reduced to a minimum. There will then be uppermost the mood of self-effacement and dogged desire to complete the work because it must be done—the ideal state of mind for every committee. Curiously enough this is the mental attitude which almost invariably leads not only to club triumphs, but to great personal rewards for the worker. Every successful committeeite is really a twenty hour a day laborer, unprotected by any union. It is essential, there- - fore, to use the wits to secure a lightening of the load. The president and treasurer of the organization should be informed and kept in touch with what is going on. Such procedure eliminates unexpected opposition when plans are actually formulated. These two officers can smooth the way in many respects and even though they may not be directing matters they should keep their fingers on the pulse of events. Certainly it is better to go hand | in hand with them. While some committees may discuss Mrs. Chadwick’s divorce and why Emilie Sant has gone to Southampton in an off season, it is advisable to refrain from gossip and all personal matters while engaged in committee work. Irrelevant remarks lead to dalliance and while this may be pleasant and enjoyable during an actual session, it is usually resented later when the workers return home with a sense of unaccomplishment. A tactful chairman should keep the conversation pertaining to the business at hand. Some chairmen seem to think that their raison d’étre is to call committee meetings, which accounts somewhat for the reluctance of many persons to serve. Either by experi- [9] THE BOOK OF ENTERTAINMENTS ence or hearsay they know that much of their time will be involved with no tangible results. A chairman who calls a meeting with no definite plans formulated for discussion is not only inconsiderate, but a thief of time—a commodity which grows increasingly precious in these overcrowded and hectic days. Fewer committee meetings and more work should be the slogan. This should not be construed that a chairman should do all the planning and all the work, keeping the committee in ignorance of events till the glorious or fatal moment of consummation. Three or five persons are generally chosen, on the theory that several heads are better than one. Now it usually happens that the chairman or somebody else does all the planning, for everybody, no matter how anx- ious, may not be gifted with originality and creative ability. The real purpose of the other members is to act as an anchor. They keep the originator from being carried away by rashness and help give a perspective on ideas that it is impossible for one person to obtain. Not only is the theory of balance excellent, but there is another indisputable fact to be remembered. A committee once chosen must suffer the blame as well as the rewards of service. It is not fair, therefore, that members should be subject to criti- cism for plans in whose making they had no voice. Again, when every committee member is conversant with the pro- posed program, it is possible to answer questions from members at large and so help to dispel the usual query, “‘Is anything being done?” The ideal arrangement is for the chairman to work out a general elastic plan and call the committee together for comments, suggestions, criticism and amendments. To leave the creation of ideas until a committee meeting is alto- gether erroneous, for the minds of few persons work on the spur of the moment. It takes at least one plan, no matter how inadequate, to stimulate suggestions. Indeed, [ 10 ] THE ENTERTAINMENT COMMITTEE it is more than probable that from the tentative first scheme an entirely new one will spring. Certainly time spent trying to get a good working idea is never wasted, for everyone is more zealous in putting over something worth-while. In planning all programs an endeavor should be made to keep them as varied as possible, to use as many people as possible, to arrange them well in advance of the time set so that nothing is left to chance and above all to err on the side of brevity rather than length. ‘The first item is stressed because programs are usually arranged by what the committee itself likes or what it thinks the public likes. Both plans are restrictive because the committee may be more advanced than its public and because the public often pretends to like things it thinks it ought to like, but doesn’t really enjoy. ‘Therefore, in musical pro- grams diversification should be the aim. There should be sad selections, glad selections, bits modern and classical. In this way some particular number is sure to please some particular person, whereas, otherwise, some of the audience will return home without having enjoyed anything. Of course, where a lecture afternoon is planned, a great many people cannot be used, but in amateur theatricals, musicales, and many other entertainments it is possible to include many names. ‘The value of this is that interest is multiplied. Twenty persons working for a cause naturally make it stronger than five connected with it. Moreover, twenty have more followers than five. The advisability of pro- grams not overly long and arranged in advance is too obvious to require explanation. In getting them ready for the printers great care should be taken that no credits are omitted. To this end every program should be checked by more than one person. Life long enemies have been made because, in arranging a program, every performer but one was mentioned. Likewise firms donating pianos or other necessities should not be overlooked. [11] THE BOOK OF ENTERTAINMENTS Where theatres are used programs are usually arranged for, but when the organization attends to its own, the cost is, of course, reduced by selling advertising space and also by asking a small fee for the program itself. Moreover, though it should be planned in detail as far in advance as possible, the actual printing should not be done till the last possible moment, as there is al- ways the possibility of sickness on the part of a per- former or the chance that some unexpected treat may be added. ‘The chief necessity for every committee is to com- plete a plan, have it discussed in relation to other plans, its probable failure or success, and then set committee individuals to work on the arrangements, publicity and the many other items which dovetail to bring about success for the club and triumph for its emissary. The original committee chasing pterodactyls out of the spinach beds [ 12 ] CHAPTER II THe IMPORTANCE OF AN IDEA The trouble with most unenjoyable social affairs is that they are idea-less. Once in fourteen summers somebody says, ‘‘Let’s give a party,” and everybody gets together and has a good time with very little prearrangement, but this is not only exceptional but phenomenal and the chances are that if the matter is probed it will be found the festivities are really directed by a dominant figure whose ideas are perhaps more or less spontaneous. As a rule, a function carried out minus theme is a sad and unmelodious affair. Large parties are so apt to go wrong even when carefully planned that nothing should ever be left to chance. Where a Mineola citizen is merely entertaining to wipe out indebt- edness to the neighbors, a failure, though dismal, may not be an irretrievable affair, but no club or society can ever afford to have anyone remark, ‘‘Oh, it was just the usual thing.” The particular reason for this is that organiza- tions nearly always entertain with a purpose, namely, to raise money, to promote fellowship among members, or to increase membership. Success, therefore, is imperative. The public has been mulcted out of so much in the past that the word amateur has fallen into disrepute and it is becom- ing increasingly difficult to inveigle people at large into places where the entertainment is not only poor, but wretchedly managed. If the entertainment is a first affair it is essential it should be excellent in every way, so that the public will not only feel it has received its money’s worth, but be willing and anxious to come again. If it is a second [ 13 ] THE BOOK OF ENTERTAINMENTS or twenty-second affair it is even more necessary that it should outclass its predecessors in order that word may circulate that the ‘‘Lambs of Snow,’ or whatever the or- ganization may be, is not only abreast but ahead of the times. Such rumors not only interest the public, but en- large the membership list. Failures diminish membership because nobody wishes to be affiliated with a club which has gained the reputation of being a back-number. Competition in all lines of endeavor is very keen. The only way to keep ahead is to have a better idea than the other fellow and then back it up with enthusiasm and work. A business to succeed must be run with or from an idea—an idea of service, courtesy or everything for a dime. A grocery store conducted without plan may meet expenses, but it is seldom talked about. It must voice something different, some particular need. The same is true of a function. It is not enough just to give a party. It should be some particular kind of a party—colorful, amusing, picturesque, instructive or whatever the fancy may dictate, but it must be different. The greatest difficulty is to select the proper idea. This would not be so trying if people would let themselves go, or in the words of a popular comedian, ‘‘Be yourself, lady, be yourself!” If imagination could only roam untram- melled by ifs and buts, there would be much less stiffness, and certain members of the family would not require almost physical dragging to every social function. The trouble is that the intelligencia of the world is divided into originators and copyists. The latter will not wear a hat till they have seen one like it while the former will not wear one if they have seen one like it. The copyists are in the majority because they are afraid to deviate from convention. Fear of doing the wrong thing or running counter to accepted practice or being talked about is one of the bugaboos of American life. This is a vicious and deadly [ 14 ] THE IMPORTANCE OF AN IDEA thing because it annihilates initiative and originality, and without these there can be no ideas. “COME RAIN OR SHINE’’. Extract fom NOAH’S invitation to the first annual cruise known to history. S = . ’ i a RTT TRIS OTR EES ND) NN WAN sees Wii ate: Es t a. EER : Yi WY f ZAM ( NVA A PPI ULI rea Oa TRE TERTINS = THE STOWAWAYS’ FOURTH ANNUAL CRUISE will take place on Saturday, August 25th, 1923 Skipper Wolf will take us for a sai] in his well known sloop THE WHITE MULE over the waters of the GREAT SOUTH BAY. Other vessels. may be on hand depending on the number of accep- tances sent in. Those who think they can keep wind in the sails will be permitted to demonstrate at the tiller. No subject is too old to adapt if given an individual touch [15 ] THE BOOK OF ENTERTAINMENTS Now ideas occasionally spring into being, palpitant and fully clothed, but more frequently they are the result of mental toil, not to say anguish. That one achieves an idea and another does not is not because one is more clever, but rather because one is willing to concentrate, discard, and keep on groping till out of inchoate material a working basis for something tangible is achieved. Few there are who can merely delve into dark brain recesses and bring forth ideas. These are relative things. Every brand new inven- tion is really the outgrowth of another. It is only by alert attention to what is going on, a careful perusal of news- papers, books and plays, that up to date material can be obtained for remodelling and individualizing. In this, as in everything else, it is the personal touch that counts. Indeed, an idea does not have to be altogether original if it is given a personal touch. Take, for instance, the circus. This is a theme of long standing, but all sorts of things can be done with it for a basis. ‘To begin with, the motif has universal appeal because everybody likes a circus. The atmosphere is full of color, gaiety and a certain mys- tery. Nobody has to search the library to learn how to make a clown’s costume or a snake charmer’s skirt. These indelible impressions are as much a part of us as the color of mother’s eyes or the pendant on father’s watch fob. About this well known theme may be built a costume party, a society circus and a dozen other schemes for entertain- ment and money making—a state of affairs bearing out George Ade’s statement, “‘Get a good makeup and the part plays itself,” or, in other words, the tempo of an occasion may be set by the general scheme of decorations, costumes and the like. | Again, take Mother Goose. At least two hundred differ- ent kind of parties can be evolved from this one familiar theme. Constance Mackaye goes so far as to point out that this theme can even be used by labor unions for an [ 16 ] THE IMPORTANCE OF AN IDEA annual parade, when the shoemakers may be represented by the old woman who lived in the shoe, the musicians’ guild by Old King Cole and his fiddlers three, and so on. All the old fairy stories are full of colorful suggestions, from Aladdin to the tale of Little Red Riding Hood. What could be more amusing than a party where all the guests were asked to come as either Red Riding Hoods, grandmothers, wood choppers or wolves? ‘Tennyson, Yeats, Thackeray, Dickens are full of suggestions. Well known pictures offer possibilities for burlesque. The daily cartoons and funny sheets, also, suggest other ideas in the way of character work. | Timely ideas are always desirable, but they should be selected with discretion because a suggestion, however good today, may be passé tomorrow. During the Carnarvon excavation in Egypt all the theatrical producers were put- ting on King Tut scenes, parties were Egyptian in flavor, and even advertisements were Tuttish. ‘The first few who utilized the idea as a basis for dances and costumes made a hit, but the scheme was soon done to death and went out of fashion quickly. _ The seasons and calendar are always reliable sources on which to hang entertainments. Halloween, for example, may be brought up to date by being Conan Doyled. A George Washington’s birthday party may be given a new angle by holding a gathering of the Greatest Liars In His- tory. Even a Christmas party may be had at any season of the year, by providing Santa Claus with a family and assigning one as the patron saint of each month. Septie Claus in the gorgeous leaf hues of September or Julie Claus with midsummer tiger lilies would grace any function. Perhaps this is far fetched, but it is just such little twists that count and cause guests to go away murmuring, ‘‘Such ‘a novel idea,” ‘“‘Rather unusual, wasn’t it?” In order to plan a social time for any particular month [17 ] THE BOOK OF ENTERTAINMENTS or day, the question should be asked, ‘“‘How many things does this month or day suggest?’ March, for example, brings to mind wind, a lion, a lamb, the March hare, and St. Patrick’s day. St. Patrick’s day recalls shamrocks, snakes, emerald green and the Irish. ‘The Irish suggest the blarney stone, folk dances, queer tales, pipes, potatoes, pigs, kind hearts, funny stories and beautiful songs. With these suggestions anyone can work out a social féte for March. Indeed, a whole party may be built about the blarney stone alone. As has been written, there is nothing new under the sun; and if there were, the public would prefer a familiar idea revamped rather than a startling innovation. People in general do not adjust themselves quickly to ideas too radical. ‘The natural instinct in regard to unfamiliar ways is to criticise. However, this should not cause the relin- quishing of any really sensational plan, for the public needs startling now and then. Ideas depend largely for their success upon the people or community employing them. It is a mistake to assume that because a certain kind of a party was a knock-out in Paris it will register equally well in Mineola. Nothing should ever be transported from one locale to another with- out being subjected to adaptation. People’s sense of the fitness of things varies with study, travel and worldly con- tact. A band of artists may watch a semi-nude dancing girl with composure and with no thought of the exhibition being indecent or vulgar whereas the same number would be an undying scandal in a missionary society, for instance. In short, an idea must not only have a human interest quality, be fascinating or novel, but it must also be adapted to the particular occasion which called for it. A picnic may be enjoyable for children, but should be taboo for octogenarians who are apt to be rheumatic. The locale of an affair often constitutes an idea in itself, [ 18 ] THE IMPORTANCE OF AN IDEA such as a dinner on an anchored ship or in a moving picture studio or on a light house stair or in a jail. ‘There is scarcely an idea which will not show improvement when furnished with thrills. Take a travel lecture, for instance. This may sound unalluring, but if the function is given a drawing name, the house or club arranged with booths or scenes to represent certain lands or states, a lecturer placed in each setting and told to talk to the tourist groups brought up by guides while costumed damsels serve food indigenous to the region, and ticket agents sell round trip strips for all the countries at the door, the effect is entirely different from sitting in a theatre chair listening to the usual explained lantern slides. The name of a party is of tremendous importance. It should be descriptive and curiosity provoking, but care should be taken that anticipations should not be aroused which cannot be met. It is better to give people more than they expect than to lure them by false hopes or promises. A title subtly makes a picture. When one says ‘The Business Women’s Ball,” the picture conveyed to the general public is of a crowd of women in horn spectacles _and tailored suits sitting behind a smoke barrage. Business women may have ravishing gowns, expensive rouge, dance like pandemonium, and carry enough quips to entertain for a week, but unless their charms are capitalized by a name that draws, the public will not visualize a gay and colorful ball. A title should be one that connotes gorgeous costumes, beautiful women, restful lounging places, soft music, cool drinks, daintily served food, rich drapery and yet a certain freedom indispensable from a good time. It is not enough to collect a crowd of men and women and instruct them to have a good time. There must be an amusing and colorful scheme, a surprise, a touch of origi- nality about the affair. When the stage is properly set, the [19 ] THE BOOK OF ENTERTAINMENTS actors will enter and make their own good time, but the committee which is too lacking in imagination, energy and resource to plan a background for its functions is stamping itself as inefficient. Grownups are like children. They know perfectly well that they are being offered stick candy with a lemon flavor, but it helps indescribably if the candy is given a new kind of stripe and is put up in an attractive wrapper. It is not true that a dance is just a dance. It is the idea behind the dance that counts. ‘The idea is seldom new, but there is no excuse for its not being individualized. [ 20 ] CHAPTER III MAKING ARRANGEMENTS To insure success in any undertaking there must be management. ‘The business details of any entertainment, to which an admission fee is charged, should be carefully planned in advance to forestall financial loss, while the _ possibility of poor attendance is discounted by getting things under way in time to allow for proper publicity. Deciding upon the date and engaging the place where the event is to be held are the first details to consider. Since strong rival attractions may be booked for the same eve- ning, before plans are definitely settled it is advisable to check up with other social activities and especially with organizations whose affairs are attended by members of the same group. Ina small community it is not difficult to find out what is on the social calendar. The local newspaper, hotels, clubs and managers of assembly rooms will give this information. In a large city, where there are many attractions, it is possible to consider only those special groups whose plans would conflict. Also, before the date can be definitely fixed there must be an interview with the manager of the hotel, theatre or assembly rooms where the event is to be held. Popular places are often dated up weeks or even months in advance, especially on the favored evening, Friday. Until this arrangement is consummated, such details as printing, en- gaging music, publicity and other arrangements cannot be carried forward. In fact, it is well to make the engagement and let the date be known as far in advance of an event as [ 21 ] THE BOOK OF ENTERTAINMENTS possible. Everyone who has ever served on an entertainment committee is familiar with that insistent and eternal ques- tion: ‘‘When is the so-and-so coming off this year?” If the entertainment is to be held in the club’s own headquarters the duties of the committee are greatly sim- plified, in which case it is merely a matter of informing and consulting with the house committee, manager or steward. If finding a suitable place elsewhere is a problem for the committee it is well to investigate all opportunities. Inatown or small city the suitable locale for large gather- ings may be arbitrary. In a large city, where there are many desirable places, it becomes a question of which offers the best terms, inducements and accommodations. Sometimes atmosphere and tradition are to be preferred to new gor- geousness. Not only may more advantageous terms and concessions be obtained, but if elaborate decorations are planned the same restrictions may not be encountered in an older place as in a new one, where even a tack in the wall might be prohibited. Contracts and Agreements Before any agreement is signed with the management, every contingency should be considered and provided for. It is necessary to find out what items, if any, are to be extra charges besides the price per plate for dinner or other refreshments. Usually there is a rental charge for the use of ball rooms; this not being included in the catering cost, as many committees later find to their surprise. If there are to be decorations it should be stipulated how far in advance the use of the rooms may be obtained, or, if there is to be a theatrical performance, if a dress re- hearsal may be held. All specifications should be made regarding platform, stage or elevation, lighting fixtures, spot lights, arrangements of tables or whatever the specific [ 22 ] (#6 26nd aag) ‘SuIUIOfpe aseyOD S.191qqGOD S.YSeN BIOL WAM “[eInU ,399139 UTeI,, oy} JO ainjeaz [NFIYSI[ap e seM ‘adeJs (aUT]INO,, 94} Je Ysnf JYyYsneo ‘doyg YUUISyV[_ S,UOSIapUuay yey uosduoyy, INVq £q oOUd LOH Lie yi) 94 wa Wa (46 2bvd 22g) ‘IO[OD [BIO] FO Iq IJayIOUe paideap yoy qryy aryM [ey] uMOT, ay} pajured pjayueg pieMpy .J90119 ule Ul Ae sNoiID,, 104 uosdmoyy, [neq Aq oJoUd MAKING ARRANGEMENTS needs may be. The committee can protect itself from misunderstandings by having the agreement expressly state that nothing, not expressed in the contract, shall be charged for, unless provided for in written supplemental agreements. An example of an unexpected charge was met by a club which was giving a dinner followed by a theatrical per- formance. After the contract was signed with the hotel management, the question came up of how long it would take to clear away the tables, that the wait might be made as short as possible. In this particular instance it was important to have this accomplished with speed. ‘The manager informed the chairman that an extra charge of $100 would have to be made. ‘This was obviously a hold- up, but the chairman was helpless for the contract was signed and the tables had to be cleared in twenty minutes or imperil the success of the evening. Doubtless, had this point been taken up while affable negotiations and conces- sions were being made, it would not have been considered an opportunity for an extra charge. Fortunately the above instance is not typical of all man- agers, but is quoted to indicate the sort of complications that may arise. Usually the management of a hotel is found to be obliging and willing to grant many concessions. The manager’s co-operation and enthusiasm may be enlisted in the same degree that the committee shows itself willing to co-operate and consider the hotel problems. The management of a theatre, in accepting a proposed contract, agrees to comply with all regulations imposed by municipal, state and federal governments, covering the use of theatres, halls and assembly rooms, and to hold blameless and without responsibility the contracting party for failures, omissions, violations of laws, acts and ordi- nances affecting operation, safety and sanitation. This ora similar protection clause should be included in contract agreement with owners or lessees of the place where an ( [ 23 ] THE BOOK OF ENTERTAINMENTS event is to be held. Also, the number of stage hands should be specified in agreements, as otherwise there may be insufficient help to work the stage, or extra men em- ployed for which an extra charge, not anticipated, is made. Estimating Attendance While optimistic hopes may figure on an attendance of 500 persons, the guarantee given the caterer should be below this figure, otherwise a large sum may be lost. As the ticket sale increases beyond the guaranteed number, the manager should be notified. ‘This consideration will be appreciated. The approximate number of guests should be estimated the day before. On the morning of the party, as early as possible, this should be verified. Of course a margin must be made for late comers. No matter how strict the ruling that ‘“‘no tickets will be sold at the door’”’ it is generally impossible to enforce it to the letter. When a member blandly presents himself with no previous notice given, he can hardly be refused admittance. An- other member, who bought tickets in advance, as all con- siderate members do, finds himself with an unexpected guest, who must be brought along to the party. The attendance is perhaps far beyond the estimate of the morn- ing, but the management rises cheerfully and grandly to the occasion, assures the worried chairman all will be pro- vided for—and miraculously they are. It is a far happier circumstance for the attendance to go over the guarantee than below it—when the bill has to be paid! Another item not to be forgotten is the question of tips. This may be taken up with the manager who will give a fair estimate of what the amount should be. A wise committee tips where tipping should be done, since the result is reflected in the attitude of the humblest em- ployee. In this way is avoided the passing of plates among the guests by waiters soliciting tips. [ 24 ] MAKING ARRANGEMENTS With the date settled and the place engaged, the com- mittee draws a sigh of relief. But no matter how delight- fully remote a day may seem to be, it is well not to be deceived into thinking there is plenty of time before start- ing other arrangements. There is never time enough for anything. Any future date has a trick of slipping up stealthily, like Christmas. No one ever expects Christmas to happen as soon as it does every year and there is always the same scramble at the last moment to get the “merry greetings’ in the mail. Pricing Tickets Printing, such as announcements, posters and _ tickets should be started immediately after the date and the place are definitely settled. ‘This makes it necessary to fix the price of tickets. Above the caterer’s charge for each person a margin must be allowed to cover such items as rent of ballrooms, music, printing, postage, decorations, tips, or whatever expense the proposed plans call for, as well as possible Federal tax on the tickets. ‘There are usually a number of small incidental expenses which cannot be estimated but which should be anticipated in a lump allowance. Also, the number of tickets to be sold enters into the calculations. It is a mistake to price tickets higher than the usual charge for such affairs in the locality in which the event occurs. It is better to trim plans to fit the popular price than to overcharge to fit an elaborate scheme. By keeping projects modest at the start, more ambitious features may be added as the sale of tickets or interest in the event warrants. There is a psychological reaction to certain sums, and $5.50 is a popular city price for a costume dance including supper. This is as readily paid as would be $4.50 or $5. [ 25 ] THE BOOK OF ENTERTAINMENTS Most people consider $4.50 as ‘‘practically five dollars.” On the other hand, $5.50 is still regarded as $5. For two tickets the mind registers $10. But if the price is $6 or $7 per ticket, immediately there is a mental picture of the important sum of $15. Fifty cents tacked on to the even dollar is rarely noticed, and this often is the margin between loss, breaking even or a profit. Odd cents may represent the federal tax. ‘This last point should always be considered in ticket pricing. In the case of a benefit for a worthy cause, or if the affair is of, or for, an educational purpose, this tax may be exempted. It is necessary to make application in such cases, to the Bureau of Federal Taxes, Collector of Internal Revenue, at least two weeks prior to the event. When a party is limited to club members and their guests it is advisable to have the price of the ticket include supper. The most popular reason for the blanket ticket is that it does away with the presentation of restaurant checks, always an annoying delay, and moreover it eliminates the possibility of one man paying for a large group as usually happens. In the awkward moment when a check is pre- sented, every man reaches for it with a more or less insistent, ‘“Fiere—let me have that!” It seems the only thing to do, whether one can afford to pay for eight or ten casual people, who were perhaps thrown together at the supper hour, and not otherwise one’s guests for the evening. This has occurred so frequently that many persons remain away from affairs because they fear this situation. When the ticket price includes everything, an evening’s ex- penses may be computed in advance and security afforded from ill-afforded hospitality. Controlling Expenses No important expenditures should be made or contracted for without first getting the approval of the organization’s [ 26 ] MAKING ARRANGEMENTS treasurer. The chairman of the committee should allow no one to make any financial commitments without his sanction, otherwise there are bound to be some unpleasant surprises. Prices for all important expenditures should be obtained in writing to avoid future misunderstandings. Receipted bills should be secured for all purchases made with advanced expense money. Gift horses should be looked in the mouth, despite the polite sounding adage. Apparent donations often prove expensive and embarrassing. In the enthusiasm of a meet- ing some member may volunteer to provide a certain thing. The circumstances and wording of the offer may give the distinct impression to everyone present that it is to be a gift, whereas he merely undertakes to attend to this detail, doubtless in his own line, thinking he is saving some one trouble. There should be a definite understanding and nothing taken for granted when someone says; ““Why—l can get all of that you can use!” It may be intended as a gift and again it may not. Such instances frequently occur in various forms, are enthusiastically accepted as “something for nothing”’ and later bills come in that may be in excess of what this item could have been purchased for by the committee. The motive of such offers is not mercenary but is intended to be helpful, yet this sort of ambiguous overture has caused many awkward situations, because no one had the courage in the face of an apparently generous impulse to inquire bluntly, ““Do you mean this won't cost anything?” In connection with keeping a close watch of finances, discretion must continue to be used at the fatal moment when there is prospect of a profit over expenses. If all has gone well and the number of the guarantee to the caterer has been reached and the amount of the overhead expense assured, extravagant and imaginative members begin to invent ways to spend money. ‘‘Now, we can get [27 ] THE BOOK OF ENTERTAINMENTS so-and-so!”? they beam. ‘“‘Oh, we really must have this- and-that! We've got the money. Everybody is talking about this affair and we must put it over in a big way!” If enthusiasts are allowed to go ahead recklessly at this stage, the benefit of careful planning and previous saving is swept away. If the event has been well planned in the begin- ning, last-moment extravagance is not required to put it over. It is a mistake to go on the theory that a large sum of money must be spent to make an affair a success, whereas with ingenuity and originality a more interesting and enjoyable party may be evolved for half the cost. Often the most expensive details tacked on at the last moment are never noticed or appreciated, until they loom up at the next business meeting in the treasurer's report as “Old Deficit.” While a social gathering held by a club may not be designed or intended to realize a profit, yet it is much more pleasant to announce one than to try to explain a loss. All bills connected with the undertaking should be gath- ered in as soon after the event as possible. Every item should be checked up and if correct, O. K-ed by the chair- man and sent immediately to the treasurer to be paid. A strict account must be kept of all money for tickets © turned in to the treasurer, in case of possible errors that might otherwise be difficult to trace. Engaging Music One of the important features in the success of a dance is, of course, the music. Nothing calls forth so much criti- cism if too great economy has been practiced in this di- rection. But while the number of the attendance is in doubt it is not necessary to engage as many men for a small gathering as for a larger one. In the former case, everybody might be on the floor at once without over- [ 28 ] MAKING ARRANGEMENTS crowding, as is usually the case when there are short inter- vals between dances. For a large crowd the music should be continuous, which necessitates engaging extra musicians, or another orchestra. When making the arrangement for music there must be an understanding of just how long the musicians will play for the amount specified. This is important as there is a high overtime rate. “Oh, play another hour!” one inexperienced chairman ‘casually instructed the orchestra leader, about 4 o’clock in the morning when the musicians were preparing to depart, and a protest arose because the party was over ‘“‘so early.” That extra hour cost almost as much as the music for the entire evening up to that time. There is one way of getting around this impasse be- tween the insatiable dancers and musicians. The chairman cannot authorize the continuation of the music without being committed to the regulation over-time charge. How- ever, if a group of indefatigable dancers desires to continue the party, after it is officially over, it is often possible to deal informally (and inexpensively) with musicians by taking up a collection. Usually this small, but neat sum is accepted—and everybody is satisfied. But the chairman must have it understood with the leader that no extra charge is to be made and that, as far as the club’s responsi- bility is concerned, ‘‘Home, Sweet Home’”’ may be played. Licenses, Permits and Fire Laws While everybody knows that it is necessary to get a license to be married, to keep a dog or to run an automo- bile, it comes as a shock to the uninitiated that such a document may be required for certain types of social events. A costume party or bazaar or any form of benefit comes under this ruling in large cities and possibly in [ 29 | THE BOOK OF ENTERTAINMENTS smaller towns. At least, in making arrangements, the local ordinances concerning such matters must be investigated. Applications for such licenses and permits as may be re- quired must be made at least two weeks in advance of the occasion. With no uniform laws governing these things and with each municipality having its own regulations, no specific information can be given, other than to say that if there are such laws they must be considered. In one of the largest cities it is imperative to secure a license and a police permit to hold a costume dance to which tickets are sold, even though the affair is limited to members and their friends. ‘The license costs $2 and the permit ranges from $25 to $100. Hotels and dance halls are listed as first, second, third and fourth class, ac- cording to capacity, the charge being made on the rating of the place. It is amusing to find that in police rulings all costume events are listed as “‘Masquerade Balls.” No distinction is made between a “‘masked”’ affair, which is evidently held in some disrepute, and a simple open-faced ““costume’’ dance. However, since each locality has its own naive restric- tions, one of the first duties of the chairman of an enter- tainment committee is to go to the Bureau of Licenses and the Police Headquarters and find out just what is required and conform gracefully and financially to what may seem to be absurd regulations. As a matter of fact these laws were not designed to fit such a perfectly in- nocent and legitimate case as the chairman represents, but to protect society at large from fake benefits and objectional enterprises. | In the matter of fire laws much the same situation exists. Like permits, fire laws are a matter of geography. In congested cities these are more exacting. In undertaking decorations of an inflammable nature every precaution should, of course, be taken. It is disconcerting, to say the [ 80 ] MAKING ARRANGEMENTS least, to put up expensive decorations and just as the party is commencing to have them ordered taken down by a fire inspector. The manager of the place can give ad- vance information of just what is allowed and whether fire-proofing is required. Fabrics may be fire-proofed by an applied preparation or may be done by professionals who make a business of this work. If motion pictures are to be shown in public halls permits ‘are frequently required, and usually a calamined box ‘enclosing the projector and operator. Such boxes are usually obtainable locally and many exhibition places and public assembly rooms have such equipment. Employing Private Detectives ——————S : It is customary to employ private detectives for large gatherings in cities. This is insurance against the unex- pected, and in any event is not an expensive luxury, as the ‘charge is usually about ten dollars for one man. Two are enough for a gathering of 600 guests. The detective quietly straightens out small unpleasantnesses that may arise, with- out making it necessary to call a policeman, which would put 11 blight on a party and a more serious aspect on what might be a trivial episode. The noisy gentleman, (one ‘n 600 is not a high average) is quietly taken to a cab and shipped home, relieving the floor committee of the em- Jarrassment of disciplining an acquaintance, which brings 2 personal element into the situation that is absent in the ‘tase of the detective. | Often these Sherlocks are almost too vigilant and rush 0 the chairman with all sorts of suspicions, usually un- ounded. Noticing trifles was what made Sherlock Holmes great, of course. Should a real emergency arise where hese men are needed it is well worth the occasional false larms they report during an evening. By all means there [ 31 | THE BOOK OF ENTERTAINMENTS en SS bea AEA STI DAD SEER SE TO OSE a SN SU SON TTI ON STO ame pa ey ee on TL SPS should be at least one present at all semi-public, as well as large private affairs. In spite of all precautions some objectionable person may gain entrance and then Mr. Detective is invaluable. The intruder is quietly eliminated and no arrest is made which would be recorded at police headquarters. In answering the questionnaire in applying for a license, one of the queries is; ‘“‘Has an arrest ever been made at any previous affair given by your organization?” Invitation List If the invitation list is to be restricted to members of an association, the announcements may be sent out by the secretary. But it is a wise committee which attends to this detail, if the secretary is the over-worked person that club secretaries usually are. In one evening the mem- bers of a committee could address, seal and stamp a thousand envelopes. Left to the secretary this task would be turned over to a stenographer to do in odd moments which might entail a delay of several days, when advance notice is priceless to the success of the function. If persons outside of the society are to be allowed to buy tickets (by invitation) the entertainment committee should make up this list. These selected names may be secured from several sources; friends of members, other club lists of a similar character or interests, and prominent persons in the locality. Almost every organization has a group of what might be called “party members,” who always buy tickets and attend festivities. ‘These friendly “outsiders” are often good material for future membership and should be encouraged. Sometimes it is the “party members” who save the day when large affairs are planned which are not supported by members to the extent antici- pated. [ 82 ] MAKING ARRANGEMENTS “Letting in outsiders’ is often a mooted question. ‘The very members who protest loudest against dropping the bars at all, are perhaps the ones who fail to buy even one ticket and who stay away through indifference—or the innumerable excuses that invariably keep a certain per- centage away from the activities of their own club. A carefully selected list is therefore a safeguard against a disappointing attendance, while on the other hand a pro- miscuous sale of tickets may be fatal. | The sale of tickets should begin the day the announce- ments are out. Those responsible for the ticket sale should dispose of as many as possible immediately. Every ticket sold in advance helps the sale of others. One person will be inspired with desire to attend because another person is going. Everyone who actually buys a ticket immediately becomes a booster for success. There usually comes a dark period in the preparations, when the entertainment committee is prone to believe that no one in the entire organization is interested in the affair anyway—that it was all a mistake and is doomed to failure from lack of co-operation and patronage. Criticisms now fly freely about the date, the place and any details which may be known or imagined. Certain prominent members are sailing for Europe on the fourteenth. ‘The Bilkinsons, who were important to the evening’s program, have the ’flu. The Thompsons, who had planned to bring a party of twenty, return the tickets because a cousin died in Australia. ‘The only thing of which the discouraged promoters may be sure at this point, is the financial obligations which have been contracted. Tickets begin to sell more briskly, however, within the next few days and each day sees a substantial increase towards the margin of safety. There are various ways of stimulating a sluggish sale. A post-card reminder a few days before the event brings results from procrastina- [ 33 ] THE BOOK OF ENTERTAINMENTS tors. ‘Telephone calls often decide hesitating members to go, others who have forgotten all about it are grateful for the reminder and send in their checks. And always there are those persons, who, in spite of many announcements and much publicity, are under the impression that the party was “next Friday night instead of this Friday!” For rounding up members, who will be interested in attending the affair and who have not already made res- ervation as the time draws close, the record of ticket buyers, mentioned elsewhere, is valuable. The names of purchasers should be checked against the names of the in- vitation list. Each form of entertainment has its own peculiarities and problems. ‘Taking inventory of what they may be and preparing to meet them in advance avoids complications. Nothing should be left to chance. [ 34] CHAPTER IV PLANNING THE PRINTING If the public is to be interested and made to respond, invitations need to be followed up by subsequent notices. This appeal can best be expressed in print, and so printing becomes a very important part of the plan. Not only must the message be intriguing, but the form of presenta- tion of the message is equally important. Committees of arrangements, even when extravagantly inclined, are tempted to economize on printing. Someone suggests a little printing shop in a basement where the cost is ‘next to nothing.’’ While the “next to nothing”’ print- ing bill may look demurely modest on the expense account —it may loom large in the total it subtracts from the _ receipts. Nothing helps the success of any affair like attractive announcements. The engraved invitations, now used only for weddings and very formal functions, were at least non-committal. But, since almost circus methods must be used these days to attract patronage to an event, the printed matter must appeal to the eye, hold attention and stir the imagination. ‘he desire to attend must be aroused by the typographical messenger, or the job is indeed worth “‘next to nothing.” In short, the psychological effect of cheap, sloppy, poorly composed print on cheap paper is obvious. The cost of distributing printed messages, the cash investment in post- age stamps, is fixed, and the printing should have a com- parable value with the cost of the postage. [ 35 ] THE BOOK OF ENTERTAINMENTS The committee having decided that good printing is imperative for the success of the enterprise, may now con- sider ‘how cheap.” Estimates may be obtained from at Woodcut by C. B. Falls A poster should appeal to the eye and stir imagination [ 36 ] PLANNING THE PRINTING least three reputable printers, based upon the same speci- fications, that the comparisons may be honestly and fairly made. It is well to invite suggestions from printers. Un- derstanding of just what paper stock, how many colors of ink, and quantity should be written in a firm estimate. In most organizations there is usually a member who is in the printing business. This friendly person no doubt would give valuable suggestions and a low price, and have pride in doing a splendid job. It can only be embarrassing for members of a committee responsible for a poor print- ing job to find later that expert help was available within the membership of the organization. The basis of fine printing is the paper itself, and a job that begins with an interesting sheet of paper never wholly loses its character, or fails in making good, no matter how unintelligent may be the type composition, and how un- skilled the press work. A good start is made with the selection of a fine paper. Often it is the smallest item entering into the cost. There are all sorts of unusual and beautiful papers man- ufactured in this country or imported from Europe and Japan. It is not necessary to be content with, or accept any paper stock that may be on hand. ‘The printer can obtain unusual texture and colored papers, and without delay, because the creative parts of printing may be under way while the paper is being brought in, and for a thousand sizeable posters the extra cost for paper won’t be more than ten dollars. Everyone appreciates beautiful and interest- ing papers, and announcements printed on such are not tossed indifferently into the waste basket. It has been proven by those experienced in sending out notices for social events that it is essential to send a ‘‘first announcement”’ at least three or four weeks in advance— otherwise there are many complaints of the shortness of the notice and a plea of other dates. Safe practice is to [ 87 ] THE BOOK OF ENTERTAINMENTS send out first a neat card, or postal, announcing the event, a warning to save the date, naming the place of holding, COMB AND DANCE WITH YOUR FAVORITE SHEIK i =, DANCING «TILL THE SANDS OF THE DESERT GROW COLD” DESERT DANCE ANNUAL COSTUME PARTY of the SOCIETY OF ILLUSTRATORS FRIDAY EVENING, JANUARY LOTH, 1923 eAt DetmMonico’s For this Near-Cruise to the Orient-BOOK EARLY. Otganize your party now. Make reservations without delay. This Party is limited to members of the Society of Illustrators and their guests. (Bedouins and Beggars, Sultans and Sheiks, Turks and Traders; Rug Venders, Desert Women. and Dancing Girls of Tunis and Algiers, Camels, Cook’s Tourists, etc.) ROUND TRIP TICKET, which includes Supper, $5.50 Méil your checks to Society of Ittustrators, Art Center, 65 East §6TH STREET This second announcement was printed on watermelon pink paper [ 38 ] | PLANNING THE PRINTING the price and advising where tickets may be purchased. There should be a statement that further details will follow. The real invitation should be sent two or three weeks before the event. This is the “‘clincher’’ and the one that stirs the reader’s imagination, building a previous inter- est into desire to be among those present. It is the big urge that marks an occasion with premise of success. The advance notice did its part, but the major effort topples the tree. The second message may be of any size, but the one that is a poster in effect is advised. One example that is impressively large, including an illustration and large readable display type is shown in small reproduction. The original was printed on watermelon pink paper. Every detail should be plainly stated on this second announcement to avoid possible confusion or misunder- standing. Then, without giving away all the “‘stunts” or news and features of an affair, interest-piquing hints should be included. The announcement should never promise more than can be made good in performance. The text should be clever and humorous, rather than formal. The reader is quick to fasten upon a twist of words, or luring fact, and then build desire to attend in his own imagination. Announcements should be illustrated, if possible. II- lustrations for rough paper should be black and white, or line drawings, engraved on zinc, and comparatively inex- pensive to reproduce. Almost any artist, whatever his ‘regular medium, can make a simple pen and ink sketch. If wood engraving or linoleum illustration is available, so much the better. Wash drawings, or photographs can be reproduced by the half tone engraving process, which is more expensive and limits the announcements to printing on coated papers which are never so interesting. If the number of announcements is not great, a clever ' photograph may often be used, with duplicate photographic | prints “‘tipped on” to the printed poster. In such cases [ 89 ] THE BOOK OF ENTERTAINMENTS rubber cement, obtainable from tire dealers, is a reliable adhesive, and the applied pieces remain flat and do not curl. Certain laws of optics, areas, proportion and color are combined in the art of printing. ‘There are not so many of these laws but what they can be absorbed by any infre- quent buyer of printing. ‘hey cannot be ignored without PHYSICAL CENTER OPTICAL CENTER. hurt, and when employed a finer and more successful print- © ing product results. It is considered in the laws governing areas that the proportion ‘‘4”’ across, or wide, by ‘‘7” deep, or high, is most pleasing. Painters term it the “golden oblong” or “golden section.” The page may be 2 inches — by 3% inches, or 8 inches by 14 inches, or any other com- bination. ‘The proportion should remain the same. Of optical science only a few facts need be borrowed. [ 40 ] PLANNING THE PRINTING Upper and lower case letters are easier read than words made of capital letters. Most difficult of all to read is a long line of script lettering. The eye sees a certain length of line—so many letters or words at a glance. ‘These are “eye fixatives’” or eye bites. ‘The length of fixatives varies with the size of type. Thus, the reader may accept two inches of ordinary reading type in an eye bite, and read a 40 foot sign’s large ‘‘box car letters”’ in a single glance. Also, from optics it is learned that the “optical center”’ is above the “‘physical center’ of a page. This law cannot OPTICAL CENTER. TOP HEAVY BOTTOM HEAVY be avoided if the printed message is to be well composed. “Physical center’ and “optical center” are previously shown on Page 40. The weight of design, the heavily displayed portions, should come above the optical center to be most effective, though ‘‘bottom heavy”’ designs are also frequently strong. A simple and reliable way to lay out a page is first to find the optical center (slightly raising the physical center) and then draw a light vertical line in hard pencil through the center of the page. Display lines of type, and lines devoted to less important but necessary details, may then [ 41 ] THE BOOK OF ENTERTAINMENTS be composed. A page may be ‘“‘top heavy”’ when the bulk of text display weight is above the focal center, or ‘bottom heavy’ when the larger mass is below the focal center. It should be borne in mind that the spirit of a printed page should be news. Even the most astounding news needs to be displayed with headlines in newspapers, and HEARTSTONE CLUB & | CONTINUOUS rt SCUTTLE DANCING | the SHIP SHOWING ARRANGEMENT of LETTERING it follows that news features of affairs likewise need to be displayed. In the presentation of news of occasions, expressed in invitations to the public, it is best to follow what has come to be known as the “psychological order of selling sequence,” viz, 1. Attraction. 2. Arrested interest. [ 42 ] PLANNING THE PRINTING 3. Subject. 4, Subject defined. 5. Proof or supporting argument. 6. Action required of the reader. 7. Command to action. A printed message designed to accomplish a purpose needs first to attract notice to itself. ‘This can be done with a screaming headline, an interest-piquing or humorous line, or with an attractive picture or cartoon. Having caught the reader’s attention, it needs to be held with a “teaser” or intriguing sentiment to hold fast and lead the reader into the subject. The subject needs some amplification and description, and these statements should be supported with proof or testimony. It serves no good purpose if the reader be carried thus far, interested but not yet stirring, if he is not told plainly what to do and how to do it. In leaving the reader a command should be registered that he or she respond. Announcements should be mailed in envelopes large enough to avoid too many folds of the printed message. The organization’s name and address should be included in a corner card in the upper left hand corner and perhaps a pleasing little drawing typical of the affair. It has been demonstrated that while the first two notices contain all the facts many persons seem to be ignorant of particulars and members of the committee are appealed to by telephone for information which has previously been given. This suggests the need for a final notice to include all pertinent information. One week before the occasion this final reminder should be mailed. ‘This may be an ordinary postal, containing the necessary and pertinent facts, or, it may be an amusing folder or card with cartoon, or some added details of the [ 43 ] THE BOOK OF ENTERTAINMENTS Lt, t S POSE TH ILLUSTRATORS ake ; LS 1S GETTING But, Allah be praised, there's still time to escape having the above trag- edy happen to you. Society of Illustrators Annual Costume Party se DESERT. DANCE at DELMONICO’S Friday Evening, January 19th (from 9 o'clock) Tickets $5.50 each Time is getting Limited so better act risk mailing checks from now on but call for tickets at the Art Center, 65 East $6th Street (Mf yours fe an emergency case~or fos taform- elephone W etkins &23 SOCIETY of ILLUSTRATORS, Art Center, 65 East 56th St, New York The final reminder may be an amusing folder bearing a cartoon [ 44 ] PLANNING THE PRINTING _ party, designed to stimulate curiosity and revive a first interest. Three or four pieces of mail matter may not be neces« sary in all cases—but in a large city where events crowd thick and fast, the cost is justified. One organization which holds an annual ball attended by 500 to 600 persons has a mailing list of about 1,000 selected names. There are many on the list who never attend these affairs, but who are friendly and in some way allied with the interests of the society. It is good publicity to send these attractive notices to the right people. While they may not attend themselves they are pleased to be remembered and will talk to others. This is especially true of older persons who may not attend a dance, but who take a friendly interest in it because they have received an invitation. All printed matter should be planned and under way as far in advance as possible. Printers do not like rush orders, and by taking time to put work through in the reguiar routine, advantage in price and quality is realized. The advertising expenditure for printing should be in direct ratio with complete success. If this effort is intelli- gently directed there are more chances for success than for failure. As a rule the embarrassment of failure is only suffered by those timid committees who have not the courage to think in terms of complete success. It is foolish to be afraid to spend money for good print- ing and for mailing announcements because of inexperience in advertising and the printing art. Money must be spent for announcements and the committee should get out the best things of which it is capable. ‘The only failure is— failure to act! [ 45 ] CHAPTER V PUBLICITY Publicity is a means of acquainting the world at large with the information that an organization or individual is in a flourishing state of health and activity. It is always desirable because advertised products are more respected than those which are not advertised, although the latter may be quite as meritorious. Publicity is necessary to the success of bazaars, lectures, exhibitions, concerts, amateur theatricals, dances and various social functions to which tickets are sold. There are many methods of advertising an event; news- paper accounts, or ‘‘stories’”’ as they are called, and news- paper advertisements, posters, bill boards, letters, window cards, sandwich men, the grape vine telegraph and signs on vehicles. Publicity is no simple matter and needs to be handled with common sense and tact. The chairman of publicity must be conscientious, alert, experienced and a person of judgment. It is just as important to know what not to print as it is to get hold of stories. | While little tales of spicy flavor are always popular, these are not always advantageous and must be quashed, since publicity of doubtful character is worse than none. The first duty of the publicity committee, therefore, is to impress upon the organization the necessity of sending all reporters to the chairman, who alone is empowered to release news. Such a measure helps to prevent the appear- ance in the press of silly statements emanating from some member, unfamiliar with club personnel and tradition. - [ 46 ] PUBLICITY De 4 Wea Sa Cover design of folder announcing an auction held by the Stowaway Society of New York [ 47 ] THE BOOK OF ENTERTAINMENTS The press work may well be turned over to some member who has a newspaper connection or experience or who can play melodiously upon a typewriter. When the first announcements or invitations are sent out, one of these accompanied by a story giving further interesting details about the affair should be sent to society, or city and Sunday editors of each newspaper, and if the affair is of a theatrical nature, of course to the dramatic editor. Every affair has salient features of news value that may be played up to advantage in securing space. A variety of stories should be prepared in advance, each containing the important facts, yet worded differently and each in- cluding exclusive bits of news, if possible, for variety. Some features or news should be held in reserve from the first announcements so that subsequent articles may be made that will have a news value. At short intervals news items should be sent out. Many of these contributions may not be used by all papers, but if there are plenty of amusing, newsy items supplied to the press, the chances are that a satisfactory percentage will appear. Short, snappy items full of news, with a generous sprink- ling of names—important names preferred—are regarded with more favor in editorial circles than long, wordy articles. The latter are usually dropped into the waste basket. ‘The seeker after publicity should play for fre- quent, short mentions, rather than for long notices. News- paper space is valuable and crowded. ‘The novice who imagines that editors are delighted to have lengthy, free contributions to “fill up space’? would be astonished to know that many times as much good material is thrown away every day as goes into the paper. Newspaper editing is a matter of selection from a great mass of dispatches and news items from all over the world and at home. Home news, if it be news, has an advantage [ 48 ] PUBLICITY in appreciation by readers, but news is elusive and once printed is no longer news. The gist of a story should be included in the opening sentence or paragraph, and for a reason other than its attention arresting quality, which is one of the first principles of a newspaper story. Perhaps the story has been set in type, when a big news sensation suddenly comes in, necessitating cutting matter of less importance, or eliminating entirely. A contribution that rambled lengthily, with scattered facts, might be thrown out, whereas, if the first paragraph or two were complete enough to stand alone, with the rest dropped off, the chances are it might be used. Moreover, there is al- ways a demand for short items for ‘“‘fillers.” The first article should confine itself to such facts as the character of the affair, the place where it is to be held, the date and the list of names of persons concerned; if a bazaar the names of the various committees, and if a theatrical performance names of those taking part. Following announcements should build up interest and curiosity without giving away too much, that there may not be a sacrifice of novelty and surprise for the actual occasion. ‘There are always plenty of suggestions for stories in any activity wherein many persons are concerned. The greatest possible care should be taken that all names are correctly spelled and that initials are accurately set down. This is a matter of the greatest importance because nothing so offends a person as to see his name in print misspelled or ‘“W. T. Jones” set down when it should be “W.C. Jones.” In a published list of committees or per- sons actively concerned in any way, care must be taken to include every name, not omitting anyone. Photographs, especially of attractive women, are seized upon by newspapers, and published. Captions should be written plainly on paper attached to the photograph itself, but no writing should appear on the photograph print, or [ 49 ] THE BOOK OF ENTERTAINMENTS on the back of the print, since a hard lead pencil might damage the print for reproduction. In large cities the news photographers are the publicity committee’s best allies. These pictorial reporters of news events have entreé to editorial sanctums and accredited standing. They know what constitutes a good news picture and when notified of a social event will often suggest attrac- tive subjects or ‘“‘stunts’” which will be unusual enough for publication. Another feature of the desirability of calling in the news photographer—there is no expense attached to the service. The paper pays for the prints used. The photographic news service takes pictures in advance of the event, such as prominent people working on the decorations for a bazaar, amateur actors in rehearsal, any- thing that is a novelty or concerned with the activity of well known individuals. In large cities where there are several competing firms it is a mistake to allow more than two rivals to take pic- tures, for in making the rounds of the offices to sell prints, if there are too many in the field, all lose interest in pushing the photographs. It takes courage to withstand the impor- tunities of disappointed firms if the event is important, but having given the privilege to not more than two, a decided stand must be taken. The photographer who has a more or less exclusive interest will make more effort to dispose of a large number and be on hand constantly for “new stuff.” In smaller cities where the newspapers rely upon their own staff photographers and do not depend upon outside photographic services, arrangements for photographs may be made with city editors or department editors. Or, pictures may be supplied directly to the papers. Editors of the photogravure sections are always keen to secure pic- tures. This process often takes several weeks, or at least many days, and occasionally the rotogravure sections are [ 50 ] PUBLICITY printed in other cities. Thus, pictures may be used, but too late to avail advantage for the promoters. It is well to anticipate such conditions and provide papers with interest- ing pictures just as far in advance as is possible. The publicity chairman should be on hand whenever pictures are taken to see that the correct facts are given for captions to accompany prints and to prevent embarrass- ments, which might easily be avoided. ‘The chairman should make the appointments with photographers, arrange for costumes, atmospheric backgrounds, and when prominent persons, who are to be photographed, fail to keep appoint- ments, must capture others by telephone before photog- raphers become discouraged and leave. The women who are to pose must be warned, nay, restrained, from using too much make-up. Rouge being red, photographs black, making clown like spots or hollows ‘on the youngest faces. Lip sticks make the mouth hard and unnatural in expression when photographed. Large groups are not popular for reproduction, as the printed result is apt to be indistinct and unsatisfactory. Two or three figures are more successfully posed, while a single picture of a pretty girl is quickly accepted and may be widely used. In a recent theatrical production, undertaken by an or- ganization which included many celebrities, there were dozens of photographs taken of famous men in amusing make-up and poses. When the clipping bureaus sent in the drift of clippings from all over the country, it was found that the most widely published photograph was that of a pretty girl holding a little white dog. The next “best seller’? was—another pretty girl. So, in a campaign for newspaper space, while it is impor- tant to have the prominent persons photographed in every ‘ingenious pose and incongruous occupation that may be devised, yet it is wise to have some pretty girls included [ 51 ] THE BOOK OF ENTERTAINMENTS when the cameras click, for they are the royal road to the rotogravure sections. It is not that the persons whose photographs are used again and again are better looking or of higher standing in their field than others in the same group who are rarely used. Personal publicity is made in much the same manner as a snow ball rolls up. The oftener one’s photograph appears—the oftener it appears. Almost every event should have two kinds of publicity— advance notices and mention which follows the opening. Advance publicity is designed to build interest in the enter- prise, to work up enthusiasm and start the project with patronage. Publicity news, following upon the opening, is needed to make the affair successful, or if the entertainment continues for more than one performance, to sustain the interest and help the attendance on following performances. Moreover, those present enjoy reading about it afterwards. Not only must the advance publicity be planned, and every effort made to secure a proper showing, that all may become interested, and so desire to participate or attend, but at the same time, the opening performance publicity must be organized, invitations to the press representatives issued, arrangements made with photographers, etc. ‘The event will likely produce news, which needs to be collected and served to newspapers. If the advance publicity work is well done, and the enterprise is appreciated by large audi- ences, it may possibly proceed under its own news momen- tum, but the advance publicity cannot be left to chance, or it will die. | One type of advance publicity, always enjoyed and gen- erally printed, is the ‘behind the scenes” or “preparing for the event’ pictures, where the camera catches the subjects working for the cause. Society matrons and debs in over- alls with large brushes and buckets of paint, well known men with sleeves rolled up, balanced on ladders, pipes in [ 52] (Ié2 puv 7o sabvg 2ag) ‘B19qploH "Tl ‘YW pue ‘ssB11g s1e[D ‘playysarpZ Ariep ‘yoog ap Alig ‘yoyrsyulig j1oqoy VYSsIoA sajreyD ‘T9IsqeAA “LL “WH ‘xOq SUIEJUOY 1918 JYSII 0} Jd] WOIY “MOYS CZHT S1OJBAJSN]{] JO AJoI90G ay} IOF Sulsivayar s}stuo0j1ed snowey poomMispug pue poomiapuy, £q OOTTA (zo abvg aag) “MOYS [BNuUR S10} BIISNI[]T FO AJIID0G ay 10F A1dUGNS Suyuied 911g UBPULION puke }eIIegG UOs}EAA “J[aMUIOD URIq, ‘poOMIdpU_ XUIIRID ‘playusg pieMpy poomispuy) puke pooMiapuy, sq 00d PUBLICITY mouths and hammers in hand, are all good photographic copy. An example of a finely organized publicity campaign is the work done by Glenmore Davis for the recent revival of “The School for Scandal” by The Players. The cast was very distinguished. Big names followed in succession. In Mr. Davis’s first story he mentioned about one half the cast, a really fine list of names. ‘Then each day he an- nounced ‘another distinguished actor added to the cast, etc.’ and then when the names had been used he let go the sensation, that Ethel Barrymore was to play Lady Teazle. Interest was thus pyramided. Stories of other revivals, of Daly’s theatre days, of mooted points of Sheridan’s story, followed in succession. Everywhere news of the revival, news of Sheridan, of the players followed, perhaps the best piece of theatrical press work in many years, and the play was enjoyed by crowds who, in a single week, paid almost $32,000 to see it. If the entertainment is to have wide appeal, as in the case of bazaars, theatricals, lectures, exhibitions, etc. valuable aids for publicity are the small daily and weekly newspapers published in the vicinity. The editors of these publications are usually glad to run interesting stories of events and pictures, if electrotypes are furnished. A note should be enclosed giving the name and address of the chairman of the publicity committee, that further informa- tion may be supplied on request, and an offer to send tickets if the editor is interested to attend. One dependable person should be delegated to circulate window cards. ‘These will often be placed in well located windows from which posters are usually excluded if the notices are brought to the store by a person of importance, arriving in a smart motor car. Motor cars with banner announcements may be used to acquaint the public with charitable events, especially if the [ 53 ] THE BOOK OF ENTERTAINMENTS car be filled with society leaders, debutantes or popular actresses. Large decorated trucks make very spectacular advertisements,” moving slowly through the _ street. Whether it is Broadway or Main street, they attract atten- tion. A group of prominent artists, decorating a tent-like sign on a truck, went into Times Square in New York to add the finishing touches in the sight of the multitude. “But we'll be arrested for blocking traffic,” protested one of the group. ‘The publicity engineer of the stunt gazed at the speaker in astonishment. ‘‘Why, of course we will! That’s the big idea, and I’ve got news photographers and movie camera men stationed to get the picture of the mob and the arrest. It will be a knock-out.” In many cities and towns local moving picture houses may be appealed to for publicity. Lantern slides can be quickly made to announce events, and if they are not too much in competition with the picture theatre, or if the request comes from regular patrons, the slides will be shown without cost. These slides may be given more interest by including comic drawings, and a series of them can be employed. For very large undertakings the bill boards should be added as an auxiliary. So called ‘‘stands” are made up of many printed sheets, the 24 sheet being most available. Three sheets and one sheets are also very good pieces. These should be purchased from regular theatrical or show printers, as the field is a specialty in printing. Arrange- ments for posting distribution may be made with local bill posters. ‘Type displays are not expensive, but specially prepared pictures increase the cost and may not be used unless the affairs involved are important and justify the expenditure. When street cars carry front dash signs, as they do in many cities, the privilege of using these may be obtained from railroad managers, especially if the event is one that [ 54 | PUBLICITY will attract street car patronage and help the business of the lines. If an event is of major importance, and large receipts are at stake, the publicity of news columns should be supple- mented with paid advertisements in newspapers. In fact, any entertainment, appealing to the general public, for which admission is charged, and a profit hoped to be realized, should patronize the newspapers to the limit afforded. Newspapers cannot exist without support and may not be ‘‘worked’”’ for favors when no disposition is shown to reciprocate to the modest limit allowed. This is too often overlooked, and while it may not hurt a partic- ular enterprise, the free horse may not again be ridden by the same organization or group. [ 55 ] CHAPTER VI Tue TICKET PROBLEM Tickets are of value in that they make it possible to check up on attendance and cash receipts, at the same time providing patrons with a means of finding and holding seats for which they have paid. | The need for some such tally must have been recognized in very early times, because, according to legendary his- tory, there was a period before printing presses, when carved tickets of bone or ivory were employed. Indeed, certain auditors are said to have presented shells. Passes were represented by small carved skulls from which the term ‘‘dead head’’ is supposed to have originated. Practically no public function is arranged today without provision for tickets. Of course, the sale of tickets for established enterprises is an efficiently organized proposi- tion, reduced to a simple matter of exchanging money for paste boards. In the case of entertainments given by clubs, certain problems are encountered which make it necessary to take precautions to avoid discrepancies between tickets and cash when the final count is taken. While everyone has bought many tickets and it might be assumed that no object is more familiar, yet in composing the brief text some important fact is often omitted, only to be discovered when the job is received from the printer. The message on a card of admission consists of the name or nature of the function, name of the organization, the place, the date, the hour, the price and ‘‘Admit One.” If the price of the ticket includes supper in connection with [ 56 ] THE TICKET PROBLEM dancing or other entertainment, a perforated supper coupon or stub must be attached. Also, for reasons mentioned farther on, each ticket should be serially numbered, both on the ticket proper and the supper check. If the tickets are for a theatrical entertainment, concert or lecture, with a scale of prices for seats, it is a convenience to have those of each price printed in a distinguishing color, as blue, red, green, and yellow. This facilitates directing people to their places and simplifies counting up afterward. In connection with this point, the suggestion is offered that if the chairs in the auditorium or hall are unnumbered, neat number pasters may be bought at the stationer’s and stuck on the chair backs. Or, if numbered stickers are not available, they may be made from numbers taken from calendar pads. Tickets for dinners may be immediately mailed to pur- chasers if there is no reserved seating, or if the gathering is a small one where guests may find their seat locations from place cards. In large organized dinners applications for tickets, accompanied by checks or cash, should be consecutively numbered in the order of their receipt. A few days before the dinner is to be held, (allowing sufficient time for mailed tickets to be received) the dinner committee should meet and organize the seating, giving consideration to order of receipt of application, number of persons in a party, size of tables available, and special consideration due officers, directors, past officers, invited guests, and the harmonious make up of table groups. It is not always necessary to send a ticket of admission, -also bearing a table number, to the purchaser. A plan of seating is not usually completed until the guests begin to arrive. The guests may be handed a printed list with their names alphabetically arranged, with the number of their table set opposite the name. The tables will have a [ 57] THE BOOK OF ENTERTAINMENTS large directory number, making them easy to locate on entering the room. ‘These directory numbers may be cleared when the guests have been seated. For large dinners where the guests at a table may not be known to each other, a secondary list of guests, by tables, will serve to make easy introductions of members and guests seated at a table. For all non-professional affairs it is necessary to secure a large advance sale, otherwise a heavy loss may be met. The fact that the number of tickets is limited should be used to induce members to secure early accommodations. Yet this very feature of exclusiveness is a source of apprehen- sion as to whether the limited list will support the affair to the extent essential to success. In this contingency tickets should not be consigned recklessly among various members to sell. Not only does this procedure make it impossible to keep account of actual sales, but the result is too often a large number turned back unsold at the last moment. j A small number of tickets should be apportioned among the canvassers and workers, who should be urged to sell them. A check of sales made should be taken every day or two, and more tickets apportioned to those who have been successful, and others urged to produce ticket sales. In this way tickets can be brought to the buyers, and often sales are made, when otherwise these buyers might not be purchasers. When the ticket is ready at hand there may be no real excuse for not buying it, and so organized ticket distribution is very important. At the same time tickets should be checked, and money received by the committee, periodically, that the committee may know just how its ticket sale is progressing. Large blocks of tickets should not be given out. It is better to make several easy settle- ments than to get into jams over larger financial ticket complications. [ 58 ] THE TICKET PROBLEM The ticket sale should be in charge of one person, who becomes responsible for all tickets and receipts. Keeping the ticket account straight is perhaps the most important ‘and difficult task connected with the management of entertainments. A method which has been tried and found to be practical is to have every ticket numbered. A record is then kept in a bound account book, the number of each ticket sold, the name of the purchaser, and the form of payment, whether ‘check or cash. If the tickets have not been paid for, the numbers and names are entered just the same, the payment column to be filled in when money is received. This is better than keeping memorandum slips which are easily lost. In selling tickets to club members it is not always pos- sible to insist upon strictly cash transactions. Emergencies arise when the uncompromising attitude of professional ticket salesmen cannot be employed. Members telephone requesting to have tickets sent, stat- ing that a check has been or will be forwarded. Time is lim- ited and to insure delivery the tickets are mailed. Other members happen: along without their check books, and for convenience take their tickets with the promise to send pay- ment promptly. A record must be kept of all these informal transactions, for the best intentioned persons are often the most negligent, but the guardian of the tickets must protect the interest of the association he represents, and must pro- tect, too, himself. If any question arises thereafter, as to whether anyone to whom tickets were consigned did or did not use them— the answer is given, if the tickets bearing those numbers ‘were or were not turned in at the door. Numbered tickets are easily traced and accounted for in all sorts of ticket complications. With the supper check system it is impossible to have a great disparity between the number of tickets sold and the [ 59 | THE BOOK OF ENTERTAINMENTS number of persons charged for by the management. With- out this means of accounting, a wide difference has been known to occur in favor of the caterer. Not that the hotel management has deliberately padded the number, but care- less counts might have been taken. With people moving about and in the excitement of service it would be impos- sible to count accurately. Also, without the check system, it is often customary to count the number of suppers served by the number of plates prepared in the kitchen. Frequently guests have more than one portion, and this would cost the promoters of the dance double charge, whereas the manage- ment may not intend to charge for extra portions. Differences in count, too, might come from dishes pre- pared and counted in the kitchen, and not eaten. The supper check avoids controversy, and it makes the hotel or catering management equally alert to do its part to keep the account accurate. Checks should be collected at the entrance to the supper room. A strict ruling should be made that no unpaid for tickets will be reserved at the door, otherwise many cancellations may result and the chance for disposing of these tickets is perhaps lost. There are persons with a mania for resery- ing seats for all sorts of entertainments, on the chance that they might require them—persons who rarely attend the functions for which they have troubled to engage tickets. The theatre box offices have a black list of such patrons, as do the big steamship lines. If tickets are to be sold at the door—and in spite of the most determined resolutions against this, they usually are— there should be two persons on duty; one to take tickets and one to sell. Even at small affairs it is difficult for one man to cope with the situation without making mistakes. Everybody seems to come at once. Some crowd through forgetting to give up their tickets, others forget to wait for supper checks to be torn off and still others may slip [ 60 ] THE TICKET PROBLEM through without the formality of paying at all, while the ticket taker is busy making change. Ticket selling at the door should be entrusted to some level-headed member of the club, though the ticket taker may be an employee. ‘The person who sells these tickets to last-emoment arrivals must be one who knows whether or not applicants are eligible for admission, if the occasion is limited to club members and an invited list. There are always, in every group, several who, strange as it may seem, enjoy this sort of a job and who are happier in this occupation than they would be inside dancing. These are usually non-dancing husbands, dragged to social gatherings by dancing wives. Theirs is the compensation of greeting all arrivals and enjoying a busy prominence. The com- mittee should consider these members in making plans—for they not only make good workers but are grateful for something to do. ‘The more socially inclined men are not so dependable, entrusted with the task of keeping the ticket business straight. It is a wise precaution to have the book with the names of ticket buyers at hand for ready reference. ‘There are the people who have “‘left their tickets at home on the bureau” out in the suburbs. Perhaps these arrivals are not known to the ticket man and a glance at the book verifies their claim for admittance, and as other tickets are substituted a note is made of the new numbers given out. Guests, thus accommodated, should be requested to send in their tickets that they may be accounted for in the final checking up. Whether tickets should be collected before or after the visit to the coat room should be considered. This depends, of course, on the location of the entrances, coat rooms and ball rooms. ‘Tickets are often buried deep in pockets and bags, the crowds press out of the stairways and elevators anxious to get out of the jam and to dispose of cumbersome wraps. Therefore, if feasible, tickets should be collected [ 61 ] THE BOOK OF ENTERTAINMENTS at the entrance of the ball rooms, other exits being cut off. Anyone desiring to leave temporarily should be given a pass out check, to be reclaimed when re-entering. Complimentary tickets should be doled out with discre- tion by the chairman, who alone should be authorized to issue them. A strict accounting must be kept of these. Tickets are sent to city editors of various newspapers, artists who are contributing to the program, guests of honor, if any, and such persons not members of the organi- zation giving the affair who have contributed special services, and who receive no other compensation. Mu- sicians, electricians, private detectives, photographers, etc. are served with refreshments at the expense of the organi- zation, but it is not customary to provide them with tickets, the house management taking care of them, upon specific order, and adding the cost to the bill. [ 62 ] ~~ CHAPTER VII DECORATIONS Smilax by the mile and paper roses; Japanese paper lanterns and potted palms to conceal the orchestra—ah! those were the good, old, simple days when the newspapers next morning would rhapsodize that “The scene was trans- formed into a veritable Fairyland!” Whatever has become of that glossy-leafed little vine that once ran around the ‘moulding of every ceiling that looked down upon social festivities of any pretentions? And the palms that con- cealed the orchestra that was to be heard and not seen? Imagine paying a King of Jazz to bring his musical acrobats and comedians and then hiding them away! Having decided to hold the dance in the most gorgeous ballroom the city boasts—the committee looks it over to see what can be ‘“‘done”’ with it. ‘‘Awful,’” is the verdict. “Just look at those chandeliers! They will, of course, be concealed when we stretch something over that dreadful gold ceiling. Of course the place will look entirely differ- ent when we cover up those panelled walls and mirrors.” The modern party must have decorations of original and distinctive character, Just as a dramatic performance must have appropriate scenery. In planning a decorative scheme the resources and in- genuity of the members must be considered. ‘These may be relied upon to a surprising degree, for enthusiastic amateurs often achieve results more in the spirit of the occasion than a professional decorator bound to tra- ditions. The professional should be called in, however, [ 63 ] THE BOOK OF ENTERTAINMENTS if the plans call for elaborate frame work, which must be firmly anchored to walls or flooring, for he will be able to do this work without injury to the premises. Moreover, fabrics may be rented, if a quantity is required, much cheaper than they can be bought. For certain enterprises it is advisable to turn the entire work over to experts, who make an estimate of the job in advance and undertake the responsibility. For occasions such as costume parties, bazaars, etc. the committee should work out its own original ideas, and carry them out with volunteer helpers among the member- ship. The busy architect, deep in the preparation of plans and specifications for a school house or hospital, may never have been endowed with the light and airy, but perhaps among his staff of detail draughtsmen is a young man keen to give expression to a grand idea. One of the greatest pieces of decoration ever known was given to a serious minded archi- tect who had never previously been concerned with building designs except those executed in brick, stone and wood. He produced the most beautiful and colorful exposition hung with silks. It was a golden opportunity, for it is not always given to a designer to play with costly fabrics. Halls, armories, church parlors, hotel ball rooms, and other places where affairs are usually held, are often too well known in their design and color scheme to offer a thrill, and it is therefore valuable to create a new scenic atmosphere. This is not only to be desired for providing an element of surprise for those who attend, but the fame of the decorations spreads quickly, and becomes immediately one of the compelling attractions. It is generally safe to assume that an interesting plan, well conceived and carefully executed, will attract more dollars than the investment. Such decorations, too, strike a key and establish a note [ 64 ] (82l puv 21 sabvg aag) ‘spAULO pajuIed YIM uol}e1099p 100pyno ut YyduINI41y B padaryoe ‘EzET ,“1yJaq JO suUapIey [eAoY,, S.ATey Jo913g UOJdWIeYINOS sy], poomispug pue poomispuy fq OJON (96 26n¢ aag) ‘[]eaMuIOD uvaq Aq URABIeD [IWR snosas10S ev pua 19y}0 ay} Je puR “IayII0q Moye pue Jappry “J uegq Aq pajured atam siuny, Jo sdo} foor pue sje ayy woo1 ay} Fo pua suo }Y uosdmou,s, eq Aq sojouT DECORATIONS for the whole undertaking, and often when the question _of setting has been determined upon, the whole plan begins to unfold itself, while suggestions follow fast, and what has seemed to be a gigantic task shapes up in logical sequence. The result is often surprising, not for what has been accomplished, but for the ease with which a large scheme is realized. The committee, always conscious of the expense element, should be very careful to specify exactly how much money is available for decorations. No matter how little money is at hand, the appropriation can be spent with taste and appreciation. In fact, little money requires, perhaps, more skillful planning, while a prodigal expenditure may offer just as many temptations to violate good taste. Money limitations are common for architects and builders, and in setting a limit on decoration expenditures, the com- mittee may make a problem difficult, but limits of money to be spent do not make a problem impossible. Then, whena plan has been adopted the committee should concern itself in the execution, either directly, or in close association with those who are putting the plan through, so that there can be no risk of the expenditures exceeding the amount of money to be appropriated for decoration. A committee, having direct charge, can never meet a more embarrassing moment than to find that, while the attend- ance has been very large and the receipts important, no profit has been realized from the efforts because expendi- tures have exceeded bounds, and more money has been spent than was justified. It is easily possible to spend too much money. No better plan for the consideration of expenditures can be suggested than the rule of purchasing set down by a keen business man who imposed his tests against every pro- spective purchase. ‘These tests were; a, is this a worthy project? b, is it worth the price asked? c, can it be obtained [ 65 ] THE BOOK OF ENTERTAINMENTS elsewhere at a less price? d, can the effect be approximated at less cost, with no serious hurt or loss of effectiveness? e, can the proposed purchase be afforded? f, is the money available, or will funds certainly be forthcoming to pay the cost, when due? If these ordinary precautions of good purchasing judg- ment be applied to every proposed project the unworthy will fall aside, leaving the resources available to the worthy and sound projects. Side Wall Decorations A framework built of light battens, upon which a heavy jute paper may be tacked, furnishes a background upon which may be painted scenes of any desired locale, figures or decorative motifs. Windows with heavy draperies, mirrors and panelled walls are blocked out to a height of 10 or 12 feet. The strips of wood batten are brought in already cut to proper lengths, and the framework is put together while placed flat on the floor, each side to be raised when com- pleted and fastened into place by wire, fastened to window frames at the top. At the bottom, the frame work is spaced, and held from the wall by smaller wooden strips, laid on the floor, to which the lengthwise bottom frame batten is nailed. These small pieces are cut to the exact length that the framework is to stand away from the base- board of the wall. ‘This space should be sufficient for the framework to escape contact with possible side lights—or a narrow passageway behind may be left for opening and closing windows. Upright battens are spaced at intervals of 50 to 72 inches, the paper coming in these widths. The widest paper is preferred but is not always in stock and unless ordered far enough in advance it may be necessary to take what is [ 66 ] DECORATIONS available. In tacking the paper to the vertical battens, allow a quarter of an inch overlap. Tack down with smallest tacks, using enough tacks to keep the edges from bulging. The cost for paper to cover four sides of a fairly large ballroom is from $12 to $15. Jute paper is sold by the pound in various size rolls. The paint to be used on this surface is what is called “dry” color, bought by the pound at any paint store, and mixed with glue size and water. It should be thin enough to apply easily and not too thin to be “watery.” Certain colors such as yellow, blue, red, vermilion, dark green, black and white require no mixing with other color, while Orange is made from vermilion and yellow; warm green from yellow and new blue; purple from carmine red and ultra marine blue. The addition of white to any strong color makes lighter tones. Cerulean blue makes a vivid Italian sky. It should be borne in mind that these colors dry out several shades lighter than when applied. It is better to experiment with a small quantity it un- familiar with mixing colors. Yellow ochre makes good “sand” and gives a warm tone to green. There should be several ten-quart pails, one for holding clear water, another for washing brushes, still others if large quantities of particular colors are required, as in the case of a blue sky line that may extend around the entire framework, or green grass, or neutral foreground. From these larger buckets smaller quantities may be poured into small cans for the workers. This smaller quantity is de- sirable for more reasons than one—besides being convenient to hold, careless helpers may tip over the paint and the calamity is lessened by the amount of paint being limited. Quart pails may be bought for ten cents each, but even better at the same price are one quart tin cups with a handle. Several dozen of these should be purchased if there are to be many helpers. [ 67 ] THE BOOK OF ENTERTAINMENTS The tins may be easily washed out with water and this must be done before changing from one color to another. Otherwise the color gets muddy or is changed entirely. The same is true of brushes. Experienced painters will doubtless smile at such obvious suggestions, but persons not accustomed to using paints get into messes on these very points. In the rush of working novices may not stop to think, or they may not even know that dabbing a black brush into a can of white is taboo. Large, medium and small brushes should be supplied. Even crude and hurried attempts are surprisingly effec- tive and amusing, when the panorama of scenes or design is completed. While the outline should be sketched in by a person or persons with some facility in drawing, the large surfaces may be filled in by the most inexperienced helpers. If there is no artistic talent available within the organization to make the “layout,” then a scene painter may be employed to advantage. Even in smaller towns a scenic artist may be found connected with the local theatre, and his services engaged for a reasonable price. In the extremity of need a local sign painter may compose a splendid layout of a suggested idea. The mural effect just described might be more practical to use in a room other than the main ball room, if the occasion happened to be a costume dance. A smaller room nearby, where small tables are placed for serving cool drinks, is made interesting by this sort of decoration, and a more leisurely opportunity given for appreciation of the murals by the chatting groups, resting between dances. If the framework around an entire room seems too elaborate an undertaking for a small affair, the same scheme may be worked out with a series of screens, made of battens and covered with paper and decorated. The advantage of these is that they may be constructed in advance of the event, folded and set up at the last moment, [ 68 ] DECORATIONS The ball room may indeed be left quite unadorned, if the lighting is properly tricked, for modern lighting has become an important feature of decoration. Nothing spoils the spontaneity of a party like garish lights, which cause every- body to feel self conscious. ‘There is no charm of illusion. With lights shrouded in amber, rose, magenta, or blue the scene becomes at once friendly, flattering, mysterious. Squares of silk or chiffon thrown over groups of side bracket lights, chandeliers shaded with colored thin fabrics, or electric bulbs covered with colored shades, or the bulbs themselves dipped in color dye, all produce soft light- ing. An electrician will bring his own spot light and operate it for a cost of, say $15 for an evening, and spotlights, throwing various colors, make a pretty sight. Much may be done with lanterns. ‘There is always charm and romance about these swinging affairs. Even the cheap little Japanese variety, which used to help make the “Veritable Fairyland’? were delightful—until they caught fire and went up in a puff of smoke. Electric bulbs _ have made the lanterns safe to use indoors, and they may be strung around if an expert electrician is called in to do the stringing. Chinese lanterns, large, decorated, opalescent bubbles, round, square, or six-sided, have supplanted the Japanese - accordions with the candle holder. Very beautiful and exotic lanterns may be made of plain or figured silks or the new batik paper. Frames may be made of tiny strips of wood, or wire. Lanterns of futuristic design fit in Russian or Oriental scenes. For Italian or Spanish affairs lanterns made of parchment, with the edges bound with _ black or gold passepartout paper, give the effect of wrought iron or brass, and the parchment may be Manila paper, coated with shellac. These lanterns should be simple in design—preferably ‘square. They are stunning when a fine scroll design, [ 69 ] THE BOOK OF ENTERTAINMENT cut out of black paper is pasted on the parchment. For a rustic occasion “‘barn” lanterns may be glorified if frames and handles are painted in bright colors. Booths may be made either of cloth draped over a frame of thin strips of wood, fastened to a strong table or counter, or a “‘front’’ may be cut out of compo board and nailed to rough framing, a pine table or large packing cases. The compo board may be painted or decorated. Squares or Booths may be of cloth draped over light frame work oblongs of striped awning may be stretched flat above a table which is draped or painted attractively. If used indoors cords may fasten the awning to adjacent walls, or tall painted poles on standards. Out of doors the cords may be stretched to trees or poles set in the ground. These are typical Arab street “‘tents,” and are often of burlap or anything used to keep off the broiling sun. Cheesecloth was long unrivalled as the good old stand- by for festooning purposes. The price was about five cents [ 70 ] DECORATIONS a yard, but now it has gone up to about twenty cents a yard, for this material. Thin coarse white cheesecloth may still be bought at that price and dyed if anyone will take the slight trouble to do so. Voiles, silkaline and sateens are superior to cheesecloth for many purposes and not much more expensive. But it is not the quantity of material used—or the attempt to cover all the wall space that constitutes a well fa Beer onases RB. Relais ebay x LAZAR AAS wie ~ Booth fronts may be cut out of compo board and nailed to a table | decorated room. In the prodigal amount of bunting formerly used, the mind was more occupied in trying to figure out how many yards it must have taken—than the eye was pleased by the effect achieved. To alleviate the height or bleakness of an armory or convention hall, a false ceiling or canopy is the first ambi- tion of the committee on decorations. Unfortunately this is the most expensive project in the decorating field. One of silk made especially to fit may easily run into $10,000 cost. Labor for making is no small part of this expense [71] THE BOOK OF ENTERTAINMENTS and raising the ceiling in place is another feature that involves solving peculiar structural problems. Sometimes a local decorator will have in stock a canopy fitting the particular building, in which case rental charges and hang- ing might not be beyond reach. But a compromise between this extreme case and nothing at all is the use of streamers running from the center to the encircling walls. But this is a task for the expert, if the ceiling is high. A large square of fabric, low hung and fastened by cords or wires to the four corners of the walls, is enough to cut off and soften glaring center lights and break the monotony. A glorious new decorative material has come into vogue recently and has been seized upon by the most advanced of theatrical art directors because of the marvellous effects that may be obtained by its use. The stuff is glorified oil- cloth, obtainable in any color as well as in gold, silver and metal effects. One of the silver designs has the sparkling quality of sunlight on rippling water—indescribably lovely for a back drop or curtains. ‘These oilcloths (so-called, though far removed from the variety associated with kitchen use) are flexible and soft, falling into the most graceful folds when used for drapery. Even costumes are made of this material, as may be noted in the porcelain number from Artists and Models shown herewith. A stunning stage effect had silhouettes of trees cut out of compo board and covered with the shiny black oilcloth, which looks like patent leather. The possibilities for using these art oilcloths are unlimited for drapes, cut out designs, etc. What more perfect illusion could be used for an Iceland scene than shimmering white oilcloth stretched over an uneven surface with lavender lights playing over it and a herd of stuffed seals made of black or brown oil- cloth placed on the snow white drifts. Or, for a warmer atmosphere, vermilion oilcloth forming the background and [ 72 ] DECORATIONS the lights covered with vermilion, orange and yellow chif- fon cut in tattery flames. Seagreen is another color in which oilcloth is particularly effective. Black and white is a combination that can be more startling than all the colors of the rainbow. Use of the American Flag in Decoration Standards of use for the American flag have been defined in a little book issued on request by the War Department at Washington. It is no longer considered appropriate to hang the flag in festoons, or to gather the corners in bunches as decorators have done since Betsy Ross first designed the flag. Instead it is to hang free whenever shown, and is never to be used except in patriotic celebrations. A society has been formed to protect the flag from advertising and inappropriate use, and it is gathering new members con- stantly. To avoid complication and controversy the War Department’s little booklet should be obtained when flag decorations are considered. | A rough stone, stucco or plaster effect for walls or _ house fronts may be accomplished by putting a coating of glue or shellac on compo board and before it dries, sprink- ling the surface thickly with coarse sawdust. When this _ has hardened the whole surface may be painted gray, tan, or any shade called for by the plans. For Italian walls or houses soft pink, pale blue or light yellow are realistic and pleasing. _ Many persons who protest that they “‘couldn’t draw a cat if they were to be hung for it,’’ may have the skill of wizards with a pair of shears. Cloth, oilcloth or paper cut-outs appliqued on backgrounds are stunningly used in decoration. The vivid colors in flat masses may be broadly impressionistic. The simple “poster” idea is always good. Even so primitive an attempt as oblongs, squares, ovals [73 | THE BOOK OF ENTERTAINMENTS and circles of colors, placed in the right spots on neutral walls, bring results out of all proportion to the effort. Good design, arrangement and pleasing color combinations cannot fail to be impressive. When ornamental plants are used, boxwood or ever- greens are preferable to spiky leaved palms, unless the setting calls for palms. When an out-door effect and solid masses of green are desired, boxwood or privet hedge or evergreens are most satisfactory. Artificial hedges may be rented or if woods are in reach small evergreen trees and heaps of branches may be made into hedges, placed in low boxes, painted or covered with green sateen. “T’ve got a stunning idea—but of course we couldn’t do it!” sighs a member of a committee, planning an affair. “The Beach at Deauville.” This picture has been haunt- ing since a visit to the French resort a year previous. Yet, the Beach at Deauville might as well be attempted as anything else, since in decoration a certain license may be taken; an effect may be broad and merely suggestive. Nothing should be passed up that offers an opportunity for a striking scheme in favor of something that is common- place and easy. Sand and sky being two assets of this or any other beach, of course, cannot be brought in sub- stance into a ball room, but the colors of both sand and sky may be approximated by a four-foot wide band of sand colored cloth or painted paper, above which the brilliant blue of the sky extends upward about eight feet. Against the blue, white sails, painted or cut from white cloth and appliqued, cut the horizon line. Large beach parasols of apricot and white striped awning cloth, against this back- ground, give a touch of reality, especially if close to the “sand,” are placed several of the familiar little bath houses, which may be made of wood frames covered with striped awning cloth. Even Venice may be boldly attempted. Upwards from [74] DECORATIONS the floor, a water line about three feet high should be drawn and the three foot space colored to simulate water. Above the water representing a canal, a row of pastel tinted palazzos is painted, with sky above. ‘There are innumerable color prints of Venice, from which these scenes may be modelled. Around the walls at rather close inter- vals are placed gondola mooring spiles, with decorative turned tops and painted in gay colors. To break the monotony of rows of house fronts there can be introduced an open space of sky and water, and boats with bright colored sails in the distance. One side of the room might be a cafe with a wide awning of red orange Venetian sail cloth. — In consideration of any plan a list should be made of everything that the subject suggests. The practical and most obvious items may then be selected to create atmos- phere. In a search for the unusual, art magazines may furnish a hint. Russian and French publications have many color plates of great beauty. These may be found in book- shops. Theatrical magazines, reproducing modern stage settings, will suggest other possibilities. ‘There are several gorgeously illustrated pirate books which furnish plenty of Captain Kiddish environment. Museums are a Mecca for professional decorators in search of beautiful designs. Jewelers are inspired by the art of early Egyptian craftsmen. Architects, dressmakers, and other creators of designs find abundant material adapt- able to modern use, which suggests that the seeker for entertainment ideas will be rewarded by search of the same sources. In fact, there are suggestions at every hand, and it becomes a matter of elimination, and of deciding which of a thousand beautiful or novel designs is most desirable. Usually it is not necessary to go to elaborate pains to find an idea. One somehow always appears, full fledged in in the hour of need, from a clear sky. Details often need [ 75 | THE BOOK OF ENTERTAINMENTS to be looked up, and are usually to be found in museums and libraries. Even if the decorations are to consist simply of greens and flowers, there should be a design worked out in advance. Otherwise fast workers will have one spot finished, and most of the supplies used up, before slower ones get under way and the material remaining for the rest of the room only permits of a thin appearance. With everyone follow- ing his own ideas there is bound to be a hit or miss effect in any event. A sketch, no matter how crudely drawn, indicating just where everything is to be placed, should be provided and some person appointed to supervise carrying it out. When the entertainment is to be held in a hotel or other place where the calendar is usually crowded with events, the use of the ball room or assembly hall may not be avail- able until the morning of the day of the event. This demands speed in getting the decorations completed. Many volunteers should be enlisted, more even than are required, because it may be assumed that some will not appear any- way. Everything to be used in the work should be collected and delivered on the premises the day before, that the best part of the morning may not be wasted in wild scurry- ing around after hammers, tacks, brushes and other in- numerable small articles without which not a wheel can be turned. In the meantime would-be-workers stand around idle and drift away to “‘come back later when the paint gets here.”’ Perhaps they do not show up again until after luncheon. They are not to be blamed, because they may have given up valuable time to be on hand early. Nothing is more aggravating than to keep an appointment only to find that coming later would have served just as well. When belated proceedings do get under way everybody is cross and work has to be rushed, plans simplified, many features perhaps [ 76 ] DECORATIONS eliminated, and when the task is finished everyone is too worried and too tired to have enthusiasm for the eve- ning. This may all be avoided by having things start with snap, with everything needed at hand and with enough per- sons engaged to come so that the tax upon any one indi- vidual worker is not too great. It is advisable to employ one ‘“‘handy”’ man, experienced in ladder climbing and other useful arts. He will have practical experience of how many things may be accom- plished which suddenly appear to be impossible to the volunteers. There may be an employee of the place who might welcome an opportunity to make a few extra dollars, and the management is usually obliging in loaning his services. Fire regulations are important to take up with the “management of the premises. Just how strict rulings may be depends upon the size of the town or city, and upon particular buildings. The subject should be investigated when plans are being made. Decorations may be fire- ‘proofed by a preparation sold for the purpose, and in many places there are firms which do this for a nominal charge. This item should never be left till the last moment. Outdoor decorations for bazaars, etc. which extend over a period of several days, should be planned, with the pos- sibilities of rain and bad weather in mind. Instead of compo board and paper, and the use of water color paints, canvas and oil paints should be substituted. Frame work must be of stronger wood than the thin battens permitted for interior effects, as these might be blown away by strong winds. Many gay fabrics which a shower would cause to “run,” or a brilliant sun quickly fade, may be replaced with awning cloths, fancy oilcloths or painted burlaps. Iron tables and chairs are to be preferred to wooden ones if possible, as the latter dry out slowly following rains. Grass and trees, of course, make a natural decoration in [77 ] THE BOOK OF ENTERTAINMENTS themselves and with lanterns used in quantities no other decorations are necessary for an evening lawn féte. In making artificial flowers for decorating purposes the Futuristic flowers of brilliant oil cloth or other gay colored material | [78 | DECORATIONS object is effect, not verity. The time and effort consumed in puttering over a flower that is perfect at close range is largely wasted when the festoons are in place. Futuristic flowers, huge in size and exaggerated in color, are not designed to blush unseen and certainly minimize the labor of the Burbanks who create blossoms out of cloth, cardboard, wire, crepe paper, the paste pot and shears. Made flat and fastened to a green cloth background, vines may be worked in and allowed to trail down at uneven lengths around the wall. Large cardboard discs are covered with cloth, art oilcloth or painted in brilliant colors, and in the center a round spot of black or contrasting De: The assembling of a futuristic flower color. Dozens of these “flowers”? may be made in an incredibly short time, ranging in size from a dinner plate to a sunshade. Several sizes are most effective. These flowers may be cut in various shapes if desired and time permits; square petals, rounded petals and combinations. Lilies may be made of white crepe paper, white oilcloth orcambric. A length of the material is folded and slashed for the petals, the uncut edge puckered and secured with ‘wire or thread and covered with green. ‘These may be mounted on a long green stem with leaves. Cotton crepe or cambric makes splendid poppies. Morning glory vines are easily made. For the vine flexible wire is covered with green crepe paper. ‘The ‘flowers are made of tubes of paper, with the grain running ‘the long way, gathered tightly in the fingers, at one end : [79] THE BOOK OF ENTERTAINMENTS eS AAAS EEA TT TCU ASAT NOPE ITIRACY EWROSTINTOSUTSSINM HAY Me Sm a Ta fastened with very fine wire, the other end stretched out and rolled over. A small calyx of green is added to the gathered end and fastened to the long vine. Leaves are cut heart-shaped and pasted on wire, through the center— two thicknesses of paper, one each side of the wire, make them firmer. To stiffen cambric flowers a coat of white shellac not only accomplishes this, but gives a fragile transparent effect. (Figured challis, by the way, when treated to a couple of coats of shellac, looks like painted parchment and is used for lamp shades. The background may be painted out with opaque enamel paint, first applying shellac.) Dead branches furnish a foundation for apple and peach blossom boughs. Bits of pink or white and pink crepe paper are puckered into shape and tied on. Leaves are made in the same manner. To make stems, cut narrow strips of the fine grade of crepe paper with the grain running across. ‘Twist the end of the strip to the top of the wire; then, hold- ing the strip and the wire in the left hand, twirl the wire between the thumb and forefinger of the right hand, at the same time guiding the strip as it wraps itself around the wire. The strip should be slanted down obliquely and stretched as it is wound. Little paper figurines start with a wire covered in the above manner of flesh pink erepe paper. For South Sea Islanders a dark brown paper is used. The wire should be about 14 inches long, then a twisted loop is made to form a foundation for the head. Another piece of wound wire, eight inches long, is twisted once around the loop at the top, forming arms. A strip of paper about one and a half inches wide is then wound around and around the “head”? loop, a little library paste dabbed on, and the final layer of paper smoothed carefully, the whole being [ 80 ] DECORATIONS pressed into shape. The long end of paper is then twisted under the arm wires, and back and forth until the wire is well covered, and then the rest of the body is made in the same fashion. The body should be comparatively short as the smart effect of the figures depends on the long slim legs. To dress, start with the head. A narrow strip of crepe paper is twisted around the top of the head which is moistened with paste, a tiny bit of which may be applied to the under ‘e) ~ Paper figurines start with wire covered with crepe paper side of the paper as it is wound, the end also being secured with paste. Ballet skirts are made with several thicknesses of paper, puckered around the lower part of the body, to which a dab of paste has been applied. Another strip of narrow paper wound around the upper edge of the skirt is extended upwards to form a bodice. Since every woman is more or less adept at working in crepe paper it is unnecessary to describe various ways different types may be made. But some effects which work Out simply are shown in accompanying illustrations. These figures make attractive place cards when placed on small white cardboard bases. ‘To mount, a small hole is punched in the center of the card, one wire passed [ 81 ] THE BOOK OF ENTERTAINMENTS through, twisted and pressed flat against the cardboard and the area surrounding the wire covered with glue over which a piece of white paper is placed and, until dry, held firmly with rubber bands. Mounted on match boxes, the top of the box is covered with glue and the card held to this with rubber bands until dry. [ 82 ] (‘09 abvd aag) ‘spivd-aovid jngosn pue Suisnwue 31% sdxoq Yyo}eul UO pajyuUNow pue 1aded uMOIq Jo apeW sidapURIST vag YINOS Id B usrvley Aq OJOUd (#2. puv [8 sabvd aag) ‘slzezeq je ayes Apeai puy jaded pai0joo jYsIIq UI passaip saulInsy assay y IO[[TH B@ usielaTy Aq oO CHAPTER VIII CosTUME DANCES “You don’t mean to tell me you aren’t going to the ball!” exclaimed Cinderella’s fairy godmother, who had popped in on that famous evening in history when the first masquerade ball was to take place. “Nope,” admitted Miss Cinderella. ““Weren’t you invited ?”’ demanded the caller, indignantly. “Oh, yes, of course,” yawned her young friend. ‘But, I’m fed up on dances. I always have a stupid time.” ‘‘That’s because you look so bored and grouchy you scare off partners,” said the old woman. ‘Then I’m better off here by my nice cosy fire!” grinned Cinderella. ‘“‘As the King and Queen are giving this dance it’s bound to be stiff and formal.” ‘But it isn’t!’’ declared Mrs. Witch. ‘I guess you didn’t read your invitation very carefully, or you would realize that this is something brand new in parties. You see even the King and Queen wanted to have a good time for a change so they called in several of us prominent magicians _ to think up some sort of an affair that would be fun. For the evening they didn’t want to be King and Queen, but just mix around and forget about it. Well, that was simple enough to arrange. We told them to let everybody, including themselves, come as somebody else in fancy costume—a ‘masquerade’ we decided to call it— and they’d be surprised what a good time would just happen.” “What is the Queen going as?” asked Cinderella, grow- ing curious. [ 83 ] THE BOOK OF ENTERTAINMENTS “‘She’s going to the ball disguised as a beggar girl and the King is going as a jester and his jester is going as a king. I’m telling you it will be a riot!” “Well, it’s too late now for me to get up a costume,’’ was Cinderella’s final argument against going. “T’ll prophesy right now that lots of folks, centuries hence, are going to pull that same line,” snickered Mrs. Witch. ‘But I’m always going to be right on hand to help ’em out and see that they go at the last moment. They won’t know I’m around, of course, but since | am in a way responsible for these fancy dress balls, I’m going to put all my magic into the success of every one of them from now on. Now about your costume, my dear!” ‘‘There’s not a thing in the house to make one of,” said Cinderella, impatiently. ‘‘My flapper sisters have used every- thing. ‘They have fussed for a couple of months over theirs and they even insisted on making me a costume. When I refused point blank to go they let another girl wear it. And how silly they all looked when they started off!” ‘‘How history is going to misrepresent those sweet little sisters of yours,” sighed Mrs. Witch. ‘Those gauzy window curtains and this table scarf will do nicely for a costume—get me the scissors and some pins now—and stand up here—stop wiggling around—”’ | It did seem like magic the way that clever woman dolled up Cinderella, which is no doubt the way that exaggerated story started about the mice and pumpkin. She did turn Cinderella, who was a nice, plain, sensible girl no one would notice twice, into quite a fascinating little vamp. Now Cinderella, who had never had any illusions about her looks, gazed into the mirror and got quite a new idea of herself rigged up like Cleopatra or Carmen or whoever it was—and went off to the ball full of pep and had the time of her life. [ 84 ] COSTUME DANCES A certain Mr. Albert Jones, who was in the real estate business, was there disguised as a prince and he fell very hard for Cinderella, though he had known her for years and never noticed her before, as a matter of fact. More- over, Cinderella wondered why she had never realized what a fascinating person Al Jones really was. So ever since that first fancy dress ball the same sort of magic that made Cinderella lose her grouch (tradition has made it a slipper) and caused Mr. Jones to feel and act like a prince, has never failed to make costume parties gayer and more enjoyable than all others. At no other form of entertainment do the guests have the same opportunity of being so much a part of the oc- casion, contributing as they do to the decorative ensemble and bringing with them a carnival spirit. They have stepped out of prosaic, every-day roles and assumed char- acters amusing and romantic. For some odd reason most people are less self conscious in even the most grotesque make-up than they are in conventional evening dress. For large parties, especially club gatherings, fancy dress guarantees that things will start with a bang and keep going. There is nothing like one of these colorful frolics to bridge the years between the youngsters and the older crowd, while new members find it easier to get acquainted in the friendly make-believe atmosphere than at more con- ventional affairs. All are benefited by donning fancy costumes, now and then, if only to make the thrilling dis- covery that they aren't really as old as they thought they were | Many, who do not dance, will attend a costume ball since it is interesting as a spectacle. Being in costume makes them feel a part of the gay assembly, which is not the case sitting around the walls at conventional dances. For those who do not dance, adjacent rooms with small tables are centers of attraction. [ 85 ] THE BOOK OF ENTERTAINMENTS For the diversion too, of the non-dancers, always a considerable number in any organization, various stunts may be introduced during the evening. These features should be short and not held in the main ball room, as many of the dancers resent intrusion of entertainment acts which would hold up dancing. Modern costume affairs owe much of their present day originality and beauty to the artists, who, rebelling at the tawdry, uncomfortable creations found at the costumers, began to design and make their own. A new interest was given the old fashioned masquerade ball in this departure from the stereotyped list of Carmens and toreadors, Pierrots and Columbines, Follies and Harlequins. Domi- noes, which once made these parties look like a carbon copy of a Ku Klux meeting, were tabooed. It is only fair to professional costumers to say that they have improved their wares as the demand grew for more comfortable and more original fancy dress. No longer do they pass out heavy suits of armor, velvets with tarnished gold galoon, over-decorated robes of royalty trimmed with erminized cat fur, satins clumsy with linings and whale- bone, topped off with headdresses which seemed made of cement. With the new note in costumes came the idea of making the whole affair conform to some particular period, locale or fanciful scheme. Far from limiting the range of cos- tumes in variety, a specific plan or suggestion seems to inspire unlimited originality. With something definite to start on the imagination is stimulated. Of course, not every one conforms to the atmospheric spirit of each affair, but a large enough number do so to establish the desired effect. Many persons get one good costume and wear it year after year. Indeed, everyone who goes to costume parties,—or is liable to go—should have such an outfit for emergencies. Yet, whenever it is possible to get up a new [ 86 ] COSTUME DANCES costume for each special occasion it is well worth a little trouble, as any fancy dress fan will testify. With costumes conforming more and more to a motif came the introduction of appropriate decorations to set off and accentuate them. To create an illusion of remote and picturesque lands is not so difficult as it may sound. For instance, the enchanting South Sea Isles on a moon- lit night. This might have been done on an expensive and elaborate scale and have fallen far short of the alto- gether delightful impression achieved so simply by the Fakirs Society of New York,—soft bluish lights shining on the ball room floor, while on the vast ceiling were the shadows of innumerable palms. ‘The palm shadows, which mystified many, were produced by a silhouette design of palm leaves cut in thin sheet metal and fastened in front of the colored gelatine slides of several concealed spot lights turned ceilingward. The effect was of a great canopy of tropical foliage in shadow. The magic of gently rustling palms remains with everyone who attended that dance. In the center of the ball room was a Tahitian temple, around the base of _which ran a ledge of imitation rock, made of boards covered with gray cloth. Against this background how authentic seemed the missionaries, the shipwrecked sailors, the beach- -combers, the native girls and all the other strange deni- zens of the South Sea Isles who had dropped down to rest between dances. The same ball room became Russian the next year when the Fakirs made a colorful frieze around the gallery, a strip of cloth painted in primitive colors, the design being repeated geometrical flowers. ‘This is an effective way to give a well known room a different character. There is advantage in this, not only for the beautiful effects which may be obtained, but also for the charm and surprising newness of a room too well known by the guests. [ 87 ] THE BOOK OF ENTERTAINMENTS To change the character of a room need not be an ex- pensive job. Large masses of strong colors may be grouped to accomplish this effect. Special designs may be drawn and stencils made, to repeat the decoration innumerable times. There is value in repetition. Very good stock designs are often picked up in art stores, or stencils may be made by drawing designs on heavy Manila paper, carefully cutting the exposed parts and varnishing it with several coats until the paper is protected. When the varnish is thor- oughly dry the stencil may be applied and the colors ‘“‘tamped”’ over the openings in the stencil with a stiff bristle brush. Dry colors, sometimes called coach colors, mixed with water and glue size, are used. Another artist organization of New York, the Kit Kat Klub, has given famous costume dances, called “Skelters”’ for many years. ‘he feature of these affairs is a pageant, sometimes grotesque, sometimes beautiful, but always origi- nal and elaborate. The Kit Kat rules for costumes are strictly enforced by a committee at the door. These censors inspect each costume and if it is not a sincere attempt the wearer is denied admittance. As a consequence, ambitious and unusual creations distinguish the annual Skelters of the Kit Kats. Mythology and legends are favorite themes of this society, offering as they do splendid material for spectacular and imaginative pageants. ‘“‘A Trip to the Moon” once brought out a weird collection of fantastic beings, while ‘“‘Neptune’s Ball’? was attended by sea gods, mermaids, sea horses, lobsters, shipwrecked sailors, jelly fish, water nymphs, sea gulls and even several light houses, the latter made of card board with electric bulbs lighting the windows, - that moved around the dance floor, sometimes dancing most appropriately with gray chiffon “fogs.” The light houses flashed powerful beams and out of the ‘‘fogs” twinkled tiny gleams from pocket batteries. ; [ 88 ] COSTUME DANCES _ The annual costume dance of the Society of Illustrators also has a special theme which is carried out with finesse. This makes it possible to look back over dances of the past and remember each one for its outstanding distinction. One memorable occasion, still vivid in the memory of all who attended it, was in 1915 at the Hotel Brevoort, that quaint old landmark on lower Fifth Avenue, which once entertained Edward, Prince of Wales. This spot is haunted by the ghosts of more good times, perhaps, than any other in New York, since the passing of Delmonico’s. What a natural setting and perfect atmosphere the interior of the hotel made for the costumes which covered the per- iod from 1850-1874! | When the invitations to this party were received the sentiment was that the costumes would be unattractive, but to everyone’s surprise, the effect was stunning. Never have all the men looked so fascinating as in those plum colored or buff or blue coats, the light Beaver hats and stocks and frills, while the feminine portion of the spectacle was altogether charming in bustles, hoops, silly little hats, demure mitts and all the other frivolous fashions of the days when “women were women’’ and the “great open spaces” didn’t matter so much. The announcement was quite in character with the affair —a quaint old decorative type enclosed in a valentine-ish pink border, made an old fashioned cover, while inside the folder was all the necessary information, suggestions for costumes, designed to put everyone in the spirit of the affair. To quote it complete will give a perfect picture of the ball as it materialized, as well an an excellent ex- ample of a costume party invitation or announcement: “To the Members of the Society of Illustrators and Their Intimate Friends! “The Annual Costume Ball of the Society will be held at 9:30 o’clock on Friday evening, January twenty second, . [ 89 ] THE BOOK OF ENTERTAINMENTS 1915, at the Hotel Brevoort, Fifth Avenue and Eighth Street, New York. The entire hotel, including its ball at the BREVOORT, Jan. 22, under the auspices of Tae Society or ILLUSTRATORS An announcement in character with the affair room, dining rooms and corridors, will be given over to the Illustrators and their guests for this evening. [ 90 ] COSTUME DANCES ‘The Brevoort is almost the last of New York’s historic hotels, and the only one which preserves the atmosphere of simple exclusiveness which characterized it when the grandfathers of the people now past middle life were young in their love for gay suppers as well as in years. It is planned, therefore, to people the old rooms and corridors with a gathering garbed as nearly as possible in the costumes of the various periods of fashion through which the hotel has passed, and to reproduce many of the famous characters of earlier days who were frequenters of the place. The period which it is desired to cover lies approximately be- tween the years 1850 and 1874. “For the sake of fun and variety, it has been decided that costumes need not all conform to those worn by the fashionables of that period only. In fact, it is desired that there should be representatives of the Fnblee walks of life as well; for example, the old time lamplighters, policemen, cab drivers, et cetera. Leading theatrical folk of our father’s and grandfather’s times, as well as individual politicians, soldiers, financiers and the like, are also in character. Gaiety would be promoted, no doubt, by a generous amount of burlesquing. “As an indication of the wide range of costume and character possibilities, the following suggestions may be found helpful; Jay Gould, Bill Tweed, Jim Fisk, Ben Butler, P. T. Barnum, Billie Florence, Tony Pastor, Gen- eral Winfield Scott, John T. Raymond, Colonel Sellers, Edwin Booth, E. H. Sothern (Lord Dundreary), George L. Fox (Humpty Dumpty), Patti, Bernhardt, and Fanny Davenport. All of these, and many others, figured largely in the life of the old Brevoort. Characters from ‘“The Black Crook” and ballet dancers of the crinoline period, militiamen in uniforms of the ’50’s and ’60’s, foreign dip- lomats, old fashioned cigar-store statues—all will be in keeping, as will costumes of the hoopskirt and pantalette [91 ] THE BOOK OF ENTERTAINMENTS era and the even more curious ones of the early ’70’s— about the time of Captain Jinks of the Horse Marines. “Details of practically all the costumes in vogue during the period to be reviewed can be found in bound volumes of ‘‘Harper’s Weekly” and its illustrated contemporaries, on file in the New York Public Library. Those wishing to burlesque the old styles will find a rich mine of them in back files of ‘‘Punch.”’ “Attendance at the ball will be limited to two hundred and fifty. Only those in costume will be admitted. No tickets will be sold at the hotel, and applications previously made, but unaccompanied by funds, cannot be considered.” The Kaleidoscopic Ball was given the year futuristic art broke out. The Illustrators proved the old Brevoort not only had a past but could rise to the Futuristic. The ball room walls were covered with a gorgeously dizzy riot of lines, curves and color gone mad. ‘The costumes were equally wild. Three years ago the Society of Illustrators needed a larger area for the annual costume dance and Delmonico’s was selected because of its atmosphere and traditions. The famous old restaurant proved an ideal place for these affairs. The first one was called ‘‘So This is Paris!” The large ball room on the second floor was used for dancing and the smaller ball room on the Fifth avenue side, long and rather narrow, was transformed into the Café de la Paix and a bit of the famous boulevard it graces. Sitting at the small iron tables, on little iron chairs, painted green, under the striped awning, and gazing around, it seemed as if one were actually in that most popular of all spots in Paris—not only for the scenic illusions the Illustrators had accomplished—but also because one saw so many famous Americans. There were, too, the boulevard kiosks covered with posters, gayer than even Paris ever dreamed, each painted by a member of the society. [ 92 ] COSTUME DANCES The artists had never put more inspiration into illus- trative and magazine masterpieces, perhaps, than went into these beautiful, and amusing burlesques of French poster art, made to amuse members and their guests for a single evening. The kiosks were built of thin strips of lath and compo board, and painted, with the posters tacked on the six sides. On top of each kiosk was a large red rubber ball, eight or ten inches in diameter, a brilliant and colorful spot. The walls were covered with posters, typically French in tempo, and a striped awning extended over the tables on one side of the room. The costumes ranged from a workman in blue blouse and baggy trousers to belles Parisiennes, artists in smocks and velvet tams, gendarmes, cab drivers, boulevardiers, soldiers, flower girls, midinettes, French maids, apaches, types from Montmartre, French peasants, picturesque folk from the provinces, and natives of the French colonies. From the gay, sophisticated atmosphere of Paris one year to “Circus Day in Main Street” the next, is a far cry, but the Illustrators proved that Main street is not as dull as it is painted—especially when the circus is in town. The artists actually painted Main street in a great mural around the four sides of a long ball room, and a jolly Main street it was. Every familiar structure was there and looked about as large as the original does when one goes back from the Big City. Each artist selected his own building and gave himself a nice little business with his name above the store door. “John La Gatta, Florist” had for a neighbor Lejaren a Hiller, who made a cheerful spot of the Undertaker’s Parlor, while Herb Roth’s ‘Gilded Lily Saloon” was in the cartoonist’s happiest vein. ‘The clothing store and the drug store were vividly real, while the fire engine house, painted by the students of the Society of Illustrators’ School for Wounded Soldiers, was so reminiscent to all [ 93 ] THE BOOK OF ENTERTAINMENTS who had lived in a small town that it invariably had a group around it, looking at the old fashioned two-wheeled hose cart and hand drawn “‘break-her-down”’ engine. At one end of the room was the inevitable American House, in front of which stood a long table or bar where circus lemonade and other soft drinks were served. Small tables filled the center of this room. The Ringling Circus was in town fortunately and many of the circus celebrities attended as invited guests. The Town Hall, of colonial design, set back from the street, with flanking green lawn, was a beautiful picture with humorous touches, painted by Edward Penfield. Then there was the Post Office, Opr’y House, the town cobbler’s little shanty, the barber shop with peppermint candy stick sign and through the door one saw a customer being talked to death while having his throat cut. The blacksmith’s shop was an attractive social center and the railroad station, too, with its wide platform where natives stand to see ‘“‘Number Six’? come thundering in, hesitate and go on. This was the creation of John E. Sheridan, while C. D. Williams painted the ornate lunch cart. Fifty illustrators, working a few hours, accomplished what had seemed to be an impossible undertaking. Gay colored circus day balloons were sold by a balloon man and when the Wild Man of Borneo gave his war cry, with a giant, midgets, real equestrienne, ring master in costume and famous clowns romping about, “Circus Day in Main Street” left nothing to the imagination. Of course a circus is not always at hand to add to the gaiety of parties, but there is usually something available everywhere that may be embroidered into plans, or plans may be adapted to fit some opportunity, or attraction that happens along. In the instance of ‘Circus Day in Main Street” a popular feature was the ease with which anyone could get up a costume. [ 94 ] (‘66 2bvd aag) ‘UMO} UT SI SNd11d 94} Udy Ajjetoadsa ‘[[np jou st—pajured uayM—jdoI1}g Ue, Jey} padoid s1ojzesysNI]{] Fo AJIII0G aT, uosduoyy, [Neg Aq 0VOUd (#6 abvd aag) ‘1O[IBq [elosuoy, sy} pajured pypryoreyq prey[iAA pue ‘uepliayg “q uYyof Fo UoTVBa19 9y} SBA uoneIS pRorIey ayy Greg Yyouny oy) Jo aoatdiajseM ev ApPeU SWIETI[IM “GC ‘“O [RAN ,J9911G Ure, 94L uosdwmoyy, Neg £q 0J0Ud COSTUME DANCES i J) AGT, | . ok 4: > Ly eo ne 4 w sf, ; G is A % Wig, 2 Y, DL (ALG Z ®. - " Ea!) FA tr A } op) iA ae, = a rR) . i : os Boca nN . ONO IS] > \ a > Se mi. \ re Be SS seq, Ne ieN' | Zee = We ee \ SN %: SYS NES Be SS A — Ss Ny - ONT Ew ve Uae Dg hss stt tN NBS ¢ = . y S ) > * A ‘ 2 ~ s \ \\ ur x < = ~~. AV Ss wastes, \\ Thee ron Y \H EN S bei ES \\ ‘ SS i NY << eee Sits : cid 3 ae Tro tka eZ c GET YOUR TICKETS BEFORE THE SEVENTEENTH OR YOU'LL BE THE FELLER! LAST CALL SOCIETY OF ILLUSTRATORS ANNUAL COSTUME DANCE Wednesday, April roth DELMONICO’S from NINE P.M. CIRCUS DAY IN MAIN STREET EDWARD PENFIELD + + MATOR OF MAIN STREET ONLY GUESTS IN COSTUME ADMITTED. COME AS «SMALL TOWN” OR CIRCUS CHARACTERS Tickets § Dollars per person (including Supper ), no extras, and tax exempt NO TICKETS SOLD AT THE DOOR. NUMBER LIMITED. ACT QUICK NET PROCEEDS DEVOTED TO SOCIETY OF ILLUSTRATORS’ SCHOOL FOR DISABLED SOLDIERS MAIL CHECKS TODAY TO SOCIETY OF ILLUSTRATORS, ART CENTER, 65 EAST FIFTY-SIXTH STREET, NEW YORK OBsicn SY BSRICCcS PLATE BY POWERS PHOTO ENGRAVING COMPANY PRINTED BY TRE MARCHGANES CRESS An irresistible final notice [ 95 ] THE BOOK OF ENTERTAINMENTS Such a loophole always should be provided or many people will stay away from costume affairs if too much effort is required to participate. Overalls and a straw hat, a linen duster and some chin whiskers, a gingham dress and sunbonnet, made perfectly good costumes for those who come as ‘‘Main Streeters.”’ There were bound to be many circus costumes to balance the natives, and so a variety of types was included. Three-card monte men and pick-pockets, stake drivers, clowns, performers, made such a big list to select from that getting up a costume was little trouble. A wide choice and ease of preparation should always be considered in planning a costume affair. “The Desert Dance,” which was the 1923 edition of the Society of Illustrators’ annual costume party, had the Sa- hara for a locale. Here again, allowance was made for those who have a costume complex. ‘Tourists were consid- ered to be quite in the picture and any man could secure a pith helmet, a pair of white trousers and a monocle. Any woman, deciding to go at the last moment, could get into riding clothes, or a white gown and hat, and sling a Kodak over her shoulder and get by. The same room that had been turned into Main street the year before, was now a colorful riot of burning sands, vivid sky, camel caravans, wild riding sheiks on Arabian steeds, mosques and walled towns, desert women, water carriers, the pyramids and, of course, the Sphinx. More murals were painted in the supper room below. At one end of the room the walls and roof tops of ‘Tunis, and at the other a gorgeous camel caravan painted by Dean Cornwell, President of the Society of Illustrators, a huge replica in full color of one of his famous illustrations. The large ball room, given over to dancing, was deco- rated to represent the interior of a sheik’s tent. ‘The walls were hung with colorful fabrics, the side lights were dimmed by squares of thin silk thrown over the glass shades and [ 96 ] COSTUME DANCES hanging down in points. At one end of the room were Oriental rugs, a throne and piles of large pillows. These gorgeous trappings were loaned by a theatrical manager, being properties from several spectacular Oriental pro- ductions, but enough atmospheric odds and ends may usually be borrowed from a number of sources. Mummy cases and plaster and wooden sphinxes were placed in odd corners, wherever an atmospheric touch was needed. ‘The square hallway between the ball room and the room of small tables was the ‘‘Market Place.” A striped awning stretched from one wall to the stairs opposite and little booths, gaily decorated, were used merely for local color. The costumes were magnificent. It was astonishing how many genuine Arab robes and head dresses the occasion brought out. Many of the artists had recently returned from the romantic country bringing costumes complete to the last detail. There were many lions in sheik’s clothing and the addition of beards made it difficult for friends to recognize one another. When a famous dancer did an Oriental dance in the center of the ball room, in colored spot lights, and the six hundred Arabs and tourists sat in a circle on the floor, it was a gorgeous picture. Some feature to bring everyone together once during the evening in a grand ensemble should always be arranged, for in that way an impromtu tableau arranges itself that everyone remembers more vividly than moving dancers and shifting groups. The annual balls given in New York by the Beaux Arts Architects transform enormous high ceilinged ball rooms and galleries into rich colorful spectacles, in which luxury of color blends with magnificent proportions. ‘The archi- tects are resourceful in producing stupenduous effects, and when the talents of the craft in New York combine to make one splendid setting the achievement is magnificent. ‘Thus the architects have annually provided a distinguished [ 97 ] THH BOOK OF ENTERTAINMENTS picture for New York society, and the guests have always included representatives of many social groups. One of the most gorgeous balls held by the Beaux Arts Architects was that given at the Hotel Astor, titled “Ball of the Gods,” featured with a pageant, with the gods and goddesses of India, Egypt and Greece participating in a trilogy. No subject could be selected which offers so great an opportunity for .splendid effects as using the immortal gods and their satellites as a basic idea. While almost any period or country far enough remote from every day commonplaces offers an opportunity for a costume party, some are to be avoided for one reason or another. Nothing of course could be more charming than a Colonial ball, but white wigs are expensive to buy and in many towns and smaller cities could not be rented in numbers. Many men of Chippendale architecture could not be induced to wear knee breeches. Hoop skirts, too, are scarce and such costumes are difficult and expensive to make. ‘There would be no alternative costumes that would not be incongruous. Many “period” costumes are heavy and elaborate, so the romantic past is being avoided, in favor of the modern but romantic corners of the earth. France suggests not only the various phases of Paris, from the Boulevards to Montmartre, but picturesque Brit- tany, Normandy, Picardy, the Riviera and Deauville. Italy, the land of the Fiesta, may always be depended upon to inspire a colorful array of costumes and a happy atmos- phere. China and Japan never lose their novelty because. there is so much about them both that is mysterious and beautiful. A ‘Japanese Prints” Ball has doubtless never been done, but what possibilities there are in the idea ?— everyone representing a figure in a Japanese print, the ball room decorated with great screens of gold paper, or great panels of plain rice paper on the walls—living Japanese or Chinese prints would thus be made when Mandarins, [ 98 ] COSTUME DANCES coolies, Manchu ladies, sing-song girls, Chinese actors with weird painted faces, stood against the background. Dancing might be stopped long enough to permit posing of groups, and prizes might be offered for the most effective living print. | _ Spain, India, Persia, Turkey and Arabia are also good costume countries. Illustrated books on travel, and the magazines Travel and National Geographic, contain fine pictures of far off places suggesting many locales for costume parties. It is a mistake to use an idea, however clever, known only to a few and not universal. The newspapers are therefore worth watching for suggestions reflecting as they do popu- lar thought and tendencies. Today’s paper may contain a news item introducing a subject which will long continue in the public mind. Almost everyone has attended a small costume party where the guests dressed as children, and such a party has yet to be given that was not a hilarious success. For a large ball this is not altogether practical, but along the same line of juvenile inspiration is a “‘Noah’s Ark Ball,” with painted mural decorations of burlesqued animals, houses and trees. Or, again, with the present craze for character and art dolls a “‘Doll’s Ball’ would be amusing. The decorations for this occasion might be the gaily painted houses of toyland. While the guests would be expected to come as dolls, almost any fancy costume would fit into this mise-en-scene. “Suppressed Desires’? formed the basis for a sophisti- cated party where guests arrived typifying the things they had always longed to be. Now there may be nothing inherently humorous about a chorus girl, but when a sedate business man—a pillar in the church, a confidante of half the town—suddenly appears bedizened as the ingenue from “The Pink Slip” the party is bound to start with a shout. [ 99 | THE BOOK OF ENTERTAINMENTS Once a large group starts laughing the seal of approval is firmly fixed. Pirates! The Spanish Main! Pieces of Eight! Gal- leons! Black Flags with Skulls and Cross Bones! Desert Islands! Surf Swept Reefs! Caves! ‘Treasure Chests! Maps (burlesqued) of Hidden Loot! Could a ‘‘Jolly Roger Ball” fail to thrill the imagination? Who wouldn’t adore being a pirate for just one evening? Guests would ‘‘Walk the Plank” to get in. What matter if the scenery be but “‘a painted ship on a painted sea,” and that the body hanging from the yard arm or gibbet be merely a dummy? The rollicking atmosphere would be reproduced to show a pirate’s life a picnic from “Yo, ho, ho!” to a bottle of ginger ale. The pirate party also suggests a way to circumnavigate those persons who come without fancy costumes and who for one reason or another gain admission. In spite of all efforts on the part of the committee to enforce the rules, there are invariably a few exceptions which have to be made. At a pirate gathering they could be quickly converted into “‘dead men.’ Shrouds of black cheese cloth, decorated with skull and cross bones could be made in advance for trifling cost and sold at the coat room for such emergency visitors as had failed to arrive with costume. There is probably no question that arouses such criti- cism of a costume party as the presence on the floor of persons in evening clothes—especially men. ‘The line be- tween a woman’s evening and fancy dress is not so sharply defined. It is unfair to the majority who make the effort to appear in good costumes, and so contribute to the color- ful gaiety of the evening, to find that a few are privileged to enjoy the party without attempting to conform to its scheme. Taken to task for allowing it the committee wearily explains the reasons why it permitted exceptions. Two of the black garbed conventional figures are private [ 100 ] / COSTUME DANCES detectives, others are newspaper men covering the event, and so on. However, it is impossible to go about explaining to everyone why exceptions were made in individual cases, so it is well worth while, if possible, to have a few extra costumes, however simple they may be, on hand in the dressing rooms. These may be arranged for with a costumer and a small charge made for their use by the wearer. Or they may be colorful strips of fabrics, for turbans and flowing robes, held in place with safety pins. Of course, this is, in a way, encouraging the negligent to come without fancy costumes and pampering them unduly, but on the other hand there seems to be no other method of dealing with the problem. The practice of charging an extra price penalty for ad- mission in evening clothes does not work successfully. It simply increases the number in evening clothes and the costumed dancers are annoyed by these conventional figures having a good time at no expense of their own dignity. As one indignant member of a club said: “I don’t mind dress- ing up like a darned fool if everyone else does, but what I resent is these blackbirds getting a laugh on me. I don’t propose to play clown for their benefit.” The following sequence of planning a costume party has been found practical in allowing time for all details to be consummated. (1) Deciding upon idea for deco- rations and costumes. (2) An approximate date should be selected at least eight weeks in advance. (3) Arrange- ments should be made for place and for music. (4) An- nouncements, invitations or posters should be started at least five weeks before date of party. (5) The first notice should be sent out not later than three weeks prior to event. (6) Publicity should be started simultaneously with first announcement. (7) Tickets should be on sale from the time first notice is mailed. (8) Applications for permits, licenses, etc. (if required in the locality) should be [ 101 ] THE BOOK OF ENTERTAINMENTS filed two weeks before event. (9) All features engaged and decorations definitely planned. (10) Volunteer workers should be engaged, catalogued and their work specifically defined. These various details are taken up at length under special chapters such as Printing, Tickets, Decorations, Arrangements, and Publicity. ‘The casual impression may be gathered that the various ‘“‘do-s and don’ts” are much ado about obvious times. But, in what may seem a simple matter of giving a party, it has been found that neglect of certain trifles may lead to complications and that the ob- vious is often so obvious that it is in danger of being over- looked entirely. [ 102 ] CHAPTER IX CosTUMES “There was a young artist named Paul Who went to a fancy dress ball He thought ’twould be fun To go as a bun *Till a dog ate him up in the hall!” Another young man had his evening ruined by getting himself up as a Ford. Bristling with tin, he was a menace to other dancers and was forced to retire to the side-lines and pose as an accident. Everything considered, these two masqueraders would have been better off if they had gone to a professional costumer. But even at the costumers, the novice in these matters may make an unsuitable selection. ‘There are fashion changes in fancy dress, as in everything else; and many fan- tasies, which might appeal to the inexperienced, are really obsolete. ‘Once a good costume, always a good costume,” seems to be the tradition among those who have been for many years in the business of renting ‘‘masquerade”’ dis- guises. Of course those firms which have gone in for theatrical and moving picture costuming are up-to-date in their ideas of what constitutes a modern fancy dress. But it is the well meaning, trying-to-be-helpful attendant, in the employ of the firm for thirty years, whom one must not trust blindly, if choosing a costume for the first time. “This costume, here, has always been my favorite,” ex- patiates one veteran wardrobe woman. ‘‘Such a pretty idea, representing ‘Night’—black, with gold stars in all the con- [ 103 ] THE BOOK OF ENTERTAINMENTS stellations. Here’s the big and little dipper! The head- dress that goes with it is a bandeau of gold stars with a silver moon in the center.” Some day she may rent that costume to a trusting brunette, who will wear it to a smart party and wonder, like the query in the etiquette book: “What is wrong with this picture?” Another of these antiquated creations appeared at a recent ball and was conspicuously outré. It was the atrocity known as ““The Clock,” the white satin circular skirt bor- dered with the hours, while the hands pointed downward from the waist. Among these stereotyped costumes to be avoided are “Columbia,” “Uncle Sam,” ‘“Mephistoph- eles,” Queen of Hearts,” “Knave of Clubs,” “Folly,” “Ben Hur,” ‘Queen Elizabeth’’— the list is long. Animal costumes, however amusing they may seem to be, are also to be side-stepped, as they are hot and uncomfortable to wear. Among the desirable costumes are the native dress of various countries, Oriental effects being always the most popular. Pierrots and clowns, while not especially original, are in demand, being comfortable and easy to don. There is usually an assortment of unusual creations of no par- ticular country or period, designed for theatricaf produc- tions, to be found at those establishments which specialize in stage costuming. Sometimes late comers find the choice exhausted and this is when the old atrocities are brought out and even the most fastidious is tempted in desperation to take one. But from the odds and ends to be found in boxes and drawers and cupboards, a really attractive get-up may be assembled. A gay tunic—a pair of Turkish trousers or skirt—some bright scarfs, a Spanish shawl, a stunning head-dress, none complete in itself as a costume, but combined with some- thing one may have at home will do very well. The cos- tumers are always tolerant of patrons poking around [ 104 ] COSTUMES among their colorful raiment and these costume frag- ments are rented for much less than a complete outfit. Many persons supplement their own costumes with some one article required to complete an effect. Rental prices for costumes range from $2 to as high as $50 for very perish- able, very new and very gorgeous creations. The rental charge for the average costume, however, is around $5 to $10 for an evening’s wear. On the score of cleanliness there is no cause for prejudice against the rented costume in these days of sanitary cleansing. The reliable establishments live up to the strict- est rules in this regard. How to Assemble an Impromptu Costume Without attempting to suggest original or complicated creations there are any number of passable costumes which may be devised in a few moments out of such articles as may be available. Indeed impromptu effects are usually worn by those very sophisticated in fancy dress. Among those suitable for men are: Pirate—A pair of dark trousers, a white shirt with - sleeves cut off at elbow or above, neck turned in comfortably low. Wide, bright colored sash around the waist, bandana or scarf (red or orange) tied pirate fashion on the head. For ear-rings, two brass curtain rings, fastened on with threads. High boots with huge cuffs add to the picture. So, too, does a fierce horse- shoe shaped moustache. A charming touch is the red imprint of a hand on the back or sleeve of the white shirt. Mandarin—Long Chinese kimono, plain or embroidered. Close fitting cap may be made of Chinese table mat or the top of a black stocking gathered, and [ 105] THE BOOK OF ENTERTAINMENTS from the center a dangling tassel, stolen from a lamp cord. Also, a typical Mandarin hat may be easily made, as described farther on. Chinese Coolie—Full blouse, or tunic hanging loose, wide pajama trousers. A flat, light-weight straw tray or shallow basket makes an excellent hat with narrow ribbon or elastic fastened to each side of the brim and passing under the chin. A queue may be made of black yarn, braided. Sheik—A dressing gown makes the basis for this as well as other Oriental costumes. A length of white or gaily striped fabric arranged to hang each side of the face and floating loose in the back makes a desert head-dress. Darkened skin, with a black beard, completes a really stunning effect. Persian—Long tunic or robe with sash around the waist. Twisted turban. In a very gorgeous assembly of costumes a make-up that stood out as par- ticularly stunning was a long black dressing gown worn with a high turban of lavender from which a narrow pheasant feather swept upward. (The sort of dressing gowns presented at Christmas by rich relatives may make the foundation for many Oriental costumes.) Paris Art Student—Smock, or velvet jacket. Dark or checked trousers. Black velvet tam. Wind- sor tie. Englishman—Riding clothes or white suit, pith helmet or checked cap, monocle, Dundreary moustache. Rube—Overalls or linen duster and baggy trousers. Straw farm hat. Red bandana handkerchief knotted around the neck or low collar and loud tie. Chin whiskers. Coster Suit—A discarded pongee, linen or Panama suit [ 106 ] COSTUMES dyed any brilliant color. Large pearl buttons decorate the coat. Old straw hat painted to match, or in striking color contrast, with ribbon or narrow band of leopard skin is whimsical. Pierrot—When this familiar personage appears at the ball in a suit of white pajamas with black pom- poms down the front of the coat and a black ruff around the neck and a stocking top on his head, accentuating the clown-white face, with spots of rouge and black pencilled brows, no one suspects the utilitarian origin of his raiment. ae Fair Cowboy—Like Paul of the limerick, the originator of this costume was a young artist, but he got away with it and made the hit of the evening. In place of the usual ‘‘chaps” were cascading ruffles of black lace and black lace frills adorned the cuffs of a pink striped shirt, the sleeves further ‘‘ornamented”’ with light blue silk ‘“‘armlets.’’ ‘The sombrero was, in this case, a “picture hat’’ white crinoline frame, around the crown of which was a wreath of flowers. The man who has never been to a costume party or considered the possibility of devising a fancy dress might pass up an invitation if circumstances did not permit of his getting a “regular” costume. But after one has tried “rolling his own” one finds that these and scores of other scrambled together make-shifts are very successful and adequate. Every woman has the ‘‘making’’ of many decorative and becoming whimsies among her possessions—scarfs, yards of fabrics, old evening gowns, beads, tassels, lace and fringe. If she has not just the thing at hand to make a harem lady, a gypsy, an Oriental dancing girl or circus per- [ 107 J THE BOOK OF ENTERTAINMENTS former, there are stunning materials at a trifle a yard. Costumes do not have to be ‘‘made”’ in the sense that a dress has to be cut, fitted and sewn. In fact, if it is made by pattern the effect is that of a dress and not a fancy costume. ‘The most artistic effects just seem to happen. These hints are for ‘“‘last moment” contrivance and for the encouragement of those who couldn’t cut and make a real dress and therefore might hesitate about attempting a costume, and like Flora McFlimsy, stay away because they had “nothing to wear.” It is only the inexperienced who lack confidence. If one ° has never attended many of these carnivals an exaggerated idea of what constitutes a good appearance is apt to be intimidating. The same scrutiny is not given the make- believe raiment that an evening gown may call forth from appraising and critical eyes. If it is becoming and colorful and a bit bizarre—the effect is a success, even though it is uncut yards of fabric held together by safety pins. Harem Lady—Turkish trousers, (See Pages 110 and 111) are the easiest things imaginable to con- struct. Any sort of tunic, blouse, or lengths of material draped and pinned makes the upper portion of the costume, with a girdle tied low — on the hips. A head-dress of hanging veils. Harem costume may be made of a very long, spangled or brocaded scarf draped over a silk slip. Decorative ear-rings, beads, bracelets. Pierrette—A modernistic version of this always popular character may be made from a simple evening gown with very shortened skirt, a very wide and crisp maline ruff around the neck, fitting tightly around the ears and under the chin, ruffs at the wrists and a tall cone-shaped cap. In light blue this is most charming on a pretty blond. [ 108 ] COSTUMES Chinese Girl—Suit of silk pajamas. Instead of the pa- jama coat, a short embroidered Chinese kimono may be worn. Flat coolie hat. Several simply * made designs are described on Page 112. Japanese—The old type of Japanese costume is rarely seen, or if the long kimono is worn, the eternal bunch of flowers at each ear is eliminated in favor of a head-dress adorned with many long pins. These pins may be made of card- board—cut very narrow and the flat ‘‘knob”’ at the top about the size of a quarter. Paint black and shellac several times. Spanish Vamp—A Spanish shawl (of course the shawl must first be captured) draped over one shoul- der; a short or long, but very full dark skirt. A petticoat of black taffeta, if one owns such a relic, is splendid. Hair arranged Spanish fash- ion with comb. A rose tucked over one ear. Snake Charmer—Grass cloth or a woven grass table runner makes a South Sea Island snake enchant- ress. This garment, in one piece, is devised as little girls make a doll’s dress—a hole cut for the neck in the center and sewed down the sides, leaving arm holes. Paper snakes, which may be bought at any Oriental store, are sewed over the surface, furnishing decoration and color (green and brown). Snakes make a turban- like head-dress. A grass basket, filled with brilliant tropical flowers with more snakes hanging over the sides, completes a costume, less gruesome than it sounds. Circus Rider or Ballet Costume—This crisp little conceit may be put together for less than three dollars. A low cut bodice lining in silk or sateen may [ 109 J THE BOOK OF ENTERTAINMENTS be purchased at any ‘‘notion” counter, in black, or white. The white may be dyed to match the skirt. ‘The latter consists of many thicknesses of tarletan, gathered as full as possible, and sewed to the bottom of the bodice. Tarletan comes in a wide range of brilliant colors and is particularly popular for costumes. ‘The price is around twenty cents a yard. It combines with any material and skirts of it are especially effec- tive with bodices of gold and silver cloth. Italian Peasant—Another use for the “ready made” lining bodices is in starting an Italian peasant costume. On a black bodice gather a full, short skirt of bright blue, black, or red sateen. Gay Deauville scarfs, bandanas or squares of bril- liant figured silk or cotton make head-dresses, apron and neck kerchief. Ear-rings and beads. Mediaeval—The unusual and stunning head-dress makes this costume, which may be any straight up-and- down evening gown or flowing robe. The long pointed head-dress fits the head snugly. A foundation of the stiffest crinoline, or even pasteboard of a flexible quality is covered with any desired material, gold or silver paper, cloth of gold, etc. Gold “art” oilcloth might be used over a light wire frame. Over this throw a long veil of gold net, tarletan or mosquito netting. The latter is very gorgeous if circles of gold are painted at intervals, a large dot of black paint in the center of each gold spot. Turkish Trousers—The Oriental wearer takes a very wide and long piece of material, holds one end, loosely gathered at the front waist line, hed other end drawn between the feet and up to the waist where, by a dextrous trick the long end 10° | COSTUMES wraps around, forming a girdle and pulled tightly to hold the “trousers” in place firmly. The folds are so full that they overlap on the sides making a seam unnecessary. However, a feeling of greater security will be obtained by running a rubber elastic through a narrow hem at the top of the trousers. The sides may be closed by a seam, allowing an opening at the The first and second steps in making Turkish trousers before sewing up the sides bottom for the feet to stick through. Two widths of material should be sewed together to give the required fullness since cloth is rarely over forty inches wide. Garments made with separate legs are not real Turkish trousers, but are bloomers, pantalettes, etc. Bodice—A length of soft material, or a chiffon scarf makes a very satisfactory bodice by pinning to the skirt and winding snugly around the body ri] THE BOOK OF ENTERTAINMENTS high as the armpits, tucking in the end and pin- ning. Shoulder straps may be pinned on if one is of a nervous temperament. Chinese Hat—Starting with a large circle of pliable card- board, a single cut is made to the exact center. One side is lapped over the other just enough to give a slight conical shape. Each edge over- lapping segment is fastened with paper fasten- ers, the small brass heads on the top and the two pin ends spread flat underneath. Paint with water colors on both sides. Shellac gives a Chineee hats and Pirate boot lacquered effect if desired. To the peak a cord and tassel is added and a narrow ribbon or elastic band attached to either side of the brim to be worn under the chin, holding the hat firmly on the head. A round Japanese straw mat also makes a good hat, and may be shaped in the above fashion. A small round hat made of a band of crinoline covered with silk and tassels to dangle over the ears or one from the center of the crown is quite Chinese in spirit. Turbans—There are so many ways to wind a turban, all of them good, it is strange that it is considered a difficult art or trick to arrange one. If the [112 J COSTUMES material is long enough and soft enough, it is almost impossible not to twist it effectively around the head, into a perfectly good turban. A turban should never be ‘‘made’—if put on a frame it becomes a hat, not a turban. If sewed it will be stiff and not fit the head snugly. A genuine turban must be wound or wrapped on the head. Three yards of fairly wide material that is soft enough to make graceful folds should be used. Beginning with the center of the material make a deep fold and place center of the goods across the forehead, allowing the remaining width which covers the top to fall back over the head. Gather material in each hand and tightly draw to the nape of the neck, change hands, not allowing the material to get loose as it is drawn again to the front. Repeat this until material is short enough to tuck each end under a fold—pin, if it does not seem firm enough. If the turban looks too tight, the folds may be carefully puffed out. Pirate Boots—These may be made of black oilcloth or patent leather cloth, as it is sometimes called. They are cut straight to the desired length with a flare at the top. The flare should be cut deep enough that it may turn in, so that when the cuff is turned back it will not only have the desired weight, but also bring the shiny surface on the outside. The wide flopping tops may be made separate from the leg part and stitched on. To hold down, a strap should be securely fastened to each side to fit snugly under the instep, near the heel. The leg may be shaped in, near the ankle, but not too tight to allow [ 113 ] THE BOOK OF ENTERTAINMENTS the foot in a shoe or slipper to go through without tearing. Russian boots are made like the above only the turn-down cuff does not flare and is made of bright red oilcloth. Wool Yarn Wigs—These are very popular additions to certain types of costume, especially those of a fantastic and imaginative character. Also for Egyptian effects. A high note of color may be introduced in this way. [he bobbed wig is made on a foundation skull cap of coarse mesh scrim by drawing in strands of the wool, start- ing at the edge and working toward the center. The wool should be cut longer toward the top, that it may be of equal length when finished. - Otherwise it will look like a shaggy “hooked” mat. Another way of getting practically the same effect at possibly less trouble is to sew all but the top layer to the crinoline cap. It is well to make the wool strands long enough to trim into any desired “‘cut’’ when the wig is put on. A coiffure may be made by winding and sew- ing strands around a foundation with a large puff or knot on top of the head. Braids may be made by drawing the wool smoothly over the foundation, sewing securely through the center from front to back, like a parting, and drawing the strands loosely together and braiding. Emerald green, blue, orange, purple and ver- milion are favorite colors for these fantastic tresses. Costume Materialsk—The new art oilcloths are pliable enough for costumes and many wonderful crea- tions are made entirely of them. Again, this fabric is combined with others. Designs may [114] Photo by Underwood and Underwood Lejaren 4 Hiller in a clever but simple costume. Oriental effects are always popular. (See page 104.) (SIT puv el sabvg 2a) ‘]BI19}2U IWIBS 9Y} JO 991} 9}1YM pue yuId B JsUTeDR SoUIN}sOD YIO[I-[I0 WWM sainsy urejsoiod Surjussaida1 ausos YW 7 epedy Aq o10Ud 32 WBIIVG uUosyeVA AQ USISOC COSTUMES be painted on the oilcloth with oil colors, with gorgeous results. Wool wigs are stunning with oilcloth costumes. Taffeta and crepe de chine are the silks most used, as velvets and satins, for some reason, are not considered good fancy dress material. Figured cretonnes, sateen and tarletan are among the favored cottons. For veils, flowing sleeves and draperies nothing equals georgette and chiffon. Maline is used for ruffs, though tarletan does quite as well and keeps fresh and crisp longer. | Ear-rings—No fancy dress is complete without a pair of bizarre ear-rings. The shops have a vast choice of these ornaments. When one sees a pair of particularly wild ones marked “fifty cents” or “‘a dollar’’ it is advisable to buy them for they will come in handy for a costume party. Doubtless that is what many of them are de- signed for, as no sane person could imagine wearing some of them elsewhere. But, for a fancy dress occasion they are thrillingly ap- propriate. ~Whiskers—The part played by a pair of wild ear-rings in a woman’s costume, a facial decoration of moustache or whiskers plays in a man’s fan- tastic make-up. Material for making these masculine ornaments may be bought at a drug store, wig maker’s or theatrical supply house. Many drug stores in cities specialize in all sorts of theatrical make-up. The artificial hair comes in small tight braids in any desired shade. When unbraided, if wet in water and smoothed out, the kink comes out quickly, and the hair may be trimmed to suit. [115 ] THE BOOK OF ENTERTAINMENTS Spirit gum is used to stick on the hair and it may be removed with alcohol. There is a free masonry about costumes, which permits friends, even mere acquaintances, asking the possessor of a costume treasure to loan it for an occasion, and as casually as the request is made as cheerfully is it granted. Somewhere, involved in the transaction, is a compliment for both parties, it is tacitly understood. “If you are not going to wear your Chinese costume, may I borrow it?’ demands Miss Queue. ‘“‘Why of course!’ declares Mrs. Knue, “I’d be delighted to have you wear it. I have another costume I’m going to wear, so you are more than welcome to the Chinese out- fit. It really is a nice one—I bought it in China, you know.” “Yes, I know. It’s quite the nicest one I’ve ever seen.” Perhaps Miss Queue returns the costume, after a pleas- ant evening’s wear, within a reasonable time. And perhaps she doesn’t. It is a curious fact that many persons regard a borrowed costume as something distinct and apart from the usual procedure of returning borrowed articles. A fancy dress may be sub-loaned, ruined or lost with no feeling of responsibility or apologies. It is often con- sidered rather a good joke on the owner. “Ha! ha! I lost the head-dress, but here’s the rest of it!’ blandly says one borrower. “My, that was a wonderful party!” ‘‘Here’s what’s left of your costume,” giggles the flapper. ‘You are lucky to get even that much. Thanks for letting me wear it.” Or, ‘I loaned your Egyptian dress to a friend—hope you don’t mind—but I was so busy I didn’t have time to get after her to send it back—and then, she went to South America suddenly, and of course I feel perfectly awful about it and just don’t know what to say to you—” [116 ] COSTUMES This casual attitude toward borrowed plumage is not in exceptional cases but so general that a word may not be amiss on the etiquette of the subject. The costume should be returned promptly and with some enthusiasm. Usually it is with a bored: ‘‘Oh, here’s your costume—I meant to return it long ago—it really got on my nerves seeing it hanging around so long, but I just couldn’t seem to get time. Today, though, I made an effort—and here it is—” ‘Che owner feels apologetic about the trouble the borrower has had returning it. Moreover, the garments should be returned in good con- © dition. If torn during the festivities of the occasion, they should be expertly repaired. If soiled, they should be sent first to the cleaners. Above all, a borrowed costume should not be sub-loaned. However, everyone does enjoy loaning a costume to a friend even if it means, ‘‘Goodbye, costume!’ Those who make a new creation for each affair should save previously worn ones in a chest for loaning purposes. Some cos- tumeless soul will happen along who must be fitted out for an evening. In planning an ocean voyage, or a sojourn at a resort these days, it is well to include a fancy dress in the ward- robe. On the South American liners especially, costume parties are always given during the voyage. But whether a costume is rented, made, borrowed or stolen, it should be two things, comfortable and becoming, or comfortable and amusing. [117] CHAPTER X CHARITY BAZAARS In recent years there has been a radical change in bazaar fashions. Formerly every booth committee worked out its own scheme of decoration and the result was many unrelated units producing a jumble of incongruities and clashes of color. A Japanese pagoda in juxtaposition to an Igloo and an Ann Hathaway cottage rendered none of them convincing. The modern bazaar has an underlying general motif carried out harmoniously by each attraction with the re- sult that a beautiful picture or illusion is created. The effect is made more beautiful, more colorful, by the re- straint, because a little splash of one color here and a little dash of another color there produces a neutralizing effect, whereas large masses of complementary colors are com- pellingly impressive. Since everyone is not endowed with an artistic sense, conforming to an accepted plan prevents the rich and gen- erous Mrs. Bones making a blot of expensive dowdiness of her stronghold, the big center booth. Just what may be done in the way of decoration depends, of course, on the size of the bazaar, the location, and the approximate number of persons who may be attracted. But whether it is a little fair in the church parlors of the small village, the large fete in the armory of a prosperous town, a bazaar in a huge arena in a large city, all are made interesting not by the amount of money which may be spent but by the scheme and the artistic manner in which the plans are carried out. [118 ] CHARITY BAZAARS The uniform decorative idea not only brings harmony out of bazaar chaos, but is an economy. A repeated de- sign used to tie up many units is more cheaply executed when made in quantity than would be an equal number of varied designs. So, too, bolts of material may be bought to use throughout the decorations, whereas if each booth A compo board front for a flower stand purchased independently a few yards of a great variety of colorings, the advantageous quantity price would not be obtained. Supposing the motif were an English village. Many little house fronts, for booths, might be cut from compo _or wall board, in large numbers from one pattern. Though _ uniform in design, variety may be given by the arrange- [119] THE BOOK OF ENTERTAINMENTS ment of doors, windows, in painting, with the addition of painted vines, or flower boxes, thatching some of the roofs, putting tiny fences and hedges in front of others, or any details that make rows of little village houses individual. If, on the other hand, every house (or booth) were planned to represent a specimen of the architecture of a different A compo board front for a doll booth nation, each would have to be worked out with the same care given the original model and cost would pyramid accordingly. While many bazaars carry one repeated form of booth around the sides of the walls of the enclosure and introduce incidental attractions in the large center space, another type of the uniform bazaar has each booth distinctly different [ 120 J CHARITY BAZAARS in character and decoration, yet conforming to the basic theme, or atmosphere. For example, if Paris furnished the inspiration there would be no sacrifice of unity if attrac- tions were strikingly individual in treatment, provided all were typically Parisian phases. A French hat shop might be placed next an awninged flower market, beyond which a colonnaded arcade might harbor many small “shops,” a sidewalk cafe for refreshments might have as neighbor features of Montmartre, and, to fill in a long space, a high wall covered with posters might make a background for articles displayed in stalls with tiny awnings. The less pretentious fair or sale offers an equally wide scope for originality. To concentrate and specialize on some one thing affords opportunities to carry out charm- ingly distinctive ideas, without employing the atmosphere of “fall the Eastern Nations and Greece.” For instance, a ‘‘Handkerchief Bazaar” was given by the women of a church society in a small town. A most subtle scheme, by the way, for who wouldn’t contribute a hand- kerchief? The astute ladies wrote far and wide to friends and relatives, suggesting the ease with which donations might be sent in an envelope, thus trading on the human aversion to do up and mail parcels. With this tiresome detail eliminated the response to the appeal was astonishing. A perfect avalanche of linen squares, in every variety, poured in. ‘Those who could make fancy colored ones with drawn work and embroidered corners responded nobly, and those who couldn’t thought of the modest appeal when they passed the fascinating counter where the dainty trifles were displayed for sale at no serious tax on the pocketbook. There were tables for the close friends of handkerchiefs —perfumes, handkerchief cases and boxes, powder puffs, powder and vanity bags. There were bandanas and large brilliant squares used for head and neck ornament. The room where the sale was conducted was trans- [121] THE BOOK OF ENTERTAINMENTS formed into a “back yard’? with evergreens, white picket fences, morning glory vines (made of paper) and the handkerchiefs were displayed on clothes lines, each square fastened with toy clothes pins. No longer is the public bored in the name of charity by an endless array of stupid wares, which no one could possibly want and which were purchased with the slight con- solation »that they might be given away for Christmas presents. But one can no longer pass on, even as a gift, a “hand painted” flatiron holder or a weird contrivance of plush and ribbon to hold a whisk broom. So, the naive ‘Sale of Fancy Work” has passed into Limbo, and in its place has come the fete that is a combination of circus, Monte Carlo and the Rue de la Paix. The crowds now attend, not merely from a sense of duty, but because assured of a brilliant spectacle, novelty and amusement. Another reform has removed the old reluctance to attend, since it used to be “nothing to get in—but your last cent to get out.” Nowa small admission fee is charged, twenty- five, fifty cents, or a dollar, which entitles visitors to roam about without being importuned to buy by too insistent saleswomen. ‘The attractive vendors do not attempt to sell their wares beyond bounds of legitimate salesman- ship. Rarely does one encounter the coy highwaywoman who keeps the change from a ten dollar bill for a fifty cent purchase. Among the booths, which have always been popular fea- tures of bazaars, are those devoted to the sale of flowers, candy, dolls and other toys, fancy bags, hats, cakes and pies, handkerchiefs, pottery, fancy boxes, lace, books, antiques, lamp shades, etc., but to this traditional list have been added all sorts of novelties catering to current fads and wants. The “‘sports” booth, for instance, is an important addition of the past years. Here one finds equipment for all the out-door activities. Stunning sweaters find a ready [ 122 ] CHARITY BAZAARS market, while the sporting goods offered for sale prove a magnet for men buyers. A section devoted to the sale of birds, puppies and kittens is a modern innovation. Fancy bird cages are very popular and most people find little bird houses for ‘‘wild”’ tenants irresistible. Persons, clever with tools, may be persuaded to make these affairs. Mah Jong is another recent comer, and, while it con- An easily constructed stand for the display of small trinkets tinues a novelty, will be a popular bazaar item, instruction in the game being given with every set sold. A table devoted to ear-rings of unusual design and low prices is sure to have a feminine appeal—for no wearer of these artistic danglers can resist buying ‘‘another’’ pair. Fancy bottles are a fad and plain glass ones may be decorated with brilliant dots, designs or painted in solid _ color with enamel paints, which may be bought at art stores in small tins. [ 1238 ] THE BOOK OF ENTERTAINMENTS Dinner place cards of all sorts are pounced upon if they are pretty and original. Funny little figures, made of paper, and fastened to cards are seized upon by hostesses. ‘These figures are described in the Chapter on Decorations. What may seem to be a prosaic sort of booth is one devoted to the sale of ‘‘useful” articles, but the convenience of running across small household implements without a trip to the basements, hardware stores, or wherever the can-opener and egg slicer must be hunted down, catches many a dime or quarter. MHbour-glasses, which may be bought at a certain national institution for ten cents, may well sell for twenty-five cents, because while one might have aspired to an hour glass for years, a special pilgrimage in search of one would rarely be undertaken. ‘There are all sorts of other marvellous contrivances which may be bought for five or ten cents at the emporiums where the nickel and dime are financial kings. A beauty parlor, too, if well conducted, is a money mak- ing feature. Advice is given by an expert and articles sold with which to carry out the advice. Cigarettes, for some reason, are bought in greater quantities when attractive vendors circulate with trays. Nosegays, confections and balloons are especially adapted to basket and tray salesgirls. Tea-table fittings—caddies, tea-kettles, cream pitchers, lemon dishes, cups and saucers, sugar tongs, tea cloths and serviettes, fancy trays—make an attractive display and find a ready sale. It has been found that flowers are more eagerly bought when made into bouquets for various prices, than when left in large masses and sold by the dozen. Old fashioned bouquets are always liked. All sorts of color combinations should be worked out by those who have an eye for color and arrangement. ‘There is also less chance for waste if the flowers are made up in advance, than is the case when stalks are pulled out of a large bunch in the haste of fill- [ 124 ] CHARITY BAZAARS ing orders. Buying plants and putting them in attractive pots or dishes realizes a large profit, for it is the artistic touch that sells them. Chinese lily bulbs in dishes, with pebbles, all ready to add water, are another saleable com- _ bination. A low dish filled with moss in which wintergreen plants with berries or crocus bulbs were stuck, found enthusiastic buyers at one fair. Window boxes, so popular and yet considered by many to be difficult to assemble, box, earth and plants, will be easily sold when found prepared. Japanese gardens, too, always find victims. All sorts of garden tools may be sold at the flower booth—or in a separate booth near by. Quaint flower sticks, sunbonnets, baskets and seeds are a few of the articles this charming garden corner suggests. Plain flower pots are attractive when painted in various bright colors with enamel paint. Stripes or designs may be added in contrasting colors. Of course, tea-rooms and restaurants are a necessary part of a bazaar and are very important sources of revenue. They should be managed by capable persons, and if the _ affair is to attract a very large crowd, should be conducted by a caterer on a percentage basis if no better arrangement can be made. Often a popular caterer will give back all _ the profit. The “hot dog” stand is a recent fad and is always a - success. Real soda fountains have been installed at some of the very ambitious affairs, but if this is out of the question there should be one booth where all sorts of cold soft drinks are served. A splendid substitute for an ice cream soda was invented by a canteen worker in France. Stir ice cream into hot coffee or hot chocolate until the cream is melted, and the result is not too thick to drink. It sounds simple, but the result is deliciously surprising. An excellent punch may be easily made with grape juice and ginger ale, oranges [125 ] THE BOOK OF ENTERTAINMENTS and lemon added, if desired, but their absence is hardly noticed. Of course a place for dancing must be included in the arrangements, for this is an attraction without which no modern event is complete. A small charge is made for each dance and it is advisable to turn this feature over to a committee of young men. ‘There are so few places in a bazaar where men fit comfortably that it is well to use them whenever possible. Of course they may be utilized as “‘barkers”’ and put in charge of games. Throwing games, such as ring tossing, hitting a target, nine pins, etc. are always sure of crowded patronage. Humorous placards should be used in profusion. Often these posters turn an otherwise dull booth into a success. For instance, nothing could be more stupid than a row of home-made cakes, pies and crullers. Yet, if they are adver- tised with signs, interest is stimulated. ‘“‘A bride made one of these cakes—see if you can pick it out!” “If Bill Jones knew his wife made the chocolate walnut cake, Bill would have eaten it himself!’ ‘“These Crullers were found in Tut’s Tomb—they’ll just crumble in your mouth!” Typewritten recipes may be sold for a few cents each. A list of these should be printed on a neat poster, promi- nently displayed at the booth. Any women, with domestic instincts, would be happy to manage this booth. Motor cars, phonographs, sets of furs, pearl necklaces and other expensive articles are sometimes donated and chances are sold for these, bringing in large sums. The Street Fair, the bazaar craze at present, has the piquant flavor of a foreign carnival and the thrill of a circus. No restricting walls limit the plans or frown down upon gay little booths. The Park Avenue Street Fair in New York, annually attracting thousands, and given by the society women of New York, for three days in May for the Aid of Crippled [ 126 | CHARITY BAZAARS Children, is an outstanding example of what may be accom- plished in open air festivals. New York people found re- freshing novelty in the first carnival, Russian in character, with the exterior of the fair as colorful and gay as the interior. The wide plaza which runs through the fashionable © thoroughfare was ideal, being not too wide and running for many blocks in length. ‘The illustration shows how the transformation was accomplished. ‘The strings of odd shaped lanterns and the May poles with fluttering ribbons, seen above the low, painted barricade, were lures to passersby. To pass, without entering the gay enclosure, would have been as impossible as to imagine Alice taking a glance at Wonderland and deciding she wouldn’t pop in, after all. At night when the various colored lanterns were illuminated the effect was very beautiful. One of the important features of the Park Avenue Street Fair is the little theatre where stars of the first magnitude appear. Leading artists also make sketches in sight of interested crowds. From “hot dogs” to hats range the articles for sale. Besides merry-go-rounds, pony and donkey carts, the ever popular Tombola, there are always other features designed _ for the amusement of children. Tables or booths designed to interest children should be built very low. If indestructible toys are placed at the edge within reach where young patrons may actually touch them the toy tables cannot fail to be popular. The recent street fair in Park Avenue, continuing four days, was French in inspiration and tall standards bearing fleur de lis decorated the booths, which resembled the little puppet shows of the Champs-Elysees. One popular attrac- tion was a ‘Putting Green.”’ With eight tiny greens within the enclosure, this feature was a money maker. | Rivalling the Park Avenue event each year is the Street [ 127] THE BOOK OF ENTERTAINMENTS Fair given by the summer colony at Southampton, Long Island, for the benefit of the local hospital. East India was drawn upon for the most recent transformation of Agawam Park, where these fétes are held. The Royal Gardens of Delhi were reproduced, towering mosque and minarets looked down on East Indian market squares. Painted canvas was used for background effects. The costumes of all the bazaar assistants were the authentic dress worn by the Indian peasants, the Parsees, Rajahs, dancing girls from the Great Pagoda, fakirs, Grand Moguls, and were in keeping with the decorations. At the refreshment pavil- ion, the menu included real East Indian dishes—curry of rice, lobster, crab, chicken or lamb. One of the most interesting of the features was the “Cocoanut Shy,’”’ where a contestant knocking a cocoanut from its stick with a baseball won it. Cocoanut and palm trees furnished appropriate decorations for this attraction. The Wheel of Fortune, Dancing Pavilion, Boxing Arena and the Tombola were patronized by grown-ups, while for children there were a ‘‘Wonder Tree,” a ‘Sand Pile,” pony and donkey carts, merry-go-rounds and a marvellous toy booth. At a Colonial Booth lessons were given in spinning and weaving on a spinning wheel more than one hundred years old. Greenwich borrowed the “properties” of the New York street fair for another notable open-air carnival, without sacrifice of originality, for to these trappings were added many others. ‘This occasion introduced a clever publicity stunt. A prize was offered for the best show window in town advertising any of the several booths of the fair. There was also a contest for the best poster for the event, and prizes awarded. Since the Greenwich colony boasts many well known writers the book booth was featured. Authors sold and autographed their own books. The Farm was another innovation which proved popular, [ 128 ] CHARITY BAZAARS equipped with a stock of donkeys, calves, pigs, kittens, chickens, guinea pigs and peacocks. The costumes of the pretty vendors were conspicuously smart. The cigarette girls wore black and white creations, while the program girls were distinguished by blue dresses with yellow aprons trimmed with orange lace. The wide range of locale chosen for street fairs in and around New York in one season would seem to exhaust the possibilities for future affairs. Glen Cove, Long Island, - gave an Italian Fiesta while Bay Shore held a ‘Dutch Fete.” But, who remembers the fétes of yesteryear—or remember- ing, would not go again to an Oriental or European Market Place brought in all its gaiety and glory of color within walking or motoring distance? There are two bazaars, though, which owing to the cause for which they were held will probably never be forgotten by the thousands and thousands who attended them. _ Never will their like be seen for the eagerness with which the thronging crowds spent money. Though held, in what seems now as remote as the Dark Ages, during the early days of the War, aside from their historic interest they _may be recalled for their unique qualities. The “Alley Festa” was the loveliest bit of make-believe ever seen in New York. “Heroland’ was a most stupenduous and elaborate indoor entertainment. MacDougal Alley—an artists’ tiny pocket street of transformed private stables was ‘done over’ into an Italian thoroughfare. The Red Cross and other Allied War Reliefs joined forces and resources. All the studio houses were turned over to the management committee for the duration of the Festa, ten days, though originally planned for four days. The facades of the buildings were rebuilt _ with the aid of wood and plaster which the artists of the community colored and decorated with false windows, balus- trades, bell towers, chapel gates and garden walls. [ 129 J THE BOOK OF ENTERTAINMENTS The designs for the bright-colored Neapolitan scene were made by Paul Chalfin and were carried out under his direction. Banners, lanterns, confetti, war-posters, street singers, flower girls, organ grinders, peasants, pennants, marion- ettes, donkeys, side-shows, guitarists, ballad mongers, fruit vendors, colored lights and gay awnings were a few of the traditions employed to capture the advertised ‘“Cheero Spirit.” The studio of Mrs. Harry Payne Whitney was in itself an amazing feat to change from a three story building into a four story balconied restaurant. ‘The entire alley was faithfully transformed into a bit of Italy in one week’s time! Among the novelties, which, by the way, made good pub- licity material, was an elephant upon which rides might be taken into nearby Washington Square. So popular did this feature become that it was feared that New Yorkers would become addicted to elephant riding and further com- plicate the trafic problem. Photographs of society women, sitting in the howdah appeared in the newspapers. Another inspiration was the privilege of smashing German china ware with baseballs—at five cents a throw. Everyone has an ambition to smash china—and this was an excellent opportunity. The Alley Cat—a little plaster feline with arched back— sold into thousands at twenty-five cents each. Some small trifle, such as this, typical of the occasion, is a splendid way to catch pennies and is valuable in advertising an event. Fifty cents admission was charged and the gate receipts alone totalled an astonishing sum. “Heroland,” the Allied Bazaar, will always evoke mem- ories of a bewildering and impressive undertaking. The Grand Central Palace was given over complete, with vast floor areas, balconies and grand stairways, affording hos- [ 180 ] CHARITY BAZAARS pitable space to reproductions of picturesque corners of the globe—an English village, Italian restaurant, a Persian garden, Streets of Bagdad, etc. “The Cheshire Cheese was the acknowledged masterpiece. Samuel Johnson him- self might have walked into the replica of the famous old English coffee house and been deceived. ‘The maitre d’hotel of the real Cheshire Cheese was brought over from Eng- land to officiate, while chefs from the English original made lark-pies and Yorkshire pudding, which were not imitations, served with English ale in mugs—in those days even that was genuine. Visitors to London who go to the Cheshire Cheese may see clippings and sketches brought back by the real “hero” of “‘Heroland” Bazaar. Lady Aberdeen’s table of Leprechauns (Irish fairies, as the eager purchasers learned), was one of the centers of interest both because the public liked to get close to a title ‘and also because the idea was appealing and one of those _trifles which people like to buy at bazaars. There was also a Fairy Tree. A beautiful cat, whose coat was a temptation to stroke, bore a little sign which read: “Please pet me— five cents a pet.” Some one with the imagination of a Barnum devised a “Marine Exhibit—Creatures of the Deep.” Those who were tempted to enter found small glass aquariums in which floated rubber toys, goldfish, sea weed, etc. Absurd, of course, but such absurdities are enjoyed at bazaars. If one desires a package of brass tacks, one goes to a hardware store. At a charitable féte it is a question of how much nonsense may be purchased at five or ten cents each. The old story of the two sisters will probably always be typical of bazaars. “Do you think that ten cents is too much for me to charge for my kisses at the bazaar?” asked the plain older sister. ‘‘No, my dear,” the pretty one declared, “people always expect to pay more than anything is worth at charitable affairs.” [ 131 ] THE BOOK OF ENTERTAINMENTS Committees There should be a central or executive committee consist- ing of a chairman, secretary and treasurer and an ad- visory board. Every booth and feature needs to have a subcommittee. Responsibility for an undertaking of this nature should not be carried by too few persons, when large expenditures and receipts are anticipated. The chairmen of other committees should report to the executive committee on all plans and activities, and should receive formal approval in advance of expenditures being made, so that the executive committee may know just what expense is being taken on. ‘This avoids a string of bills coming in after the books have been closed, for which no one seems to be responsible, and which might easily total an amount greater than the earned profit. Money should be counted every night during the fair’s — progress and turned over to the treasurer at the closing hour. ‘The treasurer should give a receipt for the amount received. : In conducting an affair for charity, an exception is met in the matter of committees. While for many entertain- ments a small committee is to be preferred, in the instance of an important cause the more committees and the more persons serving on them, the better. When the project is for charity everybody may be depended upon to assume a share of the responsibility and work. Prominent names give prestige to the event and a necessary guarantee that inspires confidence. To secure large support is invaluable to social and financial success. Many persons are required to carry out the immense amount of detail connected with a bazaar and a small army of sales- people is needed. A bazaar is the most democratic of social affairs. The public may attend and the most exclusive society matron will [ 132 ] CHARITY BAZAARS serve a hot dog, throwing in a smile and conversation to anyone who will pay the price of the hot dog de-luxe. The large number of features which make up the modern fair are each in charge of a sub-committee and the result- ing competition between booths insures everybody will strive to out-do rival attractions, thus relieving the execu- tive committee of the usual doubt as to whether or not delegated work will be accomplished. The latent spirit of trade inherent in most everyone is aroused and each com- mittee becomes ambitious for its special ‘stunt’? to make the best financial showing. With many assistants each chairman is supplied with sufficient saleswomen during the several days the bazaar lasts. Also, the more persons actively participating, the more people they will attract, and a large attendance is to be desired above all things. Soliciting Donations With the object of making as much money as possible, soliciting donations is a part of the game. “Begging”’ even for a worthy cause is not a task anyone enjoys and many are temperamentally unsuited to it. Others are highly talented in this direction, though these same persons might prefer to starve before asking a crust of bread for them- selves. For an altruistic object they will go out and accom- plish miracles. “Mr. Skinflint, the contractor, has agreed to give us all the lumber we need,” reports little Mrs. Mouse. Every- one is astonished that Mr. Skinflint would give anyone any- thing—and more astonished that the quiet little member of the committee even dared approach him. In a town or small city no business firm can afford not to make some sort of contribution to the worthy cause, but it is a fact that in large cities, where no direct gain or [ 133 ] THE BOOK OF ENTERTAINMENTS discredit may attach to a refusal to help, the response to such appeals is amazing when the project is meritorious. So, it is a part of bazaar policy to get everything pos- sible for nothing. No commitment for financial outlays should be made until all resources for donations have been exhausted. A number of persons in the same line might each be asked to contribute a certain portion of whatever is required, without making it a burden for one to supply the entire quota. Also, the fact that others are giving inspires each to do his share. Even when expenditures are necessary for certain work, such as carpentering or materials used in decorations, a cost price is often made, the contractor or merchant waiving the profit. This saving is important in itself. Selecting the squadron to round-up donations requires that those persons be chosen who are sincerely interested in the project, who have the knack of getting what they go after, who have “pulls” or who are so important in the community that a polite request from them is in the nature of a royal command. The chairman of each booth should be responsible for the gathering of the specific articles to be sold therein. While many articles are gifts, certain other goods, of which large quantities are needed, may be secured on consign- ment, to be sold on a percentage basis; what is left at the end of the sale to be returned to the consignor. The prob- lem of breakage and loss enters into this sort of arrange- ment, but with care this risk may be discounted and a good profit realized from consigned goods. Anything that is bought outright should of course be purchased at the wholesale quantity price. Not a large stock should be put in, if the source of supply is convenient for reorders as the demand warrants. Better many inexpensive catch-penny trifles than a pre- dominance of costly articles, though the latter also have a [ 134 ] CHARITY BAZAARS place, affording opportunity to rich or generous patrons to leave behind important sums to swell the funds. The visi- tors who are unable to make expensive purchases enjoy pat- ronizing many attractions and “‘stunts’”’ and so there should be all sorts of outlets provided tor this spending activity, which mounts up to surprising figures when the final count is taken. Publicity The newspapers always give generous space to worthy charitable affairs. There are many opportunities connected with a bazaar for good news stories. ‘The list of names comprising the many committees is an important feature of these stories and the longer the list, the better. For publicity purposes an attractive feature name is important. So, too, is there news value in having a definite theme or idea around which the affair is built in painting word pictures. Just “bazaar, a miscellaneous col- lection of attractions” makes no appeal to the imagination unless presented under some definite and colorful title. -“The Alley Festa,” ‘Russian Bazaar,” ‘‘Heroland,” “Streets of Cairo,” ‘‘Dutch Fete,” “Bazaar of Bagdad,” make definite impressions and arouse curiosity as to how attractively and with what interesting detail the idea is carried out. Since the life of a bazaar is usually three days or a week interest must be stimulated after the opening with further news of large attendance and ‘“‘stunts’” that are attracting special attention. Unexpected things happen which make news stories and the publicity chairman must _be on hand to see that these are immediately sent out to catch early publication. A very prominent person visiting the féte is good for a story. Some one feature not con- sidered especially important may leap into the “hit” of the affair—and this should be “played” to the limit. Also, [ 185 ] THE BOOK OF ENTERTAINMENTS photographs of the pretty saleswomen in costume should be supplied to the press. (See Chapter on Publicity). Underwriting Projects When large expense is undertaken in the planning of a charitable enterprise, or when a single major expenditure is made for one feature, it will be found advisable to underwrite the amount involved in advance. Particularly is this necessary with events which take place in the open air, and where a prospective profit may become a loss by caprice of weather alone. It is especially important to measure the chances of complete failure and provide for covering the loss, as it is important to estimate the chances for success. In a small undertaking the close friends of the organiza- tion may be formed into a syndicate, each one committing himself or herself to pay a share of the loss, if any, and the amount each member of the syndicate may be taxed should also be limited. ‘The expenses should thus be held within the amount which has been underwritten. For a very large undertaking, where an important sum is involved, the underwriting syndicate should be organized by a strong banker friend, who will invite friends of the organization, public spirited persons, merchants and others affected, to attend a meeting. If possible, such a meeting should be held in the directors’ room of an important bank. Some one should be chosen to state the call, describe the project and outline the plans. ‘This should be general rather than detailed, so that the object is well understood and appreciated. The financial risk should not be minimized, or glossed over as unimportant. The subject should be treated seriously, and the risk of loss to each subscriber painted in true colors. [ 136 ] CHARITY BAZAARS When the proposal has been well planted, and the need for underwriting the enterprise has been established, two or three bell wethers should be coached to offer their signatures to the underwriting agreement. When one or two important persons have signified their willingness to assume a part of the risk others will follow merely as they do not want to be left out, and with a number of signatures the remainder should be clubbed into signing, with inter- ested workers scattered about to attach themselves to little groups and help put the underwriting through. A committee of arrangements can certainly work with greater confidence of success if it knows that it is pro- tected against the embarrassment and loss even unto acts of God. Anyone who has been through the mortifying experience of responsibility for a huge loss, occasioned from whatever cause, will know the very great comfort realized from advance assurance that loss, if met, will be ‘shared by a number of persons, and not by one or two individuals. Losses may be staggering and ill afforded by one or two persons, when no real or serious hurt would be met by a large group dividing the same amount. Persons without experience might be timid about organiz- _ ing a syndicate to underwrite possible losses, and prefer _ to take a chance that results will be as the fond expecta- tions. This is poor judgment, for in the event of failure, the same persons are placed in the humiliating position of soliciting others to help pay for a “dead horse.” But like other forms of insurance, the underwriting against hazards of possible failure, really lessens the risk. Organizing to meet trouble really means that the prospect of trouble becomes more remote. It does for the reason that all the persons who come into the underwriting syndi- cate take off their coats and go to work. ‘Their money is at stake, and while it may be a small amount, it may be sufficient to enlist their active interest and support. [137 ] THE BOOK OF ENTERTAINMENTS Members of the syndicate, too, have pride in the under- taking, when they become a part of the financial program, and so become active. All the helpful efforts of the syndicate members. combine to put the program through successfully, so that not only the possible financial help, if needed, is gained, but the active efforts of the syndicate members as well. ‘This is just so much more useful horse power. Sometimes the risk of failure can be underwritten in other ways. A large organization promoting an annual steamboat excursion and picnic desired to keep the price of tickets low so that all members and their friends might enjoy the party. Knowing from a painful previous experience that a rainy day might upset the financial pro- gram and curtail the sale of tickets, with prospect of serious loss in that event, a series of concert dances was held through the early spring and $500 was accumulated. The committee had obligated itself to $1,500 expense in the steamboat excursion plans, but it felt safe in proceed- ing, backed up with the $500 nest egg earned by the dances. When the day of the excursion rolled around, a dark lowery cold rainy day, the sale of tickets at the dock was small. Only the faithful who had bought tickets in advance showed up. The loss for the day was $97 and this was met from the dance surplus. The old maxim that persons who cannot afford to lose should not enter upon speculations for profit fits organizations equally well. Another advantage of underwriting a project against loss is that the committee in charge of arrangements, pro- tected against embarrassment, is free to devote its ener- gies to making the event successful, without worry, and being strong in the consciousness of this position radiates its confidence while its own enthusiasm begets enthusiasm. A committee, insured against loss, which lay down and failed to work hard merely as it couldn’t be hurt [ 138 J (ocp abvg aay) ‘MWIDYIS SANBIOIIP Uvisshy dy} Ur s1duUeq ALS ay} Aq 398 9}0U Suryliys oy} Surmoys ‘(7Z6l) YAVeq WeMesy 38 IIey jyaaI3g uoJdWIeYINOG 9y} JO MaIA [eIIUay pooMispug, puke pooMispug Aq oJ0Ud 4 ae (ocr abvd aag) *SZ6T JO Jey 399199 UOJdUIBYINOS ay} Je I/qNsISsatat apew s}uIWa[duT uapies JO UOT}Da][0D Y pooMiapuy, PUB pooMispuy, fq OOTT CHARITY BAZAARS financially wouldn’t deserve to have the confidence ‘of its friends. No one need hesitate to organize an underwriting syndicate. Such protective committees are well known and understood in cities, and in small towns the practice is now general for annual Chautauqua visits. Or, another way of financing an undertaking of important size, is to hold many “sure fire’ small functions in advance—card parties, concerts, small sales, and any money making little stunts requiring small expense to put over. Enough of these modest entertainments often combine to realize enough capital to get an ambitious project under way. [ 139 ] CHAPTER XI THE Society Circus Besides being an excellent money maker, if desired, the society circus for years has been one of the most popular forms of entertainment. It may be presented in gym- nasiums with a saw dust ring for atmosphere, under a tent with flickering gas lights in real travelling show style, or as a desirable substitute for a tea party on an available lawn. If conceived and planned with imagination and pro- duced with originality it affords an amusing way of spend- ing a few hours. The first step in planning such an event is to get out as much seductive and lurid advertising as possible without really revealing contemplated acts. In small towns bright colored posters may be effectively displayed in store win- dows, on bulletin boards, upon trees, in hotels, on moving picture slides, and in various other ways. The chief point is to start the publicity early, change it often, and by ceaseless reiteration impress upon the public consciousness the fact that a circus is coming to town. If an enthusiastic committee is in charge it is possible to make many effective posters by hand. One person with some artistic ability should lay out the posters and by means of letter and animal patterns or stencils even inexperienced art workers can turn out quite a number of pictorial signs. ‘This is work that people generally enjoy since very bright colors and laughable effects are possible. Often where the notice is to appear in store windows little in the way of painting is necessary, as slightly stuffed appliqued animals in various [ 140 ] THE SOCIETY CIRCUS colored cloth can be sewed on cards in alluring positions. A very effective means of attracting the eye is a large stuffed gloved hand reaching around the side of a poster, clutching quantities of checks and bills while glued coins apparently spill down the pasteboard. A big caption to the effect, ‘““Are you saving your money for the circus?” or some other appropriate wording always captures atten- tion, just as ordinary bills pasted to a window for some reason invariably attracts a crowd. ‘There is something about the sight of money that is irresistible. In larger towns newspaper stories and other schemes are effective, as outlined in the Publicity chapter of this book. It _ is not a bad idea to post notices informing the community that various trick performers are desired for the circus and that they should report upon a date set. While circuses are usually given by a certain clique or organiza- tion, an entertainment run on the pageant principle of drawing from the entire community invariably means a larger sale of seats. If any snobbishness is apparent acts may be arranged in such a way that persons offensive to one another will not be forced to mingle. As a rule, how- ever, there is excellent esprit de corps on these occasions _and the whole cast is delighted when a new performer with some special line of ability is secured. Many dread the word circus because they think that it means working with horses or other animals. While entertaining dog, bird and horse acts may occasionally be secured from amateurs who have made a hobby of train- ing pets or riding, the best type of society circus is usually a burlesque of the real circus with human beings playing the part of monkeys, elephants and all animals. Although acts are customarily planned according to the talent on hand, a suitable scheme for a small but effective circus may be arranged on this order: Seats are made of boards, chairs and cushions or on more pretentious scaf- [141 J THE BOOK OF ENTERTAINMENTS folding around a pegged off ring with ropes fencing off an exit lane for the performers. If an orchestra or band is unprocurable the ring may be placed sufficiently near a residence so that the music of Sousa and other stirring pianola marches may be heard by the audience and cast. The usual circus opens with a parade of performers, but this is undesirable in an amateur production since the make up is half the fun and the acts lose a certain amount of their novelty if the clothes of the performers are exhibited ahead of time. After the opening blare of trumpets and loud music the ringmaster enters the ring. In a real circus he is usually a very stupid person. In the society circus he should be the most clever man available since his wit and presence of mind must be depended upon not only to cover up any hitches, but to cope with the audience as well—and a circus audience is always more familiar and more apt to talk out in meeting than any other variety. The ringmaster announces as amusingly as possible the greatest show on earth and the opening number which may well be the most brilliant and beautiful equestrienne num- ber ever beheld on any continent, in any country, within any state or city. It consists of from eight to sixteen girls of equal size garbed in vari-colored tarletan ballet dresses and riding stick horses with large gorgeously colored heads of wood or card board. The girls ridé slowly into the ring in single file lifting the feet in a sort of goose step as if on high spirited horses. When regularly spaced in the ring, they begin a series of steps and dances to good music. They waltz to the center, back to places, perform an in and out or grand right and left march without taking hands, employ the movement of an outer ring going in one direction and an inner ring in the opposite, both using fancy steps, exhibit marches by two, threes, etc., with fancy steps, and execute with dignity and grace all of the evolu- [ 142 ] THE SOCIETY CIRCUS tions and picturesque formations that a director may devise. When the formations are so complex that the stick horses are awkward the girls may hold them close to the side as if riding sideways. Naturally steps should be in keeping with what a trained horse could do. If the ringmaster remains in the act during this scene he should stand upon some kind of small elevated platform beauti- fully decorated and placed in the center of the ring. This number, if done seriously, if well coached and attractively dressed, is really very beautiful and audiences invariably like it. When the girls have made their exit, the clowns come running in with a fake firecracker stunt or any little comic pantomime which is mirth provoking. It is well if some small children can be dressed as clowns and taught parts, for even very old jokes become funny when lisped by a child. For instance, Jujube, the first child clown, breaks the ice by inquiring of the ringmaster, ‘Did God make you?” To which the ringmaster replies, ‘‘He did.” ‘Well,’ retorts Jujube, ‘‘seems to me he does better work now than he used to.’ In small communities where everybody knows everybody else these hoary quips seem doubly amusing. Indeed, local jokes are always appreciated. The next clown, as an example, makes his initial remarks about _ two families he sees in the audience. ‘‘What’s the matter with you, Flim-Flop?” says the ringmaster. ‘Why do you go around so glum looking?” “I feel bad, Mr. Gab-Gab,” says the clown, “‘awful bad. Can’t ever have any more fun.” ‘‘Why can’t you have any more fun, Flim-Flop?” begs the ringmaster. ‘‘What’s the matter?” “The Mil- lennium’s come,” whines Flim-Flop. ‘‘Everything’s got to stop right where it is.’ “The Millennium,” says the ring- ' master, “how do you know it’s come?” To which Flim- Flop retorts, “Look! Can’t you see that the Lyons and Lambs are here together ?”’ [ 148 ] THE BOOK OF ENTERTAINMENTS The third clown then says, “If you’re going to pull all those rotten jokes around here, I’m going home. Somebody’s apt to hurl a base, cowardly egg.’”’ “A base cowardly egg,” repeats the ring master, “‘what’s that?” The clown retorts, ‘‘A base cowardly egg is one that hits you and then runs.” He proceeds to do so with the other clowns after him. The ringmaster next announces the thrilling tight rope walkers, the Balance Sisters, an act best performed to the music of ‘‘Piippchen.” For this act the clowns arrange a heavy, wide board on firm boxes or trestles several feet above the ground and stretch on the board a small rope which is secured at the ends with great pulling and general commotion. The tight rope walkers are helped into place by means of a ladder even though the climb is only two or three feet. They begin the usual stunts of slowly traversing the rope, waving about, returning to starting points, walking carefully toward one another with parasols balanced, walking on the rope on tip-toe, etc. A handker- chief is placed in the center of the rope and the star tight rope walker picks it up with great difficulty. A tin pan rumbled by a clown or a drum in the orchestra at this and similar exciting junctures greatly adds to the thrill of the moment. The clowns of course build out the performance by peering at the actors in a manner depicting envy and awe. Later they attempt similar stunts by trying to crawl along the board, being hauled over it, etc. More clown jokes ensue and an announcement is made of the spirited, spectacular, superb bare back riding by Mlles. Influenza and Coriza. This is a galloping act by - very young and attractive children who jump through large bright paper hoops, spring upon quickly set plat- forms and wait while their stick horses are led under. Then they jump back on their steeds and continue their mad career. [144 J THE SOCIETY CIRCUS The clowns again attempt comedy of some kind accom- panied by jokes, followed by the overwhelming exhi- bition of trapeze performers which in turn gives place to the strong man and the contortionist. For the strong man the slimmest person obtainable is chosen. Large empty cans painted black and marked with figures 500 Lbs., 1000 Lbs., 2 Tons, etc. are the properties for this act. The strong man carefully tests all his paraphernalia and then slowly tries lifting it. Before he is through he, of course, accomplishes remarkable results. His grave face, slow precision and his bows to the audience are usually mirth arousing. The clowns attempt to duplicate his feats, but are unable to move a single can. Then a clown advan- ces, picks up everything at once and is chased off by the other clowns. Madame Minerva and her beauteous maidens follow in a marvelous Greek dance which is later subjected to clown burlesque. Where Minerva feels the sun upon her brow and rouses from slumber on the green, the clowns use an alarm clock, where she bathes in an imaginary pool, the clowns splash about in a wash basin, etc. The next announcement is of the trained animals con- sisting of Jerry, the Giraffe; Jumbo, the elephant; Walter, the walrus; and Drathim, the Dragon. As in all acts the - number may be augmented or lessened according to the material on hand. Beautiful Mlle. Belladonna puts these quadrupeds through various tricks, but her chief stock in trade in asking them questions about local celebri- ties, the wording so phrased that she is enabled to secure some laughs. Naturally the clowns get applause by pulling the animals’ tails and being kicked over, lying down in the path of the animals and being stepped mover, etc. There are elaborate animal costumes which may be made from patterns procurable from the women’s maga- [ 145 J THE BOOK OF ENTERTAINMENTS zines and elsewhere, but simple and suggestive coverings are even more amusing. Gray army blankets, for example, make a satisfactory elephant’s body when thrown over two men bearing poles. ‘The head is easily worked out of gray building paper with painted eyes, set-on ears, and tusks of white paper strips rolled into curved tubes, glued and shellacked. If more pains are taken, head and trunk may be constructed of gray canton flannel stuffed with cotton. Indeed, the whole body may be achieved of this Building paper over light wire or wood framework makes an adequate giraffe and the straw stuffed legs may be wound with strips of it. The less accurate the animal the funnier it is. The giraffe may be constructed of yellow blankets, burlap or gunny sack- ing on which are sewn or pasted black spots. The head whether stuffed or made of cardboard is attached to a pole or broomstick handle. If it is desired to copy the jointed wooden animals, heavy building paper or cardboard may be used in block like shapes for the body which should be attached to the upper block over the men’s backs by strong adhesive tape. Walter, the Walrus, may be suggested [ 146 ] THE SOCIETY CIRCUS by a brown wool wig and fuzzy brown wool fastened over the mouth and lower face with projecting tusks made like the elephant tusks only shorter. Flippers may be con- structed in various ways, but for the inexperienced worker it is perhaps best to construct large stuffed gloves with the fingers sewn together. A burlap coat or, indeed, an ordinary brown overcoat, if Walter hunches into walrus shape, is all that is necessary to complete the impersona- tion. Monkey costumes can usually be rented and fre- quently there are persons who have dog, cat and other animal heads which have been used at masquerades and which can form the basis of many animals. Yellow pineapple silk hung over bent bamboo rods is the founda- tion for a dragon If a dragon is used to chase the other animals out of the ring, it may be constructed as follows: ‘The body is com- posed of a large rectangular piece of yellow or green lined pineapple silk eleven to fifteen feet in length and sufficiently wide so that when the center is lifted off the ground above a man, the edges barely touch the ground. Every three feet in- side this body are sewn tapes to hold in place bamboo rods bent in semi-circular form like the bow framing of a prairie schooner. A man is placed at each one of these rods inside the body and by holding the end of the rod in each hand is able to walk and carry the dragon without spoiling the appearance of the nicely rounded back. The [147 J THE BOOK OF ENTERTAINMENTS tail is fashioned of a series of wire circles diminishing in circumference from a large ring to a tiny one and con- nected by several wires. It should be somewhat curved upward from the body, to which it is attached by tapes, and is given a more menacing appearance by wire pro- tuberances along the top ridge which are of course covered over with the same material as the tail and dragon proper. The tail should have strong straps attached to it to buckle over the shoulders of the last man in the body. The head may be made of a large hat box covered with material or from a large cloth covered lantern or from wire like the tail. It is attached to the body by tapes and should be moved from side to side by the man manipulating it. Naturally the wilder it can be made the more amusing it is. The next announcement is of a chariot race by Mlles. Castoria, Antikamnia, and Morphia which is performed to the music of the Walkire. Girls or boys appropriately arrayed in chariot costumes are given chariots, each of which consists of a piece of building paper or linoleum curved around.the person and with sides fashioned like those of a chariot. It is steadied by cross pieces of wood. The ex- terior is done in gay colors and the heads of four gor- geously painted horses are fastened to the exterior of the front. ‘The charioteer holds this chariot in place about him by means of the cross piece of wood or handles affixed to the inside of the sides. When the gong sounds he is ready to dash about the ring. The act is followed by the clowns who use wheel barrows or pull toy chariots, get- ting into a fight over the finish, etc. The snake charmer is the next performer. She enters with a basket or box of snakes labelled ‘‘Beware,” ‘‘Dan- gerous,” “‘Danger,”’ etc. The clowns inspect the box. One lifts the lid and is bitten by a snake. He pleads with the audi- ence for a drink of whiskey, then asks his fellow clowns. [ 148 J THE SOCIETY CIRCUS One sneaks off to the audience and entrusts his bottle to a patron for safe keeping, starts back, and gets a laugh by re- turning and moving the bottle to another, to still another, etc., as if he could not make up his mind whom to trust. The snake charmer removes the snakes from the box, pulls them along her arms, around her neck, and puts them through various tricks, meantime going through certain dance steps and doing snaky movements with her hands. The snakes are made by slitting a stocking lengthwise. The two large ends are sewn together and then the sides are joined in a seam leaving one small end open enough to pour in sand or sawdust. ‘This end is then sewed up and makes the tail while bright button eyes and two strips of red flannel constitute the eyes and mouth of the snake’s head—the other end of the stocking. The clowns bur- lesque this act, ultimately killing the snakes and carrying them off on sticks. The next act is a minstrel song hit directed by Sesame and Lily. The music makes a good finale as it helps to jazz up the show and sends the audience away in an ex- cellent humor. Of course, circuses are often more pre- tentious and worked out with more scenes, more people and greater variety, but the foregoing gives an idea of how the subject may be approached. Immediately the grand finale is over, which consists of a parade of the performers, barkers for different side shows and booths begin their shouting. ‘The more and bigger their noise the better. At the booths everything is sold from pink lemonade to circus books and animal cut outs for children. The side shows vary as does the big perform- ance according to the nature of the talent. It is possible to utilize almost anything. A woman with a good voice, for instance, may be dressed as a negro mammy and set to singing plantation songs or just mammy songs, for that matter, to banjo accompaniment. She may be billed as, [ 149 ] THE BOOK OF ENTERTAINMENTS ‘Plantation melodies’? or ‘‘Mammy’s in here. Don’t miss her” or more luridly. The tattooed man may be achieved with water color paint; also, by means of stickers and stamps moistened and attached to his body. A prize fighting act is popular and is particularly funny if done by three year olds. Of course there is always Gypsette, the palmist, the stilted tall man, the chamber of horrors where heads lie on tables or the heads of Blue Beard’s wives are hung upon the wall—a simple stunt of sticking the head through a hole in a dark ma- terial and pinning the hair at the right angle. Side show subjects are endless. For those who have not time to concoct ideas material may be obtained from the chapter on Bazaars. When only one performance of a show is given the circus properties such as chariots, elephants, Pos aay etc., are frequently auctioned off to advantage. Finally, no circus should be given, especially on a lawn, without careful provision for automobile trafic. There should be regulated parking spaces and the lines of in- coming and outgoing cars should be so guided that con- fusion and congestion are reduced to the minimum. Also, no circus should be given without just as careful rehearsal as that afforded any dramatic offering. It sounds so easy that selected performers are apt to say, “Oh, I can do that,” but it is only by experimenting that new and amusing stunts develop and grow into a real show. Entrances and exits should be practised, business, and even jokes should be rehearsed. When the final performance is staged, a list of acts should be put up in the dressing rooms and someone should be present to see that each act enters the ring promptly on its musical or other cue. In order to keep the perform- ance from being tiresome, it must move quickly and with precision allowing no waits whatsoever. If the circus [ 150 ] THE SOCIETY CIRCUS is managed and presented with any skill, it is a sure fire success, for, after all, nobody has really grown up and the planning of individual shows when pins were the price of admission was only yesterday. 1sy J CHAPTER XII | PAGEANTS When a number of idle hotel ladies decide that they are replicas of Eve or Helen of Troy and conclude to get together and aérate their systems with fabrics that would make a lace curtain blush, they dress some bell hops in Nubian undershirts, hand them a bunch of fly swatting palms and recline on half a dozen willow divans covered with robes of rabbit fur. What the public calls the spectacle is not printable, but the ladies endow it with the illuminating title, ““The Pageant of the Apple.” Indeed, pageant is a word which at present is somewhat loosely applied to tournaments, moving tableaux, masques, public entertainments that are spectacular and colorful, and frequently to shows that fail to fit any other category. As a matter of fact, the term pageant is somewhat more restricted from a technical standpoint, and yet during the centuries it has been applied to so many forms of colorful entertainment that perhaps its definition is really more all embracing than pageantry experts will admit. Just when the expression first came into use is probably unknown, but it is likely that pageants originated from the old mystery plays which were enacted on separate platforms moving along the streets. At any rate, it is said to take its deri- vation from a word meaning scene, a division of a play or of the platform on which mediaeval drama was shown. It is deduced that from the movable platforms filled with emblematic and allegorical figures the pageant grew and crept into royal favor until it was incorporated into [152] PAGEANTS coronation exercises where it took on a new pomp and splendor. Historians note that Anne Boleyn’s coronation pageant in 1533 contained figures of Apollo and the Muses which makes it sound almost like a college Tree Day ex- ercise of the present. At an early date the Lord Mayor of London observed the possibilities of the pageant and fea- tured it at his annual show in a somewhat degraded shape, but this step saw the pageant developed from a moving platform affair to a processional spectacle which was seized upon and used by the various guilds and fraternities. De- scendants of this form are the New Orleans Mardi Gras and the St. Louis Festival of the Veiled Prophets. The modern pageant in its best sense is more than a mere spectacle. It is dramatic in construction consisting of scenes or episodes directly bearing on an historical, edu- cational, social or allegorical theme treated from an aes- thetic standpoint. It employs speech, pantomime, danc- ing, marching, singing, and colorful pictures. The feature which distinguishes it from the drama is the fact that the action is carried on by groups rather than individuals. This naturally augments the cast, making it possible for any number, from several dozen to several thousand, to take part. For this reason pageantry is the most valuable -means of awakening community spirit and is daily growing ‘in favor and in finish. The old mystery play concerned itself with the rare moments of earthly life when it came ‘in contact with the heavenly. From this idea some pageant material has been evolved dealing with events occurring only at mankind’s exalted moments when lofty and unselfish motives are uppermost, but by far the greater number of pageants are historical in tendency, as ‘“The Progress of Women Through the Ages,” “‘Denver’s Pageant of Prog- ress,” “The Pageant of Indiana” showing the develop- ment of the state as a community, from its exploration by La Salle to its entrance to the Union. [ 153 ] THE BOOK OF ENTERTAINMENTS Occasionally well known stories are successfully pre- sented in pageant form. The Pied Piper of Hamelin, for example, is beloved by children. ‘There is opportunity here for a variety of costumes in the garb of the towns- people, the burgomaster and, last of all, the children who take the parts of black, white and brown rats with bristling whiskers of florist’s wires and long cotton stuffed tails, factory-made by a friendly mother’s club. This spectacle has been successfully put on in Chicago and other cities, and certainly made the participating children happy whether or not it received an O. K. as the highest type of pageant. In the same category may be mentioned a pageantized version of Longfellow’s Evangeline which was recently delightfully depicted by the people of New Iberia, Louisi- ana, before an audience of perhaps ten thousand. With the stage curtained by Spanish moss and the shining waters of the bayou beyond, it is little wonder that this romantic story caused those who witnessed it to say that they never could forget it. While there are many well known epics of literary value suitable to romantic pageant treatment and a number of excellent pageants which have been written with an eye to general production, the underlying idea of this form, as fostered by the American Pageant Association, is a spectacle evolved, written, staged and acted by specific communities. It is figured that local festivals of this nature are not only instructive and valuable in bringing participants and friends into closer harmony, but that they also awaken or increase community pride, besides oc- casionally being of financial benefit to the places present- ing them. A pageant is such a tremendous affair, involving so many people, so much money, effort and time, that before plans for it have progressed very far the question should be [154] PAGEANTS asked, ‘“‘Who is going to furnish the enthusiasm to see this through and who will back it financially?” An institutional pageant is usually put through by its alumni and friends, town pageants are either sponsored by the society people or the business men. ‘The latter are perhaps more advisable since it is more to their interest to finance them and also because they are more apt to give the pageant masters a free hand. One method at present in vogue, where the financial side is first considered, is to round up the business men of the town and have them elect a dozen of their members to handle the business of the venture. This committee will sell concessions at large prices to those who wish to have exhibits somewhere on the outskirts of the pageant grounds or building and will arrange trails to the main attraction through these booths or palaces. The dance hall concession at a recent Denver pageant brought in $6,500 before plans were even mature and other concessions sold at a similar rate. With a plan like this it is obvious that the pageant is not forced to depend upon the sale of seats to pay expenses and the general scheme may progress without the worry of monetary em- barrassment. For less mercenary affairs, a sum of money may be raised by donations or some other form of enter- tainment and set aside to start the pageant. This must be the first step or else an undertaking will be planned the -scope of which is beyond the available resources and in- stead of emerging with dignity, the town will find itself ‘much in the same position as historic Shelby, Montana. The money raised, an organization is decided upon. A pageant director is chosen either by consultation with the American Pageant Association or from local talent; a good press agent is selected; also, a chairman of printing and seating. It is perhaps better not to appoint a chair- man of cast, a chairman of properties and costume, a di- [ 155 ] THE BOOK OF ENTERTAINMENTS rector of music, a director of dances, authors, solo dancers, etc., until the pageant director is consulted. Frequently he wishes to write his own book, but usually the community pageant is a collaboration, and this is what it really should be in order to get the old folk festival feeling which ought to prevail. The first thing to be decided is the subject of the pageant and the period to be covered. ‘The idea’s suit- ability can only be deduced by asking whether the events making up the cycle are dramatic material, whether sym- bolic interlude themes can be drawn from them and whether a detailed study of the customs, colors, costumes, properties and music of the period would be worth while. If the material is turned over to a pageant director he will either put it in shape or know of authors who will arrange it, but if it is to be written locally there are several helpful points to be considered. The first is a selection of a suitable outdoor or indoor background, as it is easier to plan the pageant when it is known where the spectacle is to be presented and ap- proximately the number of actors who are to be used. Outdoors is inseparably connected with pageants and it is better whenever possible to present them in a natural setting, but where a large indoor stage is to be used, the pageant may be managed successfully by hanging a hand- some cyclorama of silver or black (See Scenery) and setting colorful objects against it in keeping with the various episodes. When these objects should be changed an attractive curtain dropped in front of the cyclorama will act as sufficient background for interludes or processionals while the simple background episode accessories are arranged, In selecting a site for the open air pageant it is well if possible to find sloping ground resembling an ampitheatre with suitable distance from the central [ 156 ] PAGEANTS more level action space. A stream or lake is of great assistance to the pictorial effectiveness of a fine pageant as it is always possible to make so many beautiful pictures with colorful barges, rafts, etc. A background and side _ fringe of trees is desirable to make exits a trifle less crude. In selecting the background a visualization of the re- quirements, movement and general color scheme of the pageant should be kept constantly in mind. Indeed, it is well never to forget that the entire effectiveness of the presented picture will depend upon the vividness of the episodes, the grouping and massing of color, the quality of speeches or dialogue, the beauty of the dancing and the appeal of the music. _ While the time presentation of the pageant varies, eight ten-minute episodes with possible interludes will furnish an entertainment of usual length. The episodes should be gems strung together on a golden thread of plot or continuity, and often the authors are fearful of just what the material should consist. The pageant is so wide in scope and so mercifully unlimited by the usual dramatic unities that events far separated in time may be fittingly portrayed so long as they are related in character and con- tribute to the idealistic purpose of the performance as well 'as the story. A collection of historical scenes is not really a pageant unless each contributes to the upbuilding of the _ general theme while individually expressing the same idea. _ Often, indeed, episodes which are quite widely separated in time and place form the most spectacular of pageants. _ As an example of connected episode might be mentioned the Pageant of Thanksgiving presented by the Savannah Festival Association and found in Linwood ‘Taft’s excel- lent book, The Technique of Pageantry. In this eight episodes or scenes depict various forms of thanksgiving. _ Episode One portrays primitive man seeking protection and favor of the gods. [157] THE BOOK OF ENTERTAINMENTS Episode Two shows that even pagan people set aside special days for votive offerings to the gods and depicts Greeks en route to the shrine of Athene. Episode Three calls to mind that the Romans ordained a special day of celebration for establishing peace in the Roman world. Thus, the pageant scenes move on up to the first Ameri- can Thanksgiving and conclude with a Federation of the World episode. In order to give an idea of the contents of an episode, the second one in this same pageant is a fair sample. Heralds blow bugles and attendants assigned to the episode lead on the Greeks. The first of these are two flute boys who in turn are followed by priests carrying the saffron robe especially woven for and annually carried to the patron goddess Athene. Men, women and children follow in long and colorful procession bearing gifts of wheaten cakes, jars of oil, fruit, garlands, and baskets of flowers. Young men carry swords and spears to be ded- icated anew to the goddess. ‘There are dancing girls, too, and the whole winding ceremonial is carefree and joyous although places in the procession are never lost. The form of The Passing of the Kings by Nina Lamkin runs: ‘“‘Prologue—Early prophecy represented by the Magi Priests and the Provhets of Israel. Interlude 1—A Dance-Drama. Sadness, Hope, The New Light, Triumph. Episode 1 (490 B. C.) Rejoicing over the Battle of Marathon. Interlude 2—Dance-Drama. Roman women, ‘By this we conquer.’ Prologue by the Prophets. Episode 2—(330 A. D.) Pilgrimage to Constantinople. Interlude 3—-Dance-Drama. ‘Thor and Followers.’ [ 158 ] (Zo, abvg aag) ‘10]00 jo Suisseur pue Suidnois ay} uodn ApjvaiS spuadap ainjord pajuasaid ay} JO ssoudatoayo oy, J, mosdmoyy, [nV_ Aq OJOUd ee elaine, a er ee, eee a i* ~ 9X (26, a6vg aag) ‘I[QeIISap ST saad} jo punoisyorq ev pure jueaSed auy eB Jo ssauaATjIaHa [ersojId ay} 0} doUR\SISSE jvoid JO SI aye] IO WeII}]s VY uosdwmoyy, Invg Aq oJOoUd PAGEANTS Prologue by the Prophets. Episode 3—(596 A. D.) Augustine sent into Britain. Prologue by the Prophets. Episode 4—(1099 A. D.) Mohammedans in Jerusalem. Pilgrims of the First Crusade. Prologue by the Prophets. Interlude 4—Dance-Drama, ‘Tyranny and Freedom.’ Episode 5—(1215-1517) Influence of the Reforma- tion. Episode 6—(1588) Defeat of the Spanish Armada. Prologue by the Prophets. Episode 7—(1675-1918) Story of American Freedom. Interlude 5—-Dance-Drama, ‘Victory.’ Prologue by the Prophets. Episode 8—‘Every Valley Shall be Exalted.’ Time—Two Hours. Cast—100 to 1000.” Theme and episodes chosen, the director or authors work them out in detail or else episode chairmen or directors are appointed, told the general scheme and each asked to work out in painstaking detail his own particular episode, cast it, and rehearse it, consulting meantime with the pageant direc- tor and supervised by him on occasion. ‘The property director is set to work accumulating accurate information concerning properties. ‘he costume director proceeds in like manner with the costumes so that the wrong kind of shoes, for example, will not be worn for the period de- picted. The costuming and its coloring constitute perhaps one of the most important parts of the pageant, for, to quote Nina Lamkin, “Each part of the pageant is a large paint- ing where group action and color schemes are studied in their relation to the movement and spirit of the whole production.”’ Not only the color scheme for the entire pageant is important, but for each group as well. Some color combinations are unpleasant when used in proximity, [ 159 ] THE BOOK OF ENTERTAINMENTS others do not afford sufficient contrast and worst of all, unless the director of costuming is familiar with a wide range of colors and materials, the pageant is apt to assume a monotonous appearance. An understanding of fabrics is always a valuable asset since the same shade is different in varying tex tures. Silk, for example, reflects light and appears quite brilliant; cotton absorbs light; while wool gives soft tones. Very gorgeous clothing may be made from inexpensive materials. Where clinging garments are required cheese- cloth and voile may be used. Sateen and other goods may be used for stiffer raiment. All may be glorified by the use of applique, dyes or oil paint. Gorgeous kimonos, for example, apparently worth a fortune, may be made of white sateen placed on dress forms and decorated with aniline dyes applied in effective designs by means of a brush. Some garments may be made up of many shades of one color as turquoise blue, cobalt blue, ultramarine blue, etc. and other artistic designs can perhaps be achieved by a judicious blending of colors. Armor and original cos- tumes may often be borrowed by responsible persons from collections, but it is usually safer to copy these treasures. Turkish toweling treated to a coat of aluminum paint often makes very good coats of mail. When the various directors are started on the larger and more general aspects of the pageant, a person or persons should be chosen to furnish the dialogue. As a rule there is far too much of this. If the pageant is unusually large and the audience in keeping in size, voices do not carry partic- ularly well. The good pageant, therefore, should be largely self-explanatory by its scenes and action. For the benefit of that portion of the audience which never knows a home run has occurred and cannot imagine what the pageant is about, all speeches should be printed on the pro- gram. As a rule the oral explanation of episodes is [ 160 ] ~~! PAGEANTS accomplished by means of a herald who also recites the prologue. Occasionally this individual is replaced by a chorus evolved from the Greek drama. ‘The value of the chorus is that explanatory matter is introduced directly by means of songs or symbolically through dance evolutions. If the herald is used, his speeches should be in verse or rhythmic prose since it has been proven that these forms carry better out of doors than words strung together without rhythm. Frequently before the first episode, a lyrical prelude of dance and music occurs to symbolize the subject of the pageant. Sometimes, too, when appropriate to the subject matter, folk dances are introduced. It is not unusual to have these lyrical interludes after every two episodes. When the action of the pageant is complete the herald usually recites an epilogue summing up in poetical form the main theme or moral of the whole spectacle. Often, too, a recessional of all the characters is used as a striking finale. | _ The music is an extremely important item of the pageant, as it forms a background for the action and helps to pre- serve the tempo of the performance. While it will be impos- sible to use an orchestra for all rehearsals, the pianist should meet with every group. Naturally the selection of the proper music is of gravest consequence and should be handled by a highly trained musician. The same may be said of the dances. When actual rehearsals are started, it is wiser not to call the entire pageant cast as it is very difficult to control so many people and incidentally it is useless to waste their time since it is really better to perfect each group picture before combining the episedes. When, however, all the groups are assembled for final rehearsals the director will save time, strength and lung power by employing mes- sengers or telephones to convey instructions to the orchestra [ 161 ] THE BOOK OF ENTERTAINMENTS and different portions of the field. An excellent rule in casting is to select more people than necessary, for some are sure to drop out and it is better to work with those who have been rehearsed than to put in entirely new individuals ten days after rehearsals have been in progress. A pageant is so tremendous that it is impractical for the director of the whole to attend to every detail as is possible with certain dramatic forms mentioned elsewhere. The director’s real task is to engender confidence, en- thusiasm and a willingness on the part of all cooperating to do their full share. Indeed, it should be remembered that the raison d’etre of the pageant, as it has been de- veloped in the last dozen years, is to draw all classes and ages together in a common bond of desire to bring back past history in its most vivid form. The result of working out any theme of ethical value has a permanent effect for good on the community concerned and cannot be too highly recommended where any locality is having a centennial or any other excuse for a vivid spectacle. Whether the choice is a panoramic pageant, dramatic pageant, epic pageant, pageant drama, dramatic festival, or lyrical drama it is an undertaking of no regrets, if properly managed, and the form has been so developed in the last few years that there is little chance for mistakes with competent advisers. De- spite this statement modern pageantry is still more or less in its infancy. What its next growth will be is not known, but the supposition is that each community from Portland, Maine, to Portland, Oregon, will attempt to do something new with it—something surpassingly fine, inspiringly help- ful and worthy of the new community spirit spreading over the land. It is this spirit which will make for greater patriotism and a united people who will not merely look at the flag, but who will follow it. [ 162 J CHAPTER XIII DINNERS Once the new chairman of an entertainment committee. announced that he intended to smash tradition at the annual dinner given by the society. The dab of fish, the historical chicken that tastes like a dry-cleaned kid glove, the withered olive, the wilted lettuce leaf and the frozen nugget, masquerading in paper petticoats as ice cream—all would be missing from the menu. He had ideals, that chairman, and an imagination—but he had not met Monsieur, the Steward, when he made these rash promises. It seems that the laws of the Medes and the Persians were after all transitory things—but the banquet chicken is eternal. It is one of those sad facts that just has to be. There’s no alternative. The stewards of many caravan- saries, where Mr. Chairman went seeking food novelties for the annual dinner, patiently explained why the menus of all large dinners, since Nero gave up entertaining, have been the same. Food in large quantities must be prepared in advance. Chicken stands the test of time better than say—Filet Mig- non. Also, price must be considered. ‘“There could be,” reluctantly admits the steward, “‘puree of pea soup, a nice bit of fish, broiled chicken, Julienne potatoes, haricots verts, salad, an ice with petits-fours and coffee.’ The steward appears to anticipate a loss, in agreeing to serve such a dinner—at such a ridiculously low price. The chairman, with original ideas, is forced to agree that it is indeed a miracle that this dinner can be served—at the price. When [ 163 ] THE BOOK OF ENTERTAINMENTS olives, celery, and radishes are magnificently included by the steward, the chairman feels he has driven a wonderful bargain—at the price. It never seems to matter what the price is—it is the same dinner, and the price from the manager’s point of view, low. Problems of the kitchen and price doubtless combine to make large dinners what they were and will continue to De. | The average hotel charge, per plate, is from $2 to $4. Tickets must sell from $3 to $6 to allow a margin for music and other expenses. Dinners rarely, if ever, produce a profit for an organization, and are usually considered to be brilliant financial successes if they break even. If the dinner is given in the association’s own club house better terms may be made, as the overhead expenses are not charged and the actual price of the dinner goes into food and service. Then, too, one may hope for variety in some of the courses. But those who make arrangements with hotels or caterers must be reconciled to a stereotyped menu—even to the ratio of only two chocolate frosted petits-fours to a plateful of the plain cooky variety. Aside from the economics of the unimaginative menu, it is perhaps as well that these staple viands are made standard. ‘The majority will eat all of these things and perhaps if an epicure planned a strikingly unusal fare for a large group, half of those present wouldn’t care for it anyway. The best that a dinner committee can do in ordering for several hundred persons is to look over the list the steward presents, O. K. it with perhaps a few minor changes that may be agreed upon as practical—and urge that the quality be of the best, the food carefully prepared—served hot when supposed to be hot—and ice cold if it is supposed to be cold—and in concluding the arrangements, assure the steward that he is one of the most obliging and capable — [ 164 ] DINNERS persons to be met anywhere and that under his supervision the dinner is bound to be the best one on record. Then if the steward is appreciative of praise, he may break tradition and put a slice of broiled mushroom on top of the broiled half chicken and a slice of broiled Virginia ham under it—and Russian dressing on the lettuce leaf—and then it will be an unusual dinner, ‘‘so different”’ from the one the club had last year when there was no mushroom and the salad was just the toughest old romaine —practically nude of dressing of any sort! There should be an understanding with the steward about the exact time the dinner shall start. A large dinner shouldn’t start so early that the guests will find it incon- venient to get there in time, since many have business hours and must go home to change their clothes. On the other hand the dinner must not be too late in starting, or every- body gets too hungry, and past being hungry, which results in peevishness. About 7:15 is the right time for a dinner. Having obtained word from the steward as to how long it will take to serve the dinner, in case it is important to get through quickly for a lengthy program, speed may be insured by the promise of a modest bonus for time sayed in service. ‘This results in everything being served with snap and piping hot. Also, the committee should always in- clude the tips for waiters in the price of the dinner, other- wise guests are embarrassed by the passing of a plate around the tables by soliciting waiters, which is always bad form. | If the entertainment is to take place in the room where the dinner has been served, it will be necessary to arrange in advance for the removal of tables, allowing chairs to _be drawn nearer the speaker’s table or platform. This takes about ten minutes, if the management is prepared, and arranges for sufficient helpers. ‘The interval is appre- [ 165] THE BOOK OF ENTERTAINMENTS oo ciated by the guests as an opportunity to move around and converse. A committee should not plan, or permit others to intrude speeches, songs or other features while dinner is being served. Todo so disrupts the service, or the entertainment features are given to the accompanying clatter and bang of waiters coming and going and the rattle of dishes. This does not apply to incidental instrumental music which is a good cover for the hum of conversation and the clink of crockery. The seating problem is simplified when long tables are used and no places are reserved, except for officers, speakers and guests of honor. The continuous tables are arranged in a hollow square, or horse-shoe or even in long parallel lines extending the length of the room. When small reserved tables are preferred, the question of filling applica- tions may be found under the chapter on Tickets. Table decorations should be kept low, since tall arrange- ments of flowers in vases obscure the view of speakers, entertainers and persons opposite. Also, flowers should be selected which do not fade easily. As large dinners usually take place during the season when flowers are high in price and limited in variety, banks of green ferns may be used and the color note for the tables be introduced by candles, place cards and favors. Table balloons are always popular and in tossing them about the spirit of the coldest gathering is warmed. Colored streamers may be distributed when the food is out of the way, but never confetti, which is a nuisance. Controlling Speakers A committee to whom responsibility is given for a dinner or evening entertainment will be saved from failure if every minute of the time available is programed in — [ 166 ] DINNERS advance. Nothing should be left to chance, for the course of events rarely runs smoothly by itself. An affair gets limp, sags in the middle, sinks and is often a total loss, all because of misplaced confidence that everything would work out all right. In spite of all possible care to account for all minutes of the entertainment it frequently happens that disappoint- ments are met, but how much deeper is the black pit when an incomplete program is robbed of one or more of its star numbers? If a speaker is allotted ten minutes, and is made acquainted with the schedule of the evening, his remarks can be confined within ten minutes. If, on the other hand, no such restraint is exercised in advance, the speaker, flattered with ever so little applause, is liable to stretch the ten minute allotment into a half hour or longer, and few speakers can hold an audience so long, or have a message that is worthy of so many minutes. When the program is left rather indefinite and speakers are called up from the floor almost any party will degener- ate into an experience meeting, than which nothing can be more deadly. We have only to recall those speakers, coming on in series, beginning with Absalom and ending with Zachary whose opening remarks never vary, “I’m not much on speechmaking, but I’m glad to be with you to- night.”’ If such a speech is made a score of times—and it frequently is at the same dinner—no one is more to be blamed than the committee of arrangements. A speaker is entitled to notice in advance, several days if possible, that he may have time to prepare a really worth while message. Notice is not required that the speaker prepare a long address, but rather that he can pack the allotted time with interesting facts, and polish the speech so that it comes easily within the time allowed. How well a speaker observes the time rule—and nothing can be more [ 167 ] THE BOOK OF ENTERTAINMENTS important—depends upon just how the invitation to speak is extended by the committee. When this is the order, and speeches have all been arranged for specified minutes, the program may be made up. Not too much attention need be paid to the speakers who demand to speak first. Every speaking veteran wants an early place on the bill. He is fearful of a tired _ audience, fatigued by a lot of windjammers who have gone before. Speeches should be sandwiched in a program, - the light and thin ones with the solid and heavy. Each type helps the other by contrast. If the first speaker can bring a little fun into his opening remarks, and his talk is short, the crowd settles back in anticipation of an interesting evening. If the first speaker gets into a long stride and cannot find the brakes the following speakers need to be good to bring interest back to the party. The second speaker’s remarks should likewise be short, for then the following speakers will be convinced that they cannot roam over the seven seas and all continents, and will likely be staring at their watches many times in the course of their remarks, and so keep within limits. The conductor of the evening’s program should make an event of planting his watch in front of him as this is certain to have an intimidating aspect for the long speaker. It is quite as necessary to control the really humorous speaker. No matter how funny, humor cannot be stretched out so long as straight talk. Audiences have been known to rock with merriment and to shriek with laughter and at the same time be secretly hoping that the speaker will stop. If a speaker is to make a long address, the committee of arrangements should know, in a general way at least, what is going to be said. If the speaker has prepared a speech made up of interesting facts certain to be new to hearers and so well received; if the speaker is a master of the subject, or has spent much time in research, the com- [ 168 ] DINNERS mittee can know that even a long speech will ‘“‘get over.” There are, however, professional speakers who have learned the trick of pointing one set speech, making it to fit any and all occasions from a corner stone laying to a sorrow service. Such speakers should travel fast be- cause otherwise the audience recognizes the repeats, and _ no matter how well delivered such a speech is most often a “flop” or failure. Be wary, too, of the speaker who digs his speech out of the dictionary. He always begins: ‘‘When I was asked to address you tonight, I knew nothing of the subject of your common interest and so I spent the afternoon in investiga- tions and research. I took my dictionary in hand. You are in the rubber business. I find that well known lexicograph- ers define ‘rubber’ as ‘the deciding game of a contest.’ ” This is sure to attract just enough laughs to make the speaker feel that he is making a hit. If he has not been threatened with slow torture for over staying the five or ten minutes allowed, this humorist will wander through a full hour. It is always difficult to revive an audience after such a speaker has induced sleep. Congressmen feeling relieved of rules of debate when they speak for dinner guests are habitual offenders. Espe- cially if addressing his constituents, a Congressman feels that he must defend his whole career and define his position on all large and small subjects. If a Congressman is to be one of the speakers the committee should exchange several letters, concerning the engagement, and in each letter refer to the number of minutes allowed to the speaker. Much time is often lost, and little entertainment pro- vided, in long winded introductions. The presiding officer has a reputation to sustain if once referred to as a wit. Left alone he is certain to spend more time in the introduction than the speaker should employ for his message. The [ 169 ] THE BOOK OF ENTERTAINMENTS committee should threaten to chloroform the chairman if he fails to make his introductions snappy. One of the — committee needs to stand by, too, because speakers are certain to break all promises made to committees in advance if there is no policeman on the job. The introducing officer, too, should prepare himself in advance, or else many misstatements are made, and when the speaker gets the floor, following an inaccurate intro- duction, ten minutes are used in refutation of the introduc- tory libels. The presiding officer who goes to a meeting without any idea of who is present to speak and what is to be said, is apt to begin each introduction with, “Mr. Jones tells me that during his days spent in Thibet,” etc. and thus a second hand garbled impression comes out, which Speaker Jones struggles to correct. The facetious introduction is often in poor taste and unfunny, and if the speaker is disconcerted the assembly may lose a really good talk, because the speaker is miffed. Or as frequently happens when an introducing officer baits — the speaker, that person may be super clever at come-back — and rub salt into a sore. These things—any and all of them—are liable to happen at any meeting, and rob it of its charm, but a tactful com- © mittee, which makes its program in advance, takes its speakers into confidence, and asserts quietly its full de- termination to police the meeting and maintain the schedule, is more nearly certain to realize a successful dinner. | If the speaker is really important and brings a very big — message, or if his position is so distinguished that he must — be saved from embarrassments, he has every right to demand a copy of introductory remarks in advance and the committee, too, is within its rights if it asks that the speaker provide a copy or outline of his speech. This can always be tactfully arranged, and is much to be pre- [ 170 ] DINNERS ferred over the next day’s gossip occasioned by a serious break. Such a course is particularly to be followed if there 1s fear that the speaker may unloose a flood of propaganda. Many a speaker has been innocently invited to speak on a subject, which was quickly sidetracked and _ lost, once he got to his feet, and the time devoted to issues which many of the audience resented. If the cir- cumstances are aggravated enough, a chairman or commit- teeman would be well within rights in denying the floor to the speaker. The fact that audiences are tolerant and disposed to listen respectfully is not justification for an ill considered address. If more speakers were brought to book such an- noying occasions would be more rare than at present. Sin- cere speakers with a mission may be quite as offensive as endowed propagandists, but perhaps the worst pest at a speakers’ table is the unfunny funny person who cranks up with; “It seems there were two Irishmen, Pat and Mike,” and follows with all the wheezes in a book of drummer’s yarns. No one should be called upon unexpectedly to speak or to do “‘stunts.”’ If several persons are to contribute spe- cialties the order of appearance should be arranged in ad- vance and the performers rounded up conveniently near the platform, if one is used. “Stunts’’ should be introduced by the toastmaster as well as speeches, for no one enjoys walking up ‘‘cold” to a platform. The dinner that dispenses with speeches is coming more and more into vogue. To insure an enthusiastic response to ticket sale announcements it is only necessary, in many circles, to note in the invitations, ‘“No Speeches!” But in dispensing with this time honored institution something else must be provided. Dancing solves the problem in many in- stances, but the club which gives dances during the season, [171] THE BOOK OF ENTERTAINMENTS in planning a dinner to appeal to many who may not care for dancing, may well provide some other form of enter- tainment. In every organization there is a “dinner crowd”’ made up of non-dancing members and one such party should be planned for them. The “‘head-dress”’ dinner has been found to be amusing. It is less trouble than a costume affair, each person “making up” merely his head. ‘The dramatic talent of which every group boasts, may find an excellent opportunity following a dinner, to put on several short playlets, with musical numbers, specialty dances and whatever the club may have in members with “‘specialties’’ which, however, should not be those that have been done to the point of, “Have we got to listen to that again—Goodnight!” [172] CHAPTER XIV REUNIONS There are various species of reunions—old settlers, fam- ily, volunteer firemen, war veterans, and so on through an ever increasing list—but the most intricate or specialized Reunion is that indulged in at stated intervals by college graduates. The cynical will say that this is a form of mania encouraged by colleges for the purpose of increasing en- dowment and getting free publicity, but the fact remains that there is something inspiring about a really good Re- union. For the time being at least some of the worldliness of the years sluffs off and there is a return to the buoyant ideals of youth. The sight of quiet men or women of real achievement burns away personal egotism and brings forth a certain self-communion that is harmful to no one now and then. The success of a Reunion is due to a tireless chairman and a good class organization. The latter depends largely on the loyalty and verve of class officers, although in recent years colleges and schools have been so exacting in the matter of records that even most lax secretaries have been forced to keep in some sort of touch with their class- mates. The class record is the first thing the chairman should secure upon entering office. ‘The next possession to be treasured is an old list of commencement festivities. “The following step is to appoint as a committee member a classmate who lives in or near the college town in order that many details such as class dinner, conferences with alumni secretary, etc., may be personally arranged. [ 173 ] THE BOOK OF ENTERTAINMENTS At least eight months before Commencement the chair- man should begin his work. The first job is to compose a bright, peppy letter to all classmates reminding them that Reunion is drawing near and begging them not to have any babies or business that will prevent a big get together crowd in June. Incidentally, suggestions are requested and ideas that will help to make the coming Reunion a real event. In response from a class of two hundred and eighty-three will come two post cards congratulating the chairman on his snap and one letter saying that the class used to be a dignified organization and that the writer wishes it understood that he considers it deplorable that such a slangy, jazzy epistle should be sent out on class stationery. It might as well be understood early as late that he for one will not attend any Reunion run in such a frivolous manner. ‘Two weeks later some one else will write to say, ‘Please don’t make us carry parasols.”’ Meantime, the chairman carefully perusing class names, makes a list of useful people under the headings: 1. Singers. 2. Writers. 3. Speakers. 4. Persons with histrionic ability. 5. Dancers. 6. Composers. 7. Artists. 8. Printers’ rela- tives. 9. Plodders willing to work. 10. Especially dis- tinguished. Names are also grouped according to geo- graphical sections, for it is always of assistance if there — are eight persons living in Atlanta who will get together and furnish some idea or stunt. By stirring up different sections it is possible to pit one against another for sug- gestions and material of various kinds. For instance, it is helpful to write San Francisco, ‘Chicago has sent in the best song to date. Can’t you go em one better?’ Where a class is fairly prosperous or a chairman has a generous pocket book, results are sometimes obtained by telegram — when letters fail. An old superstition has been built up — about yellow backed messages brought by a boy in blue that they are important and it is probable that they will [174] REUNIONS always be more reverenced because of this unaccountable impression. Arranging for songs should be one of the earliest duties of the director of Reunion. He should decide how many -marching, topical and serenade songs will be required and set about getting them. If the class is rich in composers, the writers are instructed what to furnish in the way of lyrics and the composers are put to work. Where there are no composers the chairman will obtain the best result by personally selecting the music and mailing it to the writers to fit with words. If this is not done, seven authors will send seven songs to Auld Lang Syne and five to The Flowers that Bloom in the Spring. Certain additional songs are always written after the class actually reaches the campus. At a Reunion which was nothing but a weary downpour of rain one class achieved many chuckles from _ other alumnae by a hastily written song to the effect that though the states were dry the college still was wet. It is wiser, however, not to wait till the last moment for march- ing and serenade songs which presumably should have more merit and technique than a spur of the moment giggle. If class instrumental music is desired a sub-chairman should be appointed to stir up mandolin and guitar players and the music should of course be sent them. A song and cheer leader with a good voice and pleasing personality should next be selected and copies of the music mailed him also. It is growing more or less customary, particu- larly among women’s colleges, for local sections of a class to hold annual or semi-annual luncheons on a given day. If it is possible to send copies of the songs to these groups so that there may be a few rehearsals of the words before returning to college something is gained, although this is by no means imperative. Meantime, the chairman studies the old list of Com- Oke THE BOOK OF ENTERTAINMENTS mencement festivities. Sometimes the program is available for the coming year, but in general this seldom materializes until three months before the actual date and the wide awake chairman should have made many plans before then. The value of the old program is that it gives an idea of the more or less prescribed events and the hours which are unfilled. ‘The wise chairman will see to it that every one of these vacant hours is scheduled for some activity. When he cannot do anything else he should arrange a Cook’s tour of the Campus conducted by the wittiest person in the class. Graduates talk about going back to dear old Alma Mater to be with Sal or Bill, but as a matter of fact a classmate’s life history is available in twenty minutes’ conversation and after that one time inseparables are bored to tears with each other. ‘The other fellow is interested to know whether his vis-a-vis has children or dogs and how many of each; whether he has been divorced; whether he married the flame of last accounts; and what his present business is. When it comes to what Willie said to his teacher, one’s yearly salary in flat figures, and a list of one’s acquaintances in the Four Hundred it is unnecessary to furnish the listener with ear mufflers. His face may smile, but he hears nothing. A busy Reunion with the crowd — doing things together will result in everybody returning home telling how wonderful the old classmates are. A quiet Reunion where, ‘We'll just talk over old times” is the motto, sends everybody away firm in the belief that the old crowd has turned into a bunch of pests. It might be said in this connection that chairmen should frown upon the ever growing habit of classmates returning encumbered by their families. This defeats the very pur- pose of Reunion. College houses cannot accommodate these aliens and they not only make Reunions difficult but exasper- ating. Where women come attended by husbands they [ 176] REUNIONS are not available for certain occasions because Henry wants to motor that evening or is willing to buy a rug for the dining room if it is chosen on that day of all the three hundred and sixty-five in the year. Where men return with wives and youngsters they spoil other men’s fun and their own. It is impossible to enter whole heartedly into college spirit with allegiance divided. ‘The family is a part of the life since graduation and it is the very thing which should be forgotten temporarily in order to get the best out of the event. Chairmen’s letters, therefore, should discourage the attendance of any but bona fide graduates or honorary class members such as the class baby who always receives a special invitation to be present at all class ceremonies. Better halves should have pride enough and sense enough not to tag along on these occasions. The chairman next decides where the class dinner is to be given and sets about getting estimates, sample menus and prices per hundred, two hundred or what ever number he anticipates from statistics of former Reunions. ‘This task is best attended to by the committee member on the spot. It should be remembered that Reunion is an ex- travagance for many and therefore the most costly selec- tions should not be made although the best possible ac- commodations should be arranged for the price. The class dinner is perhaps the most important function for Reunion because many appear for that who are unable to attend other commencement festivities. It should, therefore, be memorable. The location will depend on whether dramat- ics are introduced or straight speeches only. In the former case it will be necessary to engage a gymnasium or room with a stage and an early selection is necessary in order to beat the other fellow. In general, the event should be scheduled for the college town. ‘There is no sense drag- ging people across the continent to the dear old college and then rushing them fifty or a hundred miles farther in order [177] THE BOOK OF ENTERTAINMENTS to eat in a more handsome hotel. In general, too, it is better to order all bunting, lanterns, etc., for decorating purposes in the stores of the college town. They will be interested and try to do better in the way of prices and delivery than an outside firm. In large colleges there is usually a general Reunion chair- man. Before devising uniforms or insignia, parade schemes and the like it is wise to find out from him if this is to be a unified Reunion, i. e., whether all the classes are to fol- low a general style in self decoration, etc. It is then well to proceed accordingly. Where matters of insignia, etc., are left to the discretion of each class, committee ideas should be selected which will put the class in a rank above the other classes, as there is nothing more dampening to class enthusiasm than to have some particular class not one’s own walk away with all the honors simply because it had a committee that was on the job. As most classes publish a year book in connection with Reunion it is essential that an editor be appointed early so that he can be getting letters, statistics and other ma- terial from his scattered classmates. Incidentally, it will be necessary to get estimates on printing and this is where the item ‘‘Printer’s relatives” comes in to advantage. Some classmates may be in the business or be related to someone who is—a little detail which will affect the quality and price of not only the year book but numberless tickets and forms of various kinds incidental to Reunion. It is also well to start the class artists on transparencies, placards, place cards and anything of this nature which is apt to be required. A second general letter is advisable if the chairman can manage it. This should be as alluring as possible and paint glowing pictures without divulging actual plans, as, for instance, ‘‘Would you like to see X— Z— stand on his head in a pail of hot tar and balance seven tokay grapes on [ 178 ] REUNIONS his nose? You may not see this, but there will be some- thing better. Don’t missit! Etc., Etc.” This letter should also contain one from the editor of the year book telling what material is wanted, when and where it is to be sent, etc. A month before Commencement the final letter should be mailed. This gives the authentic dates of various Com- mencement and Reunion festivities. It will also tell what will be required in the way of clothing, i. e., whether eve- ning clothes, all white clothes, etc., will be worn. If caps and gowns will be required for any function this should be stated together with the popular length for gowns at the present time. Also, a note should be made whether high collars will be used with them, etc. Rental prices and the name of the firm supplying academic robes should be given for the benefit of those who traded their scholastic insignia for a watermelon on the day of graduation. Most im- portant of all the address of the class headquarters at the college should be given. Last, but equally important, de- tachable slips should be attached to this letter saying: ‘““‘Do you want the year book? It will be out———————and will cost—————. Mail check at once to——-__—__—__- as no books will be printed which are not subscribed for.” “Will you be present at class dinner? Your reply must be in before-————-----_ or no reservation will be made for you.” “Will you be present at Alma Mater for the entire Reunion?” When replies to these questions are in, a definite order may be given the hotel or caterer for one hundred and eighty or whatever the number may be for the class dinner. It should be understood that the number may be aug- [179 ] THE BOOK OF ENTERTAINMENTS mented on the day of the dinner by telephoning up to a certain hour. Even then it is well to engage food for at least fifteen who do not order, as approximately this num- ber will drop in at the last moment. The number who will be present for the entire Reunion will give an idea how much is to be ordered in the way of insignia. In cases where alumni from points south and west want to catch a certain boat or train it is well for the chairman to dissemi- nate all the information available about cost of trans- portation, schedules, etc., but he should never engage to buy tickets or he will find himself in the hole. Prospective purchasers should buy directly from the ticket agents. This saves many complications and much bad feeling later. In most colleges the undergraduates vacate college rooms on a certain date and they are then available for the alumni who write directly to the college registrar stating their preference for location, but where this is not the custom and the chairman must hunt accommoda- tions, he should send out notices that so many rooms are available at such and such places and the prices are thus and so. [he individuals should make their own reservations, for the chairman will have enough money to handle without being muddled by looking after sums for classmates. Where classes have money in the treasury, bills may be paid as they come due by requisitions on the class treasurer. If the class is in financial straits, bills should either be held for payment until all moneys for Reunion are in or else costs should be underwritten by the chairman or others and so defray obligations. The financial success of a Re- union depends largely on the arithmetical prowess of a chairman. He should not only calculate expenses accurately, but add enough overhead so that all emergencies, extra dinners unpaid and the like will be taken care of. Class- mates should be given an idea of the approximate cost of [ 180 ] REUNIONS Reunion and when they arrive extra calls on their pocket books should not be forthcoming. In most colleges there are usually certain events such as alumni dinner where representatives from all classes speak. Often there are special memorial exercises, corner- stone laying, class prayer meeting and other functions. The chairman should learn from the alumni secretary how often speeches will be required from his class, on what occasions, and the general tone of the talks demanded. ‘The president of the class should be allowed to take his choice of these speeches and the others should be delegated to certain members according to the nature of the material desired. It would be as well not to hand the class prayer meeting over to the best wit in the class. Likewise the person who brings tears to the eye in the prayer meeting may not be the right individual for the alumni luncheon. Plenty of time should be allowed all speakers in which to make out- lines of their talks, for even good extemporaneous speakers sometimes like to refresh their memories on certain points before facing an audience of several hundred people. If an orchestra or other hired music is to be used for class dinner or for any other occasion, it should be engaged early. The committee member near the college town can probably dig up a band of musicians who are in the habit of playing for dances at the nearby schools. An orchestra booked in January is apt to be less fanciful in its charges than one engaged in June. It is an excellent idea to furnish the orchestra with the music of Reunion songs as every time this is played it helps to familiarize the class with the tunes. | Where dramatics are used in connection with the class dinner it is well to plan the entertainment well in advance and the writers in the class should be put to work on material to be produced. It is better if this is all keyed to some activity connected with the college or some scholas- [ 181 ] THE BOOK OF ENTERTAINMENTS — tic theme, but this is not imperative. Many amusing sketches can be written about various chapters of class history, what happened when X tried to leave home to reach Re- union, etc., etc. When the plays, sketches, etc., are com- pleted they should be put in the hands of responsible per- sons in various towns where there are the most alumni. These local groups are then started rehearsing their par- ticular bit. It is better where each locality will write and stage its own skit as local pride enters into the benefit of the performance, but often such an arrangement is not feasible. When the chairman has written as many letters as he can to classmates in order to stir up enthusiasm and a de- sire to attend Reunion and the time approaches for the event, he should reach the college somewhat in advance of the others in order to see that all bunting, lanterns, balloons, uniforms or insignia have arrived. He takes these to class headquarters as assigned and — selects a reception committee to run matters there. As each alumnus enters he registers his name, address and room number and receives in return a name placard for his door, also his insignia, ticket for class dinner, ticket for alumni dinner, etc., etc. It is better for the chairman to figure out the cost of insignia, dinner, etc., and charge each person a lump sum upon registration. If this is not done, some will decide that they want this and some that until confusion will result. If one helper gives out insignia, another handles tickets, etc., another checks up the cash and the buyers, there is very little chance for loss. At class headquarters should be displayed a good sized bulle- tin enumerating all events during Reunion festivities, for although cards were sent to classmates these are invariably lost. | If the chairman has been wise he has personally attended to the decoration of class headquarters and the banquet [ 182 ] REUNIONS hall early. He has also discovered from the general chairman where his class is supposed to stand on entering certain parades and where it is supposed to sit at certain functions. This knowledge may be conveyed to the class marshal. Sometimes the president assumes this baton, sometimes the chairman, but it is usually best to secure some distinguished class member for this honor as the chairman and the president have quite enough to do and the greater number of the class who can be assigned duties the better it is for class morale. If the college gives a general alumni show or Follies the class dinner is an excellent place to try out skits of which the best is selected for presentation before the whole alumni body. Where after dinner speeches are dispensed with, it is not a bad idea to have two or three short speeches before the show starts and it is really an excellent plan to call on every member of the class for a two minute talk while the performers for the first act of the show are dressing. ‘This makes everybody feel that he or she is a part of the festivities. It is remarkable how many laughs can be packed into a few words by each member. At one such function a New England welfare worker caused a burst of merriment by stating that she had 1500 children—all illegitimate. Another standing said, “I’m still single— thank God.’ In print they do not sound particularly laughable, but in the proper setting half a sentence perti- nent to the occasion is sure to bring forth a roar. Colleges vary so in size and in the number and variety of their events that it is impossible to go into greater detail without giving matter that would probably be extraneous in many cases. There is one safe rule for every chairman to remember, however, and that is that he should demand bills for everything furnished, pay by check and thus make sure that all his accounts are straight. ‘There is nothing more embarrassing than discrepancies due to carelessness. [ 183 ] THE BOOK OF ENTERTAINMENTS There are not apt to be losses of any kind where every- thing is carefully planned in advance. It is only when things are done in a rush that orders are duplicated, things left unchecked, prices unreasonable, and the whole affair a mess. The chairman who is forehanded, who stays on the job and keeps his information up to the minute, answers queries courteously, and helps his classmates to shine is sure~to emerge from the affair with a sense of accomplishment. The job is no sinecure. It means executive work, creative work, the guile of the serpent, the blandishment of Lucifer, the frankness of an archangel, and yet if any man or woman puts heart and soul into the struggle he or she is bound to come out of the ordeal in a state of mind that borders on the lofty. Better halves should have pride enough not to tag along on these occasions [ 184 ] CHAPTER XV EXHIBITIONS It was considered a very daring innovation, not so many years ago, when a group of humorists in New York decided to hold an exhibition. Such shows had been given success- fully in Paris and London, but it had been more or less a tradition in this country that an exhibition was a serious proposition not to be adapted to frivolous subjects. The - general public, boasting it “didn’t know much about Art, but knew what it liked” avoided Art shows as being de- signed exclusively for those who “knew all about Art and didn’t like anything.” The first Humorists’ Show was a success, however, and another glorious venture of the playful type was “The Exhibition of Bad Taste,” sponsored by a group including leading interior decorators. Such a weird collection of household gods and ornaments as this brought together proved for all time that an exhibition could be made of almost anything, providing it was done in a witty manner. When the Society of Independent Artists gave their first show of Cubist and Futurist art in an armory, thousands and thousands attended out of curiosity, especially attracted by the now historical masterpiece, ‘Nude Descending A Staircase.” | These and other cheerful shows did much to make ex- hibitions popular. Many art organizations now lighten their yearly program of exhibitions with a humorous show to which contributors may send anything designed to win a smile from an oil painting to an animal made of a peanut. [ 185 ] THE BOOK OF ENTERTAINMENTS The National Arts Club gives over its long galleries every spring to one of these artistic frolics and the Society of Illustrators holds an annual ‘‘Exhibition of Playtime Stuff,” work done by the members for “fun,” and preferably not in their usual medium of expression. y LS ah Bh Bs i ’ fi 4 | ye ae f | ‘ Bi A ‘ iis NE hts Vi ete ‘~ | PLAY. TIME STUFF | {SOCIETY OF ILLUSTRATORS} ART CENTER APE end Art organizations now lighten their yearly program with a humorous show Any club which prides itself on a varied program of events might find a yearly exhibition well worth while. There is a wealth of material available in almost every locality. Hidden away, only waiting to be brought out and shown, are scores of interesting objects which the com- munity is quick to appreciate. | [ 186 ] EXHIBITIONS In Hartford, Conn., for example, some one suggested a Silhouette Show. It developed that there were a great number of these unique black paper pictures hanging in homes, including one of the very famous silhouettes cut by William H. Brown about 1830, which made the show outstanding and attracted visitors from afar. Little did those practical great, great grandmothers realize they were creating future exhibition masterpieces when they made hooked rugs for the “‘spare room’”’ floors and that they would be hung around walls and admired for their “design” and ‘‘color’’ by experts. And samplers! Not in vain did “Eliza, aged 8 years” toil on her daily ‘“‘stint,” cross-stitching weeping willows above the tombstones of deceased relatives. Time has mel- lowed Eliza’s naive little gesture of industry into an antique, a work of art. ‘There’s something very appealing and human about an Exhibition of Samplers. The promoters of the first ship model show in New York did not have large faith that it would be impor- tant, or make a very brave showing, but the announce- ments were hardly out when magnificent entries began to be received. Interested persons traveled hundreds of miles to see this exhibition. It was found that there were a surprising number of collectors. The annual shows, which are now held, stimulate and increase appreciation for these lovely things. Wood carving, art dolls, hand made toys, pottery, lamp _ shades, screens, craftsman jewelry, weaving, amateur pho- tography, old prints, antiques, rare books—are a few of the possibilities for shows. Art exhibitions are not so difficult to secure as might at first seem, for the painters are anxious to have their pictures shown under good auspices. The editors of art publications will put any committee in touch with artists [ 187 ] THE BOOK OF ENTERTAINMENTS who would be agreeable to furnishing a large or small number of canvasses. A loan exhibition, either of pictures or other objects, is easy to arrange. There are many fine things in art owned by townspeople and a committee should be able to locate these treasures and arrange for their exhibition. There are, too, the “‘traveling exhibits” sent out annually by associations all over the country—fine exhibitions of paintings, illustrations, advertising art, and a score of sub- jects. The committees in charge are always anxious to connect with well managed associations, for display. Several of the railroads have prepared very attractive exhibits of farming, manufacture, and other subjects inter- esting to or typical of the activities of the people in the cities and towns through which their lines run, and these exhibits are often secured and brought from long distances, and when shown are always much admired. Announcements soliciting exhibits should give detailed information. It should be stated that all entries are ac- cepted at the owner’s or exhibitor’s risk. Not only must the dates of the exhibition be given, but the dates between which entries must be received at the gallery. Three days should be allowed between the last receiving date and the opening of the exhibition to permit of hanging and cata- loguing. A postal for return is enclosed with the first an- nouncement, with name and address blank and spaces to be filled in with promised exhibits. When these postals are received the committee sends the prospective exhibitor labels or tags to attach to exhibits, with blank spaces for name, address and subject. When the exhibits begin to arrive at the gallery they should be unpacked and, if sent in special packing cases, these should be preserved and marked, so that the exhibits may be returned in them. When all of the exhibits have been received they should be canvassed by the jury. The [ 188 ] EXHIBITIONS unworthy exhibits should be excluded. There will be few of these, for not many persons have misconception of the value of the things they send to exhibitions. The first work of the committee should be to list the exhibits received for a record. From this the catalogue of exhibits should be made up. ‘This is always a last minute job, as the latest received exhibits may be the most interesting and so deserve a mention in the catalogue. The pictures or objects are given identifying numbers, and then the numbers are listed with the captions and titles and name of exhibitor in the catalogue. Identifying numbers on exhibits should be neat little brass check numbers when available. These may be ordered through art material houses. Whatever the numbers of identification, brass or cardboard, in no case is it fair to smear pictures or other artistic objects with paste affixed numbers, which should be placed just below or at the side of exhibits, or closely associated in some way, other than directly on the surface. When the pictures, or other objects to be exhibited, have all been massed and the time comes to ‘“‘hang”’ or place the exhibition, the outstanding feature should be planned for preferred position on each of the walls, so that the exhibit, when completely hung, will not have all of its gems on one _ wall, or at one end of the room. It is better to make all sides of the room interesting, and so keep the visitors to the show moving around the room. If the room is large and the number of exhibits not too many, perhaps all of the exhibits may be hung, or placed, on a single line. Or it may be necessary to hang exhibits on two or three lines. If a single line of exhibits is shown these should be hung in easy viewing position, reasonably close to the eye level of persons of average stature, and all frames hung either from a straight bottom line, or all hung from a common top line. If two lines of pictures or [ 189 J THE BOOK OF ENTERTAINMENTS objects are shown, the bottom line should be a bit below the eye level and the second line a bit above, while very large objects should have no other objects above or below. If a third line is necessary, because so many exhibits are received, or because the room is small, this is indeed unfortunate. The high line pictures or other exhibits seem to be ‘‘skied’”’ and the exhibitors will feel that this is so. If only the poorest exhibits are thus “skied,” and this would seem to be the natural arrangement, bad feel- ing may be engendered by such hanging and very sincere persons feel that they have not been properly treated. On the other hand if some things of very exceptional merit are also hung on the sky line, the same bad feeling will be avoided and some of the good things may have been done in a broad way, so that they will lose less in a high position. ‘This is perhaps the only great difficulty that a hanging committee will meet, and it is so serious in its possibilities for trouble that it should always be handled with careful consideration. The amount of available wall space may be very greatly increased by the use of screens, extending outward from the walls. These screens should be high enough to carry one or two lines, at the same height as the wall exhibits. ‘They may be made of simple boards, edged with moulding frame and covered with the same material that is employed to cover the walls. Glass cases of various types may be rented at a low price. It will generally be found that the exhibits are helped when shown against a background of theatrical gauze, a fine but cheap material, burlap or denim. This may be tacked flat against the wall, or hung with slight gathers at the top, dropping in easy folds to reach Seige: to the floor or baseboard. During the hours of the exhibition, usually from 2 to 6 p. m. and, if open evenings, from 7 to 10 o’clock, some [ 190 ] HEX HIBITIONS member of the committee with knowledge of the exhibits, should be in charge, seated at a desk in sight of visitors. It is not always necessary for the person in charge to volunteer information, but facts should be available for those who ask questions. Whether or not exhibits are for sale, the prices, the inspiration of the exhibit—hun- dreds of other questions—are certain to be asked. Certain exhibitions are bound to be of peculiar and special interest to certain persons or groups. It is well to have one special evening devoted to, and arranged for, the entertainment of these persons of special appreciation. Thus at the ship model show in New York several years ago, one evening was devoted to receiving old sailors from the Sailors’ Snug Harbor, another to ship masters, the model yachtsmen, etc. ‘Thus the show started off with very large attendance on these special evenings and so was accelerated into a big success very early in the week. In arranging for publicity some of the outstanding ex- hibits should be photographed and the photographs sent Cheerful shows make exhibitions popular [ 191 ] THE BOOK OF ENTERTAINMENTS to the newspapers for reproduction. Special invitations to the private view or reception should be sent to the art editors. The committee which has planned and carried forward a successful exhibition should not quit when the show has closed its doors for the last time. ‘The exhibits still need to be stored in safety until called for, even though the exhibitor himself is dilatory in calling for his own property, which may be very valuable. [ 192] CHAPTER XVI RAIsING MONEY A period comes in every organization’s existence when it not only needs, but must raise more money. If it is a col- lege it requires a larger endowment or a new chemistry building or the teachers want a faculty house with self polishing silver. If it is a club, a new home is desired or somebody has decided that the moment has arrived for making the library pre-Raphaelite. ‘Chere was a time when these occasions were met by raising funds through sub- scription. Every rich man, every friend of the institution, even veriest strangers became targets for scrolls of paper endited, “I hereby subscribe the sum of ——————— to —_—__.,”’ It was always embarrassing, moreover, to commit oneself to a paltry ten dollars in the same column where an enormous sum was promised by a mysterious and often fictitious anonymous giver of unparalleled gener- osity. Now the subscription form, while still employed on occasions, is happily growing obsolete and more advanced methods are taking its place. However, when raising money by subscription, several helpful items should be remembered. Lists should always be made of those who are to be approached and certain names assigned to certain captains or committeemen. This does away with promiscuous soliciting and prevents the unhappy possibility of overlooking a victim or the more deplorable probability that the same persons will be called upon more than once. In particular, the society at large should be warned against asking for donations from cer- [ 193 ] THE BOOK OF ENTERTAINMENTS tain influential or wealthy individuals. This may have an arrogant sound, but such a stand gives the committee the opportunity to devise the best means of approach and so obviate any half cocked plans. Otherwise, if the rich Mr. Hank is approached by just somebody in general, the chances are that the ensuing subscription will be much less than a check secured through more regular channels. More- over, further approach is blocked. For example, in a big Red Cross Drive during the war an attractive young girl who had worked hard for a good quota begged permission to solicit the subscription of a wealthy man in order to swell her fund. Little attention was paid the affair by the general com- mittee and permission was granted with the result that the fair solicitor, somewhat humiliated, returned with five dollars—a sum incommensurate with gifts from others of a similar social position. ‘There is more to getting money than just asking for it. Victims should be studied and approached from the most telling angle. Now if this pos- sible donor had been cornered by an older man or woman who had said, ‘‘Here is the contribution list on the drive. Mr. Dentist is giving a hundred dollars. Mrs. Butcher is giving two hundred and we are looking forward to having you double their gifts,” the result would have been more satisfying to everybody concerned. A campaign conducted in an orderly way will not only net more cash, but result in less acrimonious sentiments than where each member of the club beleaguers everybody he meets for assistance—a most haphazard and undignified procedure. ‘There are means of putting imagination into even a straight soliciting campaign. In a recent drive by a woman’s college, attrac- tive letters were sent out to various fathers, brothers and sweethearts asking them to join the society of Kith and Kin. A list was appended of imaginary degrees, each bear- ing a different initiation price. The Grand Master of the [ 194 ] RAISING MONEY Home was worth $100; The Guardian of the Hearth $75 and so on down a list of semi-dignified and some amus- ing titles. A membership certificate was sent out reading— “This is to certify that——————having paid into the College Treasury the sum of————golden Wel- comes of standard weight, thickness and ultra-desirability is not only unanimously elected and joyfully acclaimed a member of the exclusive society of the-——————Kith and Kin, but is also exalted above all others of his kind to the degree of-—————, a significant honor which permits him to snore without remonstrance from others, to go without his coat on hot days, to have two:helpings of dessert at all meals and to comport himself generally as he deemeth wise and prudent without criticism from any female of the species whatsoever for a period of one year from date.” While this is merely plain begging for money, it is at least somewhat sugar coated and that is what the new drives must be. The more advanced schemes of raising money take as their motto, ‘‘We give you something for what you give us.” In other words, commodities are bought and sold and the profits turned into the club. This makes cash extraction less painful than the old method and certainly more pleasant for those who are managing affairs. Dances, amateur theatricals, card parties, bazaars and teas are already quite well known as a means of making the public part with its money, but there are many other ways—some dignified, some amusing and clever. Perhaps _one of the best and most dignified methods which has come into vogue is buying up a well known lecturer such as Conan Doyle for a certain date and re-selling the tickets at a price to compensate the lecturer’s management, cover the expen- ses of the hall and still net a profit. Where a really big person or a much advertised person is selected, it is pos- sible to make a thousand or two with no effort at all as the [195 ] THE BOOK OF ENTERTAINMENTS seats practically sell themselves. It is also possible to buy out moving pictures houses, theatres, etc., for certain nights and re-sell at a profit. In the case of a big success tickets will dispose of themselves and people don’t mind the extra tax for charity. In the case of a show which for one reason and another is not doing good business although not without worth, the manager is usually willing to make a sacrifice on receipts for advertising purposes and tickets can be sold at regular rates with a profit. In some towns, too, the owners of amusement places have a regular ruling about giving their houses to charity so of- ten during the year. For example, the directors of the Met- ropolitan Opera Company have been so often asked to con- tribute money or charity concerts that in order to protect themselves they have made a regular ruling that they will give the Opera House to charity several times yearly. From a list of applying organizations selections are made as to their worthiness, whether they have used the house be- fore, etc. The organization which has received an O. K. on its application is obliged to guarantee the price of all the seats in the Metropolitan with the exception of the boxes and stalls. The seats are then disposed of at regular rates and the boxes are sold for what the organization can get. When the highest price box is sold at the rate of $100 it is possible to clear $7000 on the deal and yet be connected with an event which is in every way meritorious and re- dounding to the credit of the organization which arranged it. Where clubs are in need of money for a new building the best means now used is to sell bonds on the structure and ground. ‘These bonds run from $50 to $1000 and draw interest at the rate of 6%. If the property is good and not overvalued, the bonds make an investment instead of a gift and yet provide the club with the money it needs. By renting the basement of the building as a dining room or [ 196 ] RAISING MONEY something of the kind, arranging apartments, offices or rooms for rent, the club obtains its rooms free and has enough income to pay interest on the borrowed money and amortize its mortgage so that in time it will be free of debt and all the bond holders will receive their money back. ‘This is certainly more pleasant to look forward to than giving away a hundred dollars for a building one may never use owing to possible change in location or interests. In selling bonds or in raising money by subscription or other means, it is always well to make a game of it if possible. For instance, certain committees are designated the reds and blues, with captains, and a prize of some description is offered for the team bringing in the most money. Weekly meetings should be held in the form of dinners and a jolly band is always a great adjunct. In fact, any emotional pleas to the committee or to the victims are of value, for people do things under emotional stress they would not consider at other times. In one drive to benefit a hospital fund a giant sized thermometer was placed in a public square and the increasing donated sums were registered from time to time. Many people gave who would not otherwise have contributed, just to see the red line creep up toward different black figures. The whole psychology of relieving people of their money is a study in itself. If a wagon were filled with geraniums and sent around with a peddler it would take all day to convert the blossoms into cash, but take the same flowers to a club room or place of amusement and tell a story of a dear little old lady who has been raising cuttings for the cause and start to auction the flowers off with stories about each clipping, pitting one side of the room against the other, every flower will be sold at an enormous price within a few moments and people will clamor for more. During one of the later Red Cross drives in the southern mountains two enthu- [ 197 ] THE BOOK OF ENTERTAINMENTS ‘siasts went about among the highland dwellers trying to tell isolated sections about the war and clinch interest by ‘taking subscriptions. Coming to a little cabin in a sunlit clearing the visitors dismounted from their horses and pushed their way through some hounds toward the little dwelling’s one room. An old woman sat by the door look- ing out, an old man lay on the bed breathing heavily. The callers awkwardly explained their errand. ‘The old lady advised them to see Minty who was hoeing. She would go get her, she apologized, but her husband was dying and she felt she ought to stay with him. At such a juncture the solicitors tried to steal away, but were conducted by some ragged youngsters to Minty. Minty was a woman of perhaps thirty. After she had rested on her hoe and lis- tened patiently to her guests she stated quietly that she hadn’t much to give; that her husband had left her with seven little children; that her sister had died leaving three whom she had adopted; that her father had been sick a long time and she was home looking after him and her mother; that with so many mouths to feed it was difficult to make ends meet. Abashed, the callers again tried to steal away, but the woman stopped them and sent one of the children to the house for her purse which was hanging on the door. When the worn little receptacle was brought she emptied it into one of the caller’s hands. Nine cents! ‘Tt’s all I’ve got,” said the giver cheerily. “I certainly am sorry it ain’t more.’’ When this little story was carried to the towns many who had planned to give only a dollar gave five which proves again the value of striking not only at the head but at the heart. People like to know certain statistics, such as that the money they are giving will buy seven hundred bath faucets and the like, but when all is said and done it is the little touch of human interest that opens the heart and the purse strings. Rummage sales have always been a popular means of [ 198 ] RAISING MONEY raising money. They are of value in helping the house- wife rid her premises of everything she does not want and afford a chance for the less well-to-do to pick up odds -and ends at a bargain. Sometimes, too, there is a chance for graft as in the case of the lady who sent two of husband’s suits to the sale only to find later that he treasured them and was anxiously ransacking the house for them. Natur- ally she sent a maid post haste to buy back her contributions at any price and the price was not small. These rummage sales have been known to net as much as $4000. Their success depends entirely on the committee managing them. A contributed room or store, good sorting and marking, an automobile or two to retrieve donated articles and a patient sticking to the job are essential. “The monotony of the scheme may be varied by new forms of approach such as one given herewith: Rummage now for Wellesley _ Do——-please do! Even if you rummage out Nothing but a shoe! Nothing is too poor for us Nothing is too good So rummage now for Wellesley As Wellesley women should. As a rule the really big undertaking such as a theatre party or leased lecturer brings in more money with less ef- fort than other schemes. For this reason some committees sneer at ideas which will retrieve only fifty or two hundred dollars. ‘The value of little schemes is that they interest some people who have not the money or the inclination to buy tickets for a lecture. In one drive one woman sold hair nets, another salted peanuts, a third waffles on Sunday mornings. The amounts taken in were not stupendous, but [ 199 ] THE BOOK OF ENTERTAINMENTS if fifty women are doing some little thing which nets only $35 per piece, nearly two thousand dollars, that nobody misses, is added to the cause. One energetic little bunch of women opened a tea room to earn money for a cause and did so well that they sur- prised themselves. Two men hired a hurdy gurdy and went after pennies with surprising results. “There are any num- ber of schemes which can be devised. ‘Take, for instance, the idea of having a good seedsman donate or sell at an equitable price packets of flower seeds for spring plant- ing. [hese are sold at honest rates and are usually in demand. If the club has a color it can advertise all blue gardens or all yellow gardens or whatever the color hap- pens to be. Instances may be multiplied endlessly, but vicinities differ and schemes go out of fashion. ‘The chief point is that value received should be given when selling goods for charity as for anything else. The sum may not be raised so quickly, but the results are more satisfactory. Slow and sure small gains are not to be despised. Impatient com- mittee members are a real hindrance just as is the woman who sells an article for a dollar and keeps the rest of the $5 handed her on the plea that it is for charity. Robbery in the name of charity is none the less robbery. Honest values and honest service ensure respect for the organiza- tion and for the individuals connected with it. Above all the public likes finesse or a carefully laid atmosphere. A good fortune teller can read palms more easily in the sun- shine than anywhere else, but the monetary results will never be so good unless she reads them by a dirty candle in a ghastly cave. Certain events need to be staged. For this reason a committee with imagination is apt to be more valuable than a committee which knows all about finance and which passed arithmetical examinations with high honors. A treasurer or auditor whose figures don’t look [ 200 ] RAISING MONEY like hen scratching is to be desired, but the remainder of the committee should consist of members who can make the world at large believe in fairies. [ 201 ] CHAPTER XVII DRAMATIC PRODUCTIONS The selection of worthwhile material is the chief essential when preparing to stage a dramatic offering. The reason for this is that a trivial play such as may be bought by the hundreds for fifteen to thirty cents each and which deal with some insignificant subject such as, ‘‘Who lost the frat pin?’’ is really a waste not only of the actors’ time, but of the audience’s as well. While every dramatic composition that costs fifteen cents may not be worthless, much of the material sold by so-called entertainment houses possesses no beauty of style, no worth while theme and utterly lacks force and appeal. ‘There is seldom a line worth remember- ing and it is impossible to gain any dramatic insight or pleasure from rehearsing it. On the other hand, a more or less standardized play of unquestioned literary merit grows in fascination each day work is expended upon it. New values constantly emerge, little problems appear which require triumphant conquering, the lines are pleasant both to memorize and interpret, the actors derive a sense of satisfaction in being connected with something worthy, and long after the final performance carry the thought of the play always as one of their real achievements. There are two reasons why this style of dramatic offer- ing is not given more often. One is that committees do not know how and where to obtain such plays and the other is that a general fear seems to exist that anything up-to-date is attended by a heavy royalty and must there- fore be taboo. 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