THE 
 
 AS 
 
 CTOR’S 
 
 awl 
 
 manual 
 
 handbook 
 
 PUBLISHED BY 
 
 ^'Chicago manuscript Co. 
 
 431 N. Clark St. 
 CHICAGO, ILL., U. S. A. 
 
OUR COLLECTION 
 
 OF 
 
 NEW 
 
 MONOLOGUES 
 
 PRICE $2.00 
 
 This Manuscript contains a number of the best 
 Monologues used by Leading Professionals. 
 
 On Receipt Of $2.00 Manuscript will be sent by Mail; 
 or if ordered witli Two Other $2.00 Manuscripts, it will 
 be regarded as one of them and sent under the condi¬ 
 tions described in another part of this book. 
 
 Have Just Issued a Manuscript 
 
 Containing a Collection of 
 
 BRIGHT. UP-TO-DATE, 
 
 Black Face, Irish, German and 
 Sheeny (Jewish) 
 
 GAGS, STORIES, WITTY SAYINGS 
 
 This Manuscript contains over Two Hundred of the very 
 Latest Gags and Witty Sayings Used by the Leading 
 Performers of the Vaudeville Stage, and will be found in¬ 
 valuable to introduce in Minstrel first part, or to pad talk¬ 
 ing specialty. 
 
 PRICE OF GAG BOOK $2.00 
 

 Tt)?, 
 
 C 't't CL.TBCE 
 
 KOTOR’S MMNUHL 
 
 ... ..AND ... - 
 
 HANDBOOK 
 
 The Theatre. 
 
 The prejudice which formerly existed against the thea 
 tre, in the minds of many well meaning people, has gradu 
 ally worn away; and in this enlightened age there are very 
 few who do not recognize the power of the drama, not only 
 as a means of harmless amusement, but also as an educa¬ 
 tor, both to the auditor and the actor. There is hardly a 
 village in the land that has not its amateur dramatic com¬ 
 pany, and in almost every instance it is a source of pleasure 
 and profit. There is an old saying that whatever is worth 
 doing at all is worth doing well; and we trust that the sug¬ 
 gestions contained herein will assist many aspirants for 
 histrionic honors to act well their part • i . 
 
 How to Organize. 
 
 If it is the intention to produce modern sod 'ty come¬ 
 dies and dramas the company should consist of not less than 
 five ladies and seven gentlemen. There are many plays that 
 are well adapted to amateur production that can be played 
 with a considerably smaller cast; but this number should be 
 * available. A general manager, a stage manager, a prompter, 
 a property man and a musical director should bo appointed, 
 and to them should be left entirely the work that apper¬ 
 tains to their respective positions. In other words, don’t 
 interfere with them in any way. “Too many cooks spoil 
 the broth” is a homely maxim; but it is a true one, and 
 nowhere doe3 it apply with greater force than in the man* 
 agernent of amateur theatricals. 
 
The Manager. 
 
 When a play is to be produced there are two things to 
 be considered: One its artistic success; the other its finan¬ 
 cial success, and on the manager of the enterprise depends 
 the latter. He mu9t be a thorough business man with 
 original ideas—energe ic, ambitious for the success of the 
 venture, a ‘‘good fellow,” who can gain the friendship of 
 all classes, from the editor of the great daily to the boy who 
 “peddles the programs.” As a rule amateur entertainments 
 are given for the benefit of some charitable organization, or 
 public institution; and in the advertising matter, both in 
 the newspapers and on the bill boards, the manager who is 
 wise will make a strong feature of the benefit. People like 
 to be charitable when they can get something for their 
 money besides. Have your hanger printed something like 
 this:— 
 
 Feed the Hungry! 
 
 Grand Dramatic and Musical Entertainment, given by the 
 (insertname of Co.) 
 
 For the benefit of 
 
 (insert beneficiary.) 
 
 Opera House! 
 
 (date. 
 
 Special Production of the 
 
 (name of play) 
 
 With the following excellent cast of Characters, 
 (cast.) 
 
 A Pleasing Performance at Popular Prices! 
 Reserved Seats now on Sale at and from members of 
 
 the Company 
 Admission. 
 
 Have Placards printed reading — 
 
 This House For Sale I * 
 
 To raise money to see 
 
 (insert name of Co.) 
 
 Suggestions for other advertising schemes might be 
 continued indefinitely, but lack of space forbids. The 
 great aim should be novelty. The public has seen the 
 stereotyped billing matter so often that it has ceased t« 
 attract; and the originator of a novel idea in advertising ir 
 sure to reap a rich reward. 
 
Begin to advertise at least three weeks before the date 
 of the performance. Keep at it. It is easy to let people 
 know of the entertainment. Don’t let them forget it. Use 
 the newspapers as much as possible. The press is always 
 kindly disposed to local affairs, especially when they are for 
 the benefit of a worthy object, and if matter is furnished 
 them that is readable they will gladly print it. Use every 
 legitimate means to attract the attention of the public to 
 the entertainment, and you will surely have the satisfaction 
 of seeing the “Standing Room Only” sign in the theatre 
 lobby on the evening of the performance. 
 
 The Stage Manager. 
 
 Great care should be exercised in choosing the stage 
 manager, for he is an autocrat from whose decisions there 
 are no appeals. From the necessity of the case his com 
 mands must be obeyed, and promptly, too. He should have 
 a technical knowledge of the stage and stage business. He 
 .should be sufficiently well versed in elocution to amend 
 faulty readings, and know enough of Webster and Lindlej 
 Murray to correct wrong pronunciations and grammatical 
 errors. He should possess a nice eye for color and stage 
 effects generally. He must cast the play. And here is fre¬ 
 quently his most unpleasant duty. It is natural for the 
 actor to desire to play good parts; and in an amateur com¬ 
 pany where, as a rule, the expenses are shared equally by the 
 members, it may sometimes seem unjust that one should 
 have the star role, while another has to content himself 
 with “My lord, the carriage waits.” However, as on the 
 stage of life, someone must be satisfied with an inferior 
 position, and the audience will not be slow to recognize 
 true merit even if the part contains only a few lines. It is 
 frequently a good idea to cast the ones who have the small 
 parts at one performance for the more important ones at 
 the next. In this way every member of the company may 
 at some time during the season appear in roles of promi¬ 
 nence, and have an opportunity to show the talent that is in 
 him. 
 
 9 After the parts have been assigned and distributed, a 
 reading rehearsal should be called. When the time comes 
 for it, begin promptly, even if two or three are absent. If 
 they have any pride, perhaps they will not be late next time. 
 Hhow the people their positions, exits, entrances, business, 
 
etc. If they do not get them right the first time, show them 
 again. Be thorough. Never allow yourself to get out of 
 tiumor. Be pleasant, but firm. Insist on perfect order. 
 After the reading rehearsal call the next one two or three 
 evenings later, and request that it be “rough perfect.” See 
 that all the business of the play is carefully done. Five 
 rehearsals should be sufficient for any ordinary piece; and at 
 the last two the actors should be perfect in their lines. All 
 properties should be in place, the music should be played, 
 and all the effects used. If a costume play, it should be a 
 dress rehearsal in order that the people may become accus¬ 
 tomed to the dresses worn, and sure of the time they have 
 for their changes. In a word, the last rehearsal should be as 
 perfect as though there were an audience in front. On the 
 eveningof the performance see that everyone appearing in 
 the play is made up at least ten minutes before time for tho 
 overture. King in promptly. Kaise tho curtain on time. 
 Don’t get excited. Keep cool. Allow no talking behind 
 the scenes. Guard against stage waits. Carefully follow 
 these suggestions, and your entertainment will surely be a 
 success, the company will be pleased with you, with each- 
 other, and you will be proud of them. 
 
 The Prompter. 
 
 At the reading rehearsals this official has nothing to do, 
 but at any time when the actor attempts to recite his part 
 from memory, a d especially on the evening of the per¬ 
 formance, he should be very much in evidence. A good 
 prompter is certainly a valuable assistant, but a poor one is 
 worse than none, and a company had better dispense with 
 one entirely than to be confused by one who has not a thor¬ 
 ough knowledge of the requirements of the position. Every 
 actor in the cast should have his or her lines so well com¬ 
 mitted that the prompter would be unnecessary, but as few 
 companies care to dispense with his services, a few hinte 
 may be valuable to the lady or gentleman who fills the 
 position. Take your place in the first entrance near the 
 person who rolls the curtain, and have a bell at hand.* £ou 
 must direct the raising and lowering of the curtain by cer¬ 
 tain taps of the bell, which must be understood by both. In 
 prompting persons on the stage be very sure they need it. 
 The portrayal of many characters requires pauses, and 
 often these pauses, an i the action connected with them, are 
 
more eloquent than words can possibly be. Be careful then 
 and do not spoil someone’s beet scene by prompting too 
 soon. Do not speak loud enough to be heard by the audi¬ 
 ence. If you are near the speaker a whisper is sufficient, 
 and usually a whisper is all that is necessary even across a 
 large stage. 
 
 To the prompter belongs the duty of having all the 
 shouts, firing of guns, breaking of crockery, storms of wind, 
 thunder and lightning, properly managed, so that they will 
 well fill in at the proper moment. The prompter should 
 take nothing for granted, but be ready for every emergency. 
 The most perfect actor may, at a most unexpected moment, 
 become embarrassed and forget his part. Consequently, un¬ 
 less the prompter has his eye following every word, a hitch 
 is likely to occur which may greatly mar the scene. Where 
 amateurs find that the prompter is fully up in his business 
 they will seldom need his assistance, for it will give them 
 confidence that will go far to help their memory. 
 
 The Musical Director. 
 
 Good music has much to do with the success of the en¬ 
 tertainment. Be sure that your selections, both incidental 
 to the play and between the acts, are appropriate. Don’t play 
 “Ta ra ra Boom de aye” or “Johnny Dugan” through a 
 death scene nor “How Can I Leave Thee” in a comedy 
 scene. “The Harp that Once Through Tara’s Halls,” with 
 variations is a beautiful selection, but it would be entirely 
 out of place between the acts of “lti > Van Winkle.” Al¬ 
 ways bear in mind that you are playing for the scene, and 
 that the scene ia not being produced for your music. 
 Therefore, if you are playing through a speech make it 
 piano, so that the voice of the speaker will easily be heard 
 above it. If you cannot pick up cues instantly, don’t at¬ 
 tempt them at all. 
 
 The Property Man. 
 
 A position no one ever wants, and yet of the utmost im¬ 
 portance. It is his duty to procure all the properties nseff 
 in the production of the play, a list of th m having been 
 furnished by the stage manager. He must look after the 
 effects needed: such as thunder, lightning, rain, lire, etc. 
 And here a few suggestions on how these things are Die- 
 
pared maybe valuable. Almost every theatre in the land 
 has its rain box, its thunder sheet, etc.; bat for the benefit 
 of those who have not these facilities we give the following 
 directions. 
 
 Rain. 
 
 Cover the bottom of an ordinary flour sieve with paper 
 and place it on a bass drum. Put two or three handfuls of 
 shot in sieve and work it around on the drnm, slowly or 
 rapidly, to increase or diminish the intensity of the storm. 
 This will produce a good imitation of a shower of rain. 
 
 Thunder. 
 
 Suspend a piece of sheet iron four or five feet long, 
 fasten a handle to the lower end, shake it softly and slowly 
 at first, then loudly and quickly. This produces an excel¬ 
 lent imitation of the sound of thunder. 
 
 Lightning. 
 
 Where special scenery is used the appearance of forked 
 lightning can be produced by having jagged lines cut in the 
 horizon or sky of the background, and covered with a 
 gauze the same color as the scene. When the stage is 
 darkened a strong light passed quickly behind the lines 
 will give a very natural effect of lightning. The easiest 
 method of making sheet lightning is to use a flambeau 
 torch filled with lycopodium. This torch also adds greatly 
 tc the effect in a fire scene. 
 
 Wind. 
 
 The sound of wind is easily produced by the whirl of 
 an old-fashioned spinning wheel, turned slow or fast to 
 suit the volume of sound desired. The shrill sound is well 
 imitated fay a small tin whistle. These two effects can be 
 ‘/:^i42£€r.t'with excellent results. 
 
 Snow. 
 
 For a stationary arrangement to produce a very natural 
 effect of a snowstorm, fasten a piece of ordinary sheeting, 
 nine or ten feet long, to two batons. Perforate the lower 
 edge with a row of holes about four inches long by one 
 inch wide. Fill with white paper clippings cut very small. 
 &wii iux it in flies with rones, back «*»d. front. By raising 
 
and lowering back end a shower of flakes will fall to the 
 stage. To represent a snow scene realistically, coyer the 
 stage with a white cloth, and fasten white cotton to set stuff 
 that would naturally catch snow in a storm. 
 
 These comprise the usual methods of producing storm 
 effects. There are others requiring expensive and com li- 
 cated machinery; but these given are simple, and will be 
 found serviceable by amateurs and professionals as well. 
 
 Colored Fires. 
 
 The following recipes are guaranteed to give entire sat¬ 
 isfaction, as they are copies of the ones used in the leading 
 theatres. The ingredients can be obtained in any drug 
 store. 
 
 Red Fire, 
 
 Nitrate of Strontia, 10 parts. 
 
 Shellac (coarsely ground), 3 parts. 
 
 Chlorate of Potash, 3 parts. 
 
 Green Fire. 
 
 Nitrate of Barium, 12 parts. 
 
 Chlorate of Potash, 3 parts. 
 
 Shellac, 3 parts. 
 
 Mix well. Use for a quick match to light these fires a strip 
 of celluloid or a small amount of the chlorate of potash 
 and pulverized sugar mixed in equal parts. 
 
 The Actor. 
 
 There is a trite but true saying—“Nothing good without 
 labor.” Let no amateur suppose that the art of acting can 
 be acquired by dreaming over it. Success can only be at¬ 
 tained by persistent study. Perseverance often brings 
 what the world regards as genius. If there is anything in 
 your part that troubles you, don’t avoid it; don’t leave it 
 out simply because it is difficult to perform. Meet it and 
 master it. Cultivate confidence in yourself. Many make 
 complete failures by wanting this requisite. Hesitation is 
 a sign of weakness, and to those who are thus affected we 
 advise hard Svudy and self reliance. Amateurs frequently 
 have a tendency to speak too quickly—in short, to rush a 
 part. In this way they often cut another performer out of 
 his speech, and thus cause dissatisfaction. This rapidity 
 
gives an air of bustle and unevenness to a performance 
 whereas everything should move as if in well worn grooves 
 easily and smoothly. 
 
 No rules can be given as to the best methods of studying, 
 Different persons have different ways. Some memorize a 
 part by reading it a few times; others require close appli¬ 
 cation. One party may study by taking one sentence at a 
 time, going from one to another, and returning to the be¬ 
 ginning of the speech. Others re-copy the part and find it 
 a great help to them. One of the best methods is to go 
 carefully over a part three or four times just before going 
 to sleep, and referring to it again immediately on awaken¬ 
 ing in the morning. Familiarize yourself thoroughly with 
 the business of the part. Positions and business often sug¬ 
 gest the lines that are to be spoken in ;onnection with 
 them Don’t fall to learn your lines (c orrectly, so that you 
 will have no difficulty in speaking them “trippingly on 
 the tongue.” Talent or even genius are of little avail un¬ 
 less you are perfect in your part. Forget that you have 
 hands and feet. They will take care of themselves. Be 
 certain that the person speaking to yon has finished his 
 lines before you begin to reply. Be careful to speak clearly 
 and distinctly. So many of the plays of modern .imes aDd 
 manners are now produced that many aspirants for dra¬ 
 matic fame, both amatc ub and professional, deem it unnec 
 essary to pay much attention to the study of elocution 
 This is a great mistake. No one need let his everyday con¬ 
 versation be less natural because he has learned to speak 
 correctly, to emphasize at the proper place, and to simulate 
 by tones and cadences the various feelings and passions 
 supposed to agitate the person portraying the character. 
 Stage deportment must bo free and void of all affectation: 
 It is not possible to act with grace except by forgetting 
 the audience and one’s self. Strive to be natural. The 
 |t''r, r ormer who can make his audience forget that they are 
 watching a play, who c^n cause them to feel for the time 
 that they have before them a scene of real life, is the one 
 who will receive their plaudits at the end, and whose artis. 
 tic success is assured. 
 
Costumes. 
 
 In the matter of costuming great care, and sometimes 
 quite a little self-denial is required, for many performers, 
 both male and female, are apt to desire to make their ap¬ 
 pearance in a costume that may be entirely unsuited to the 
 part th y are playing, and so odd in shape or color 
 that it will contrast most unfavorably with the dresses of 
 the rest of the company. To insure harmony in costume, 
 where a dress piece is produced, it would be well to leave 
 the entire ordering to some member of the company noted 
 for his taste and knowledge in that line. However, as the 
 writer does not consider costume plays adapted for amateur 
 production nothing more need be said on this subject. 
 Modern plays that call for modern dressing will be found 
 the easiest to produce, and will in almost every instance 
 give much the best satisfaction. 
 
 Make-up. 
 
 The classical Greeks of old enacted their parts with 
 masks held over'their faces. These had either a tragic or 
 comic expression as suited the part, and the performer 
 spoke bis lines through a large hole where the mouth was 
 supposed to be. There was no chance for facial display. 
 The same lifeless stare would haunt the spectator through¬ 
 out the performance, and would settle on the entire 
 audience like monotony itself. The make-up of the actors of 
 the last century, though materially modified and improved, 
 was very crude compared with the beautiful and artistic 
 tic work of our own time. This gratifying state of affairs is 
 due principal y to the perfection attained in the manu¬ 
 facture of theatrical wigs, grease paints, and other accesso¬ 
 ries to the stage toilet. 
 
 In the make-up for a theatrical purpose the first points 
 of consideration are the size of the theatre, the intensity of 
 the lights, and the proximity of the audience. A make-up 
 that would be grand at the Auditorium or the Metropolitan 
 Opera House would be a fearful daub at one of the smaller 
 theatres. ^Where a heavy, deep line is required in a large 
 theatre, one much lighter and less sombre in hue is sufficient 
 to produce the same effect in a smaller house or in a parlor. 
 Hardly any artist either male or female, uses any make-up 
 nowadays except grease paint. In fact, the introduction 
 
of this specialty may be considered as general, on account 
 of its decided advantages over all articles formerly used 
 for the same purposes. The two principal advantages pos¬ 
 sessed by grease paint are its matchless blending qualities, 
 and its perfect resistance to the effects of perspiration, 
 essential features not possessed by any of the dry make-up 
 powders used heretofore. Grease paint comes in what is 
 known as flesh colors and lining colors. By flesh color is 
 meant the shade that is always first applied, and is the 
 foundation color which distinguishes the negro from the 
 white race, and both from the Chinese. The lining colors 
 serve to draw the wrinkles and lines that indicate the age 
 and character of the part portrayed. 
 
 The great point in using grease paint artistically consists 
 in spreading the least possible quantity over as large a sur¬ 
 face of the face and neck as possible. Cover the face with 
 grease paint of the shade required for the character. Hub 
 it well in with the hands. Next, paint the eyebrows and 
 lashes either black, brown, gray, or white, as required. 
 Now, take one finger and slightly charge it with red from 
 the lining pencil and rouge the cheeks. The red for a 
 juvenile character is always applied high on the cheeks, 
 centering a little below the cheek bones, worked gradually 
 up towards the eyelids, and blended in neatly, so as to 
 merge partly into the flesh color previously applied. In 
 making up for old men this color is worked lower down on 
 the cheeks. In a juvenile make-up a little red below the eye 
 brows increases the lustre of the eyes, and imparts to them 
 an attractive brilliancy. Much care and skill are required 
 to make up a youthful face in imitation of old age; and the 
 novice must be prepared to expend time and patience in 
 the endeavor, and should not be discouraged if the first 
 attempts in this, as in other things, do not always produce 
 the desired results. Study the face of an aged person, and 
 note carefully the peculiarity of the wrinkles, the shading 
 of the veins, and the general tone of the complexion. 
 Whatever else may be neglected in make-up nothing will 
 ever 6how so glaringly as a line representing a wrinkle 
 drawn r out of place, or out of just proportion. It must 
 have no abrupt sides, beginning or ending, and must be put 
 where nature herself intended to put a wrinkle. The actor 
 should study his own face before a mirror; and few faces 
 are so youthful that nature has not begun to leave her 
 
marks, showing where the wrinkles will eventually appear. 
 Follow these lines with the make-up and you cannot be far 
 from right. To make wrinkles every one of the liners may 
 be used except the red. The lighter shades will answer 
 very well for small theatres and parlors; the darker ones 
 are the o sly effective means in the larger halls and theatres: 
 some make-ups at the latter places even requiring a judi¬ 
 cious blending of black. The principal wrinkles on an old 
 face are the horizontal parallel lines in the fotehead, some 
 in a straight line, and others slightly curved; the two or 
 more short, deep, vertical lines between the eyebrows; the 
 “crows-feet” running from the outer corners of the eyes; 
 the deep wrinkles running obliquely from the inner end of 
 the eyes; the wrinkles around the wings of the nose, run¬ 
 ning parallel with the last named; those beginning at the 
 corners of the mouth and running slightly outwards and 
 downwards; and lastly the elliptic line encompassing the 
 chin. This last named feature may also be lined with two 
 or three ellipses, one generally above and two or three 
 others underneath it. To deepen a wrinkle and give it a 
 b Ad relief a line of the white pencil is run connectedly 
 alongside the original brown, gray, blue or black. 
 
 To alter the shape of the nose, or to make a thin face 
 appear fleshy a composition known as nose putty is used. 
 It should be covered after being put in place with grease 
 paint, and blended in so that the places where it joins the 
 face cannot be detected. 
 
 When the make-up is complete always cover the face 
 with a light coatir.g of flesh colored powder, which can be 
 obtained from any dealer in toilet supplies. It removes 
 the shiny appearance of the painted face, and makes it 
 seem smooth and natural. Apply with a chamois skin or 
 an ordinary powder puff. 
 
 Cocoa butter is an absolute necessity to every lady and 
 gentlemen on the stage. It is a ready, clean and very handy 
 means of removing the make-up without being obliged to 
 waste half an hour drenching the head and face with sonp 
 suds. A few passes of a piece of this material over the 
 made up surfaces will loosen all adhesive mattor so th r- 
 oughly as to admit of being wiped off at once. 
 
Wigs 
 
 The art of wig-making has progressed most wonder¬ 
 fully in this country, and wigs for any character can be ob¬ 
 tained for very littJe money. While we do not deal in this 
 class of goods, we are always glad to be of any assistance 
 to our patrons in purchasing for them. 
 
 Bee article under the heading “Theatrical Supplies” in 
 another portion of this book. 
 
 Beards. 
 
 Beards can be bought ready made in almost every styifc 
 that they are usually worn; but the best, and by far the 
 cheapest, way is to make them out of stage wool. This 
 wool comes prepared in strands. It is combed out until 
 enough is pulled off to make the style of beard required. 
 With spirit gum or Cooper's gelatine paste it on in sections. 
 First, under the chin, next around the chin, and u der the 
 mouth, then the side whiskers, and lastly the moustache. 
 The last is pasted on in two halves which meet under the 
 nose, but do not altogether touch. Particular care should 
 be taken not to put any grease paint or other make-up 
 where it is expected to paste on beard or eyebrows, as they 
 will not stick except to the natural skin. 
 
 There are some strong characters which need a virile 
 expression, though no sign of beard is tolerated on the 
 face, such for instance as Quakers, Monks, etc. Moreover, 
 if a yourg actor is required to play the part of a man of 
 thirty-live or forty years of age, and the instructions are to 
 make-up with only moustache and goatee, as in a Spanish, 
 Italian or French make-up, the rest of the face, where the 
 beard usually grows must represent a shaven skin. In 
 order to produce this effect shade the face with the blue 
 liner, blended with the dark gray liner. This work must be 
 done very carefully, as if too much of the paint is used, or 
 if it is not properly blended, it will give the appearance 
 simply of a dirty face, instead of the object desired. It is 
 of course obvious that red, "blonde or any of the lighter 
 shades of beards do not require the above described treat¬ 
 ment of the apparently shaven skin. 
 
Negro Characters. 
 
 A email quantity of burnt cork is moistened in the hand, 
 like soap, and rubbed over the face, ears, neck and hands. 
 After this the lips, the cheeks and the outside of the nostrils 
 are touched up with the red liner, the wig is put on and the 
 work is complete. After the make-up is finished the palms 
 bf the hands are rubbed clean of the cork, to avoid black- 
 ening anything which occasion requires to be touched. 
 
 Chinese Characters. 
 
 The first thing is to put on the Chinese scalp with queues 
 after which the face is made up with the Chinese flesh color. 
 Then shade the eyelashes with the black lining pencil, end¬ 
 ing at the sides with an upward angle; i. e., the upper eye 
 lid must be,shaded very heavily, and the lower only with a 
 thin line, which, at the outer edge, must rise at an angle of 
 about forty-five degrees, an. meet and blend with the 
 shading of the jpoer *ia. The lips, cheeks and nostrils 
 should be omy slightly touched with the red liner; in fact 
 the use of red in making up Chinese characters is altogether 
 conventional, and only to heighten the effect on the stage. 
 An application of the Chinese shade of powder to tb e fane, 
 neck and arms completes the work. 
 
 The Teeth and Mouth. 
 
 Persons of depraved tastes and brutal habits, whose 
 features are supposed to represent their natures, can have 
 the needed expression imparted by painting a strong line 
 down from the corners of the mouth, while the lower lip 
 should be given an enlarged look by painting it with the 
 red liner.4 To give a semi-comical twist to the phiz it is 
 only necessary to paint one line running down, the other up 
 from the corners of the mouth. To give the mouth the 
 appearance as if some of the teeth had come out, the teeth 
 should be wiped thoroughly dry, then with a small brush 
 apply Email Noir, a black liquid which is adhesive, and wiil 
 dry as soon as applied. It is harmless to the teeth, and c«n 
 easily be rubbed off with a towel. Shoemakers’ whx is fre¬ 
 quently used for the same purpose, and does nearly as well 
 
Scenery, and How to Make It 
 
 While at the present time, almost all theatres and 
 halls where dramatic performances are given are equipped 
 with more or less complete sets of scenery, it is frequently 
 the case that the proper mounting of a play calls for some¬ 
 thing of a special nature, and for this reason a few rracti- 
 cal hints regarding scene painting may prove useful. 
 
 From a practical every-day standpoint, the paint used 
 by scenic artists is common calcimine color, or to be more 
 plain, dry color mixed with water with a little glue added 
 to hold it on the canvas. Common whiting forms the 
 basis of all scene paint, the proper color being added to 
 produce the desired tint. The medium colors should be 
 applied to the canvas first, and the light and deep shades 
 worked in afterwards. It must be remembered that all 
 these colors dry much lighter than they appear when first' 
 put on. It is well, therefore, to let a little of the paint 
 dry, so that the artist can see just what the shade will be. 
 A little practice will soon give one a good idea of what 
 proportions to use in mixing the colors to produce the 
 proper effects. 
 
 It requires years of deep study and hard labor to 
 master the scene painter’s art, but it is not difficult to 
 paint many of the things that are often needed to com¬ 
 plete the scenic equipment for a performance, that only 
 requires for its construction a little self confidence and 
 a slight knowledge of the rudiments of the art. 
 
 For instance, a stone wall may be required. This is 
 3asily made by stretching a piece of canvas over a suitable 
 frame. Find a chromo or other colored picture in which 
 there is a wall similar in design to the one needed. Note 
 the prevailing color, and having mixed a sufficient quan¬ 
 tity of paint, give the canvas a good priming coat. Let 
 this become thoroughly dry so that you may be sure that 
 you Lave the correct tint. It is then quite easy to lay off 
 the form of the stones with a dark lining color; add a few 
 touches of another tint to give the wall the appearance of 
 age. Trace vines in green running over the wall at inter¬ 
 vals, and give it a border of green at the bottom to repre¬ 
 sent grass. 
 
All this is easily done if you have a good picture to 
 work from. A brick wall is still easier, as the bricks are 
 laid off in regular rows. A ground row to form the fore¬ 
 ground for a body of water is another simple piece of 
 work and is a valuable addition to a stock of scenery. A 
 set house may be attempted after one has been fairly suc¬ 
 cessful with a few of the smaller set pieces. In this case 
 it is necessary, of course, to build the frame work with 
 practical door and window, cover it with canvas, secure a 
 good model, and you’ll have little difficulty. 
 
 If a play is to be produced which calls for a special set 
 complete, such as a blacksmith-shop, a cave, the interior 
 of a mine, or any other scene out of the ordinary, get com¬ 
 mon unbleached muslin, have it cut and sewed the size 
 desired, fasten it to the frame, find a picture of the same 
 general design of the view required, mix your colors, and 
 if you have any talent at all as a painter you will succeed 
 in producing a scene which will answer every purpose. 
 
 A good assortment of scenery for an amateur club would 
 be as follows: A parlor, chamber, kitchen, prison, wood, 
 garden, street and horizon. Other scenes, of course, may 
 be necessary for occasional use, but with these a company 
 can easily find suitable plays to fit the stock on hand. 
 
SECTIONS OF 
 
 THE COPYRIGHT LAW 
 
 OP TME 
 
 UNITED STATES 
 
 PERTAINING TO DRAMATIC LITERATURE 
 
 Being the Act of March 4, 1909 
 (As Amended by the Act of August 24, 1912 ) 
 
 Rights Covered by Copyright 
 
 Section 1. Be It enacted by the Senate and Hou.sc i f 
 Representatives of the United States of America in 
 Congress assembled, 
 
 That any person entitled thereto, upon complying with 
 the provisions of this Act, shall have the exclusive right: 
 
 (a) To print, reprint, publish, copy, and vend the 
 
 copyrighted work; 
 
 (b) To translate the copyrighted work into other lan¬ 
 guages or dialects, or make any other ver&ion thereof, if it 
 be a literary work; to dramatize it if it be a non-dramatic 
 work; to convert it into a novel or other non-dramatic 
 work if it be a drama; to arrange or adapt it if be a 
 musical work; to complete, execute, and finish it if it be 
 a model or design for a work of art; 
 
 (c) To deliver or authorize the delivery of the copy¬ 
 righted work in public for profit if it be a lecture, sermon, 
 address, or similar production; 
 
 Note. Any citizen or resident of the United States is 
 entitled to protection, so also is a citizen of any foreign 
 country that gives American citizens the right to copy¬ 
 right their works under the same conditions it does it's 
 own subjects. 
 
(d) To perform or represent the copyrighted work 
 publicly if it be a drama or, if it be a dramatic work and 
 not reproduced in copies for sale, to vend any manuscript 
 or any record whatsoever thereof; to make or to procure 
 the making of any transcription or record thereof by or 
 4 from which, in whole or in part, it may in any manner or 
 by any method be exhibited, performed, represented, pro¬ 
 duced (r reproduced; and to exhibit, perform, represent, 
 produce or reproduce it in any manner or by any method 
 whatsoever. 
 
 Duration of Copyright 
 
 Section 23. That the copyright secured by this Ac t 
 shall endure for twenty.eight years, * * * the 
 
 proprietor of such copyright shall be entitled to a renew¬ 
 al and extension of the copyright in such work for the 
 further term of twenty-eight years when application for 
 such renewal and extension shall have been made to the 
 copyright office and duly registered therein within one 
 year prior to the expiration of the original term of 
 copyright. 
 
 Protection of Copyright and Penalties 
 For Infringement, 
 
 Section 25. That if any person shall infringe the copy¬ 
 right in any work protected under the copyright laws of 
 the United States such person shall be liable: 
 
 (a) To an injunction restraining such infringement; 
 
 (b) To pay to the copyright proprietor such damages 
 as the copyright proprietor may have suffered due to the 
 
 * infringement, as well as all the profits which the infringer 
 shall have made from such infringement. 
 
 Fourth. In the case of a dramatic or dramatico- 
 musical or a choral or orchestral composition, one hun 
 r dred dollars for the first and fifty dollars for every sub- 
 sequent infringing performance; in the case of other 
 musical compositions, ten dollars for every infringing 
 performance. 
 
(c) To deliver up on oatli, to be impounded during 
 the pendency of the action, upon such terms and condi¬ 
 tions as the court may prescribe, all articles alleged to in¬ 
 fringe a copyright; 
 
 (d) To deliver up on oath for destruction all the in¬ 
 fringing copies or devices, as well as all plates, molds, 
 matrices, or other means for making such infringing copies 
 as the court may order, 
 
 Sec. 27. That the proceedings for an injunction, dam¬ 
 ages, and profits, and those for the seizure of infringing 
 copies, plates, molds, matrices, and so forth, aforemen- 
 tioDed, may be united in one action. 
 
 Sec. 28, That any person who willfully and for profit 
 shall infringe any copyright secured by this Act, or who 
 shall knowingly and willfully aid or abet such infringe¬ 
 ment, shall be deemed guilty of a misdemeanor, and upon 
 conviction thereof shall be punished by imprisonment for 
 not exceeding one year or by a fine of not less than one 
 hundred dollars nor more than one thousand dollars, or 
 both, in the discretion of the court. 
 
 Sec. 34. That all actions, suits, or proceedings arising 
 under the copyright laws of the United States shall be 
 originally cognizable by the circuit courts of the United 
 States, the district court of any Territory, the supreme 
 court of the District of Columbia, the district courts of 
 Alaska, Hawaii, and Porto Rico, and the courts of first in¬ 
 stance of the Philippine Islands. 
 
 Sec. 35. That civil actions, suits or proceedings 
 arising under this Act may be instituted in the district of 
 which the defendant or his agent is an inhabitant, or in 
 which he may be found. 
 
 Sec, 40. That in all actions, suits or proceedings un¬ 
 der this Act, except when brought by or against the United 
 States or any officer thereof, full costs shall be allowed, 
 and the court may award to the prevailing party a reason¬ 
 able attorney's fee as part of the costs, 
 
Sec. 62, That in the interpretation and construction 
 of this Act, “the date of publication” shall in the case of 
 a work of which copies are reproduced for sale or distrib¬ 
 ution bo held to be the earliest date when copies of the 
 first anthorized edition were placed on sale, sold, or pub- 
 * licly distributed by the proprietor of the copyright or un¬ 
 der his authority, and the word “author.’ shall include 
 an employer in the case of books made for hire, 
 
 Sec. 63. That all laws or parts of laws in conflict 
 with the provisions of this Act are hereby repealed, but 
 nothing in this Act shall affect causes of action for in¬ 
 fringement of copyright heretofore committed now pend¬ 
 ing in courts of the United Strt.es, or which may hereafter 
 be instituted; but such causes may be prosecuted to a 
 conclusion in the manner heretofore provided by law, 
 
 Sec. 64. That this.Act shall go into effect on the 
 first day of July, nineteen hundred and nine. 
 
 Approved, March 4, 1909. 
 
What to Play. 
 
 The selection of plays is usually left to the businese and 
 stage managers, and as on this depends to a great extent 
 the success or failure of the venture, a few words on the sub 
 ject may not be amiss. The master dramatist Shakespeare 
 said many years ago: “The play’s the thing,” and it is a 
 fact that a good play badly acted will please where an in 
 ferior one presented by the finest company in the land will 
 meet with failure. 
 
 In selecting a play it is well to choose one in which the 
 interest does not center around any single character to the 
 detriment of the remainder of the cast. Let every member 
 of the company have an opportunity for good work. There 
 will be less jealousy, the company will work in greater har¬ 
 mony, and the entertainment is much more likely to please. 
 
 Select a play of modern life that tells a story of con¬ 
 temporaneous interest. The public will sometimes go to 
 the theatre to see a drama two or three hundred years old, 
 but only when some well-known star produces it. They go 
 to see the actor Irving, not the play “Hamlet,” or the act¬ 
 ress Julia Marlowe-Taber, not the play “The Honeymoon.” 
 People want to see characters in stage land who hav6 
 thoughts, ambitions, joys and sorrows like their own. “The 
 Merchant of Venice” was written for people who lived cen¬ 
 turies ago. “The Henrietta” was written for people who 
 live to-day. Therefore the latter play fills the theatres 
 nightly, while the former frequently plays to vacant chairs. 
 Shrewd managers in the business professionally realize the 
 truth of these statements, and are c nstantly on the watch 
 for something new. Hundreds of plays are produced in the 
 United States every year, and while the majority of them 
 fail, a few score great successes and make fame and fortune 
 for their authors. The owner of a successful play jealously 
 guards his property, and by every means in his power en¬ 
 deavors to prevent others from obtaining a copy of it.' For 
 this reason successful plays are never printed until long 
 after they have ceased to be a source of profit to their pro- 
 
ducers. The amateur, therefore, has found himself com- 
 pelied to select his plays from the old and worn out book 
 pieces, and if professional actors find it impossible to 
 please their patrons with this material, it is evident that 
 amateurs have even less hope of dung so. And here is 
 
 4 where the Chicago Manuscript Company is prepared to 
 be of assistance to them. This company has for the past 
 fifteen years been in the business of dealing in manu¬ 
 script plays, supplying to both professional and amateur 
 companies the latest and most popular dramatic successes. 
 
 * In our catalogue can be found almost every play that has 
 met with public approval in this country and in England in 
 late years, and we are continually adding to the list. No 
 matter what style of play you may desire, whether it be 
 comedy, tragedy, border drama, society, drama or fa™©, we 
 are prepared to furnish it at a reasonable price. 
 
 The Art of Making Up 
 
 FULLY EXPLAINED 
 IN OUR BOOK 
 
 Success on the Stage 
 
 A Handy and Useful Book 
 No Amateur should be without. 
 
 PRICE FIFTEEN CENTS 
 
READ CARE FULLY 
 
 ALL OF THE PLAYS Listed in this Catalogue 
 ABE COPYRIGHTED. 
 
 Under the Copyright Law the rights of public produc¬ 
 tion are not acquired by the rental or purchase of a copy of 
 the play, but must be separately arranged for. 
 
 In supplying plays we give acting rights, under indi¬ 
 vidual agreements, and the manuscript and parts supplied 
 are at all times the property of The Chicago Manuscript 
 Company, and must be returned at the expiration of the 
 period for which they are leased. 
 
 The copying, production or sale without our consent, 
 are offenses punishable by fine and imprisonment, and it 
 is not necessary that we should warn anyone before begin¬ 
 ning action. All that is necessary is to secure the evidence 
 and place it in the hands of the proper authorities who 
 will set the legal machinery of the Government in motion. 
 
 We Make Special Prices to Stock Companies playing 
 cities one week or longer. To One Night Stand Companies 
 playing the larger towns. To Repertoire Companies play¬ 
 ing the smaller cities, (from 30,000 to 40,000 inhabitants) 
 and to One Night Stand Companies playing the small 
 towns and villages. 
 
 In leasing plays we supply manuscript and parts, and 
 protect our patrons in their right to use plays secured 
 from us and also will prevent anyone pirating our plays, 
 when informed of such piracies- 
 
 If plays are desired for reading with a view to leasing, 
 we will send 3 manuscripts for inspection, on receipt of 
 One Dollar. In sending we ship C. O, D. $12.50 each, 
 allowing the fullest examination, and if goods are not sat¬ 
 isfactory they may be returned and the dollar sent will 
 pay express charges for return of goods and for our trouble 
 in sending. 
 
 We suggest to patrons that in asking for terms they 
 give full particulars as to use to be made of plays. 
 
 Our rentals vary, but are at all times reasonable. We 
 claim to supply the best plays at most reasonable terms. 
 
 In Making Remittances send money by registered let¬ 
 ter, postal order, express or bank draft. No personal 
 checks accepted for an amount in excess of One Dollar 
 
SPECIAL LIST 
 
 SELECTED FROM 
 
 Our Regular Catalogue of 
 PROFESSIONAL PLAYS 
 
 ALL OF WHICH ARE 
 
 Easily Staged, tell Strong Stories with an abun¬ 
 dance of comedy and are free from suggestive 
 lines or situations, making them desirable for 
 production by permanent stocks and the bet¬ 
 ter class of repertoire companies. 
 
 In Supplying Plays to Amateurs, we give them the 
 use of manuscript and sec of parts for Six Weeks, 
 for rehearsals and one public performance, after 
 which goods must be returned. Our rental price is 
 $7.50, but in all cases we require an additional $5.00 
 to guarantee the careful handling of goods and their 
 prompt return, when deposit will be refunded. 
 
 The Call of The Woods. This is a play of the Canadian 
 woods and tells a gripping heart interest story of a 
 mother who is partial to one of her two sons- The 
 favorite commits a theft and places the blame on 
 his brother, who is then driven from home by the 
 mother. The incidents following this act of injus¬ 
 tice make up a play that is full of the rich red blood 
 and drams in which the interest is sustained until 
 the very last. Dave is a great leading part; Willis, 
 a strong genteel heavy; the Doctor and Eben, com¬ 
 edy parts that are out of the ordinary, .Flapjack, 
 the old trapper, is a finely drawn character; Mrs. 
 Hughes, the mother, good character part; Dorris, 
 the college girl, a juvenile, and Hilda, the child of 
 the wilderness, a charming ihgenue. Sets are simple, 
 cast, five and three, and this with a play of pathos, 
 clean cut comedy, local color and a touch of sensa¬ 
 tion, makes a truly great offering for stock or rep¬ 
 ertoire. (2098) 
 
Won By Waiting. A semi-rural comedy drama, two acts 
 of which take place on a Vermont farm, two in New 
 York. This play is new and thoroughly up to date; 
 full of heart interest and abounds in wholesome, 
 clean cut comedy. The dramatic situations are tell¬ 
 ing, the climaxes full of force and meaning. It affords 
 excellent opportunities for the most exacting actors 
 and holds the attention of the audience from start to 
 finish. The characters are admirably drawn. Andy 
 Marcoe, the young country boy is an excellent heroic 
 lead. Bud Fisher, a rube comedy similar to Hi Holler. 
 Hiram Marcoe, the farmer, and Col. Douglas, the 
 New York Banker are great character parts. There 
 is also a good genteel heavy. The female parts 
 are, a sweet, motherly old woman, emotional lead 
 and a refreshing type of ingenue. The sets are easily 
 arranged as nothing special is required, yet they can 
 be elaborated and made picturesque. An excellent 
 opening or feature bill. (2031) 
 
 Ishmael. A new, powerful and clever dramatization of 
 Mrs. Southworth’s celebrated novel. The strange 
 dual nature of the heroine, Claudia, is given rather 
 more prominence in the play than in the book, and 
 drawn with dramatic adroitness and considerable 
 audacity, forming a rare example of the new drama 
 of metaphysics, made popular by “ Dr. Jekyl and 
 Mr. Hyde,” “Trilby,” and lately by Belasco in his 
 production of “The Case of Becky.” Ciaudia is 
 made a winsome and lovely girl, whose character 
 shifts inexplicably from the extreme of sweetness to 
 one of hard and almost impish perversity, which 
 yields eventually, however, to the power of love. The 
 part offers splendid opportunities to a clever actress. 
 Of the other parts, Ishmaei is a good juvenile lead, 
 Ben, light comedy, Bee, a charming ingenue, Lord 
 Vincent and the adventuress, Faustina, excellent 
 genteel heavies, while two added characters, Walsh 
 and Reilly, typical politicians, are capital character 
 comedy parts. Cast, five men and three women. 
 Scenery, 1 exterior, 2 interiors, easily arranged. (2037) 
 
Thorns and Orange Blossoms, A four act comedy drama. 
 A faithful dramatization from Bertha M. Clay’s novel 
 of the same name. The theme is a string on which 
 any dramatist may play as many tunes as he pleases 
 and never weary an audience. There is a vital com¬ 
 pelling force behind it—the force of stern conviction. 
 While not less a drama of heart, it is a faithful tran¬ 
 script of actual life. There is action in every line 
 of the story. A vein of light comedy is the key note of 
 the humor, played by alight comedian and ingenue. 
 These parts are “Corkers”. This is a great bill, splen¬ 
 did for an opener. It has a strong after draft. A splen 
 did line of characters, each one a feature. Elegant 
 dressing, There is one special scene, snow effect, 
 church illuminated. A big 3rd act. Cast six males 
 (double 5) and three females. The characters are— 
 Males, juvenile lead, genteel heavy, light comedy, 
 (an American reporter) high-class comedy old man, 
 (a Bishop, Church of England), two character bits, 
 female emotional lead, ingenue, grande dame. (1997 
 
 Dora Thorne. An entirely new dramatization of Bertha 
 M. Clay’s famous novel. It retains all the intensely 
 dramatic situations of the book, and is the best ver¬ 
 sion on the market. Dora is an emotional lead that 
 affords opportunities for rising from childish sim¬ 
 plicity and innocence to tragic heights of outraged 
 womanhood. No less important is Lady Charteris, 
 who bears in silence the insults and accusations ar¬ 
 ising from a misinterpretation of her friendship for 
 Dora’s husband. She is not a heavy, as in ether ver¬ 
 sions. Lillian is an ingenue of the highest type, 
 one moment a revelation of philosophical maturity, 
 the next a rippling stream of wit and humor. Her 
 co-worker, Andrew, is an American correspondent, 
 and a gem of light comedy. Stephen is a sweet old 
 man; Ronald a manly lead; Ralph a natural heavy, 
 and Lord Earle a great type of English aristocrat. 
 Cast, five and three, with sets simple or elaborate, as 
 desired; dress that is modern and rich; story that is 
 human; characterizations true to life. There is no 
 better opening or feature bill than “Dora Thorne,” 
 
 (2187) 
 
The Cowboy Sheriff. A Western comedy drama that is 
 replete with dramatic situations. It is not a “shoot- 
 ’em-up” type of Western play, but rather one with an 
 intense and gripping heart story, that is carried over 
 by characters so well drawn and true to life, that one 
 seems to fairly live in Western atmosphere. The play 
 is a worthy rival of “Arizona,” “The Virginian,” and 
 others of that class. The situations are brought 
 about in a natural manner and accompanied with 
 quick, decided action that keeps the play moving 
 continually to a happy ending. A strong feature of 
 this play is the abundance of bristling, clean cut and 
 breezy Western comedy that eliminates all possibil¬ 
 ity of there being any dull and dead moments. Cast 
 is six and three, but a consistent double makes it five 
 and three. A romantic male lead, emotional woman, 
 winsome ingenue, and strong character parts makes 
 it a play that will add strength to any repertoire. 
 
 (.2076) 
 
 Her Legal Prisoner An unusuany strong play with 
 a touch of melo-dramatic life, that carries a heart- 
 interest story from the moment the curtain rises 
 until it falls on the final act. It contains no stereo¬ 
 typed jail breaking scenes, nor impossible situations, 
 but is a plot cleverly written aud unravelled by a 
 series of dramatic situations fairly teeming with life 
 and sustaining interest. Eugene Moore, a North¬ 
 erner, is an excellent juvenile leading part, Colonel 
 Randolph, a peppery old Southerner, heavy, and 
 Sandy Mackay, the tramp who holds the key to the 
 entire situation, and who finally by direct appeal to 
 his manhood, sets matters right, is a star part. Hazdi 
 Randolph, an emotional lead, Mrs. Jones, a magazine 
 writer, excellent comedy part, and Kitty Randolph, 
 an ingenue. The cast is six and three, which by a 
 double in first act, is made five and three. Sets are 
 simple but can be elaborated. The play can be rec¬ 
 ommended as a strong opening or feature bill- (2091) 
 
The Lady Detective. A new and sparkling comedy with 
 a story of sustained interest and abounding in point 
 and mirth provoking situations. This play is the 
 latest thing in the mistaken identity idea, but does 
 not depend on strained conditions, fancied resem¬ 
 blances, or other fossilized expedients worn thread¬ 
 bare by comedy constructors. It’s progress is marked 
 by naturalness, it’s scheme is thoroughly consecu¬ 
 tive, although rich in humorous surprises. The cast 
 includes but four males and two females -every role 
 “fat’* to the oleaginous limit. Moses Midas, the mil¬ 
 lionaire, masquerading as Mr. Bull, might easily be 
 styled a star part. Alonzo Stagg, the college athlete, 
 house detective of the Ocean Hotel, brimful of op¬ 
 portunities for a dashing leading man. Jack, excel¬ 
 lent juvenile; Percy Vernon, the “old beau;” Anna 
 Money, the heiress, and last but not least— Trixy 
 Conn, Jblie lady detective, unlimited in possibilities. 
 There are three acts, played in two sets; nothing 
 special, “The Lady Detective” will be found most 
 desirable among feature bills required by short cist 
 companies. (2133) 
 
 “The Old Folks At Home,” A rural comedy in four acts. 
 This play is close to Nature, telling a story of farm 
 and village life. The author has constructed a dra¬ 
 ma that appeals to those who enjoy entertainment* 
 that breathes the “Simple Life.” The characters 
 are human and faithful representation of men and 
 women who are to be found in rural communities. 
 Honest to the core and refreshing as new mown 
 hay. The action is dramatic and leads to situa¬ 
 tions that reach strong climaxes and natural heart 
 throbs. An excellent play for repertoire companies 
 and ambitious amateurs. It is pure in diction and 
 “clean cut” in incidents. No special settings. 
 Every day characters. Cast, six males, (double 5) 
 and three females. The characters are: Males, 
 juvenile lead, genteel heavy, strong old man, light 
 comedy, country boy and juvenile “bit.” Females, 
 juvenile lead, soubrette, character old woman. (1962) 
 
At Magdalena Bay. An up-to-date comedy melo-drama 
 of surpassing interest, having its scene in Lower 
 California. It is rich in romance and abounds in 
 atmosphere. It is full of animation and power and 
 not only holds an audience because of its vivid pic¬ 
 tures of the stirring events of contemporaneous 
 history, but also because it is a play of primitive 
 passions - a drama for all time. There is a wealth 
 of delicious comedy to relieve the intense action, 
 and the parts in cast are admirably contrasted and 
 give everyone in the ordinary company a chance. 
 There is a dainty ingenue lead of the “Rose of the 
 Rancho” type, a dramatic heavy and a most laugh¬ 
 able character woman. The male roles are an excel¬ 
 lent lead of the heroic type, a splendid light comedy, 
 genteel and character heavies and good juvenile. 
 Cast includes five males, three females. Scenery 
 simple, can be elaborated. Producing managers who 
 are looking for a play which embodies in dramatic 
 form the intrigue and violence in the present Mex¬ 
 ican situation, had better take a look at “Magdalena 
 Bay.” (2000) 
 
 Our Candidate. Comedy drama, sometimes called 
 “Grazebrook Farm.” This is a charming play, quiet 
 in tone, intense in interest, with a comedy breeze 
 that is refreshing in its quaint humor. The ingenue 
 lead is a fascinating character and holds the interest 
 through the many phases of her career. The settings 
 are easily arranged. Costumes modern and opportu¬ 
 nities for display. An excellent bill for repertoire. 
 Cast, five males and three females, Male characters 
 are, juvenile lead, old man lead, juvenile dude, ec¬ 
 centric comedy; females, ingenue lead, soubrette and 
 heavy. 
 
The Peacemaker* This is the latest and best of ail plays, 
 having as a back ground the struggles of labor. It> 
 is a domestic drama told so simply that a child 
 could easily follow its t!ireads of interest, but it is 
 full of variety and charm. It possesses a strong 
 and reasonable love story, a most intense plot and 
 an abundance of comedy. It is instinct with human, 
 nature, and its pathos is sustained. If it be true 
 that good parts make good actors, then all the mem¬ 
 bers of any average company representing “The 
 Peacemaker” will certainly show to great advantage. 
 The climaxes and curtains are immense. There is a 
 strong male lead abounding in distinction and man¬ 
 liness. A feminine lead, ranging from the daintiest 
 ingenuousness to transitions of emotional force. An 
 excellent second man can be played by heavy or 
 juvenile; two strong characters, heavy and comedy, 
 and good light comedian. The two remaining com¬ 
 edy parts are an eccentric comedy stenographer and 
 a lovable character. The cast includes live males, 
 three females, (no doubles.) “The Peacemaker” 
 makes good every time and everywhere- (2064) 
 
 Her Second Husband. A four act comeiy drama with a 
 cast of four and three. The play has several features 
 that are novel and strongly dramatic. It is of the 
 emotional class, yet free from mawkish sentiment. 
 The comedy is thoroughly modern and carries the 
 weight of the action and situations. The story in 
 brief: Her first husband, a convict, whom the wife 
 believes to be dead, appears on the scene. The com¬ 
 plications, comedy, heart and dramatic situations 
 are woven in a natural composite picture. There are 
 four light comedy roles, two males and two females 
 that are charming. The leads are excellent. Elegant 
 dressing, easy arts. The four male characters are : 
 Juvenile lead, juvenile, light comedy and genteel 
 heavy. The female csaracters are, juvenile lead, in¬ 
 genue and comedian, (1972) 
 
Clouds and Sunshine A rural comedy drama in four acts 
 that has a gripping heart interest. This is a mod¬ 
 ern play built on old lines, with several novel com¬ 
 edy features, A great opening bill. A sketch of the 
 story: The persecution of the “school marm” by the 
 village gossips. She is protected by the minister. 
 The theme and type of characters are the old famil¬ 
 iar ones that never die in popular favor as they 
 strongly appeal to a lady audience. The play has 
 all the elements desired. A pure dramatic story, 
 abundance of “rube” comedy, splendid curtains, easy 
 sets, a cast of five and three. The characters are: the 
 young minister, the city man, the old mischief maker, 
 the country boy, the ex-convict, the school teacher, 
 the gossipy old woman, the lively country girl. (1990) 
 
 A Struggle For Life. A play with an exceptionally strong 
 plot and story dealing with the trials of Frank 
 Holmes, a youug broker’s clerk, who is in love with 
 Irene Laraont, his employer’s daughter. Walter 
 Foster, the heavy, through jealousy of Frank, com¬ 
 mits a forgery and murder and fastens the crimo 
 upon him. Irene, to avenge her father’s death offers 
 large rewards for Frank, but is later made to see he 
 i3 not guilty and then assists him to escape the offi¬ 
 cers and prove his innocence. This being brought 
 about and the guilt of Walter established by Dick 
 Whitney, who poses as a German baron, and Judge 
 Digby, a character comedy. Every character is clear 
 cut and distinct, and there is an abundance of com¬ 
 edy furnished by Dick, the Judge, Mrs. Durant, a 
 title hunting mother and her daughter Dorothy. 
 Play with five and three (one double) and is full of 
 active, bright dialogue and quick, decisive climaxes. 
 No special scenery required. (1995) 
 
Under Arizona’s Skies. A breezy western comedy drama 
 that has its locale on the borders of Arizona and Old 
 Mexico. There is a love theme that is human, with 
 dramatic situations that are intensely striking, ro¬ 
 mantic and picturesque. The vital characters are in 
 a whirl of moving pictures that are consistent, natu¬ 
 ral and picturesque, telling a story that thrills and 
 interests. The character comedy creations, “Freckles” 
 and “ The Parson,” are a scream. The play has the 
 types of characters that appeal to the average Amer¬ 
 ican. Easy sets Cast, six males, (double five) and 
 three females. Characters are, strong male lead, 
 genteel Mexican heavy, romantic Indian, two comedy 
 cow punchers, Western sheriff. Females, ingenue 
 lead, heavy lead, character woman. (1866) 
 
 The Man ol Her Choice, John Brand by name, is a charac¬ 
 ter of frankness personified, set among a galaxy of 
 engaging and interesting personalities, around which 
 is woven a web of sustained and contemporaneous 
 interest. The play itself is romantic, yet real; idyllic, 
 but thoroughly practical. Its action moves with cel¬ 
 erity, and incident follows incident easily and natu¬ 
 rally. “The Man of Her Choice” is a play which is 
 a happy admixture of delicious comedy and heart 
 story. It is sympathetic, atmospheric and full of 
 human vital qualities. John Brand, the leading male 
 role, the young civil engineer, and Madeline, who 
 has “the choice” are both worthy the efforts of star 
 players. Mrs. Fogarty, who keeps the hotel—an 
 excruciatingly funny character; Evelina, an exceh 
 lent ingenue; Herbert, the egotistical musician, a 
 novel character juvenile; Nekon, great heroic juve¬ 
 nile; Con. Creet and Mole, character comedians 
 of unbounded opportunities. Scenery simple, can 
 be elaborated. Cast, 5 males, 3 females. “The 
 Man of Her Choice” is well worth exploiting. 
 
 r 
 
The Chauffeur. A comedy of the highest class, and while 
 possessing a wealth of incidents and mirth comped- 
 ing situations it has a plot of interest and suspense. 
 It is flawlessly constructed and every character is a 
 gem. Its leading role is that of a yoang German 
 nobleman who plunges into a circle of the newly rich 
 ao Newport in order to win the girl of his heart. 
 There is woven into the web of his many laughable 
 adventures, a thread of sentiment which serves to in¬ 
 vest with a dramatic coloring what otherwise would 
 be styled pure comedy. The parts, which number 
 eight, five males and three females, can truly be 
 called “ actor proof.” Characters, a young German 
 nobleman. Lieut, of the U.S. Navy, a parvenue who 
 used to make soap, an English lord, a gilded youth, 
 a true American girl, a “fluffy ruffles” girl, an eld< r- 
 ly lady of the vulgar rich type. The settings are two 
 interiors and one exterior. 
 
 A Teaderfoot’s Turn. A romantic drama in four acts. 
 The play is picturesque, and tells a story of Old Mex¬ 
 ico and Texas. This is a stirring drama, strong in 
 plot, quick in action, and full of character. T t has a 
 Western tinge of characterization, but is away from 
 the beaten path. A romantic play with new ideas, 
 new situations, new development of old character¬ 
 izations, and full of dramatic situations. The pro¬ 
 duction can be easily staged, yet has every opportu¬ 
 nity for picturesque dressing, scenic and musical dis¬ 
 play. Cast, six males, (doubles five) three females. 
 Male characters are, a romantic gambler, a Mexican 
 dandy, a Texas ranger, an Indian, a ranchman, a 
 young Texan. Females, a juvenile lead, a romantic 
 senorita, and German character. 
 
 This is one of the best of Western plays and has been 
 used under the following titles: “A Gambler’s Ro- 
 mance,’ 'On the Frontier’ and ‘A Mexican Romance, 
 
St. Elmo, of The Saving Grace. This is the very best 
 dramatization of Augusta Evans’ celebrated and 
 world famous novel of St. Elmo, which is having 
 such a vogue. The action of this version is compact, 
 consecutive and consistent. The adapter has con- 
 structed all the dramatic incident of the book, and 
 has interwoven with it many new situations of heart 
 compelling interest, joined with a wealth of excel¬ 
 lent comedy, and has compressed all in an enjoyable 
 *• and most “ actable ” play. This drama will be equal- 
 ly entertaining to those who have never read the 
 novel and the most devoted admirers of the gifted 
 authoress. It is constructed in four acts; there is 
 one set to an act. The scenery is simple but can be 
 elaborated if desired. The play depends on its dra¬ 
 matic action and not on special scenic effects. The 
 cast is six males and four females, which may be re¬ 
 duced by a double to five and four. St. Elmo ard 
 Edna are both “star leads.” There are excellent 
 juvenile “heavies” for lady and gentleman, a spark¬ 
 ling ingenue, excellent light comedy, a grand old man 
 and other striking character roles. This version of 
 St. Elmo is well worth while. It is bound to please 
 any and all classes of play goers. 
 
 We have also a special dramatization adapted for 
 the use of Companies of more limited casts, and in 
 which all the sallient virtues of the above celebrated 
 version are preserved. This is not a clumsy cut-down, 
 but a re-write by same dramatist. Can be done by 
 cast of four males and two females. 
 
 Boss of Z Ranch. A comedy drama in four acts. The 
 v story deals with life in Arizona; the incidents are 
 faithfully drawn. A true romantic picture of the 
 “cowboy.” A melo-dramatic story with an atmos¬ 
 phere of refinement. The situations are stirring, not 
 lurid, and the comedy is clean cut, natural human 
 r types of the West. The settings are simple, yet will 
 permit elaborate arrangement. Cast, five males and 
 three females. Characters are. juvenile lead, genteel 
 heavy, light comedy, character comedy, Mexican 
 heavy. Females, juvenile, ingenue and old lady. 
 
Kentucky Sue. A powerful, absorbing play of the Ken¬ 
 tucky mountains, in which the characters are so 
 finely drawn that the auditor feels he has really 
 lived among and known them. He smiles at the 
 joys, sympathizes with the sorrows and rejoices at 
 the happy ending, Clem Mason i s an admirable 
 character lead; Kenneth, an excellent heavy; Rob¬ 
 erts, a typical mountaineeer; Gus, an inimitable 
 comedy part that is a laugh from start to finish. 
 Nell, a juvenile, and Sue, the star role, combining 
 the vitality of a soubrette with the tenderness of 
 an ingenue. The scenic arrangements are simple, 
 there being two mountain landscapes and an elab¬ 
 orate interior and kitchen. Every act is teeming 
 with bright dialogue and quick action. The situ¬ 
 ations are natural and work themselves to a hap¬ 
 py ending in a clear, concise manner. This play 
 requires a cast of only four and two, (no doubles) 
 which makes it an admirable bill for one night 
 stands or repertoires with small cast. (2142) 
 
 Note: We also have a version of this play calling fora 
 cast of 3 ladies and 5 men. It is naturally an im¬ 
 provement on the 6 people version, as the matter ad¬ 
 ded is in the nature of character comedy giving at¬ 
 mosphere to the play. The Ackerman & Quigley Co. 
 of Kansas City, has special printing for this play. 
 
 An American Drummer. An Irish comedy drama in four 
 acts. The scenes are laid in Ireland. Sensational 
 and melo-dramatic in incidents, with a story full of 
 heart interest. The novelty and pleasing fea¬ 
 ture is the introduction of an “American drummer." 
 This character has all the breeze and hustle of his 
 class, and is the central figure among the trials and 
 conflicts incidental to weaving a story that depicts 
 the life of an Irish peasant. This play will interest 
 those looking for an Irish drama with a new feature. 
 It is adapted for repertoire companies and amateurs. 
 Easy sets. Full cast, six males and four females; 
 doubles for three or five and two. Can be done by 
 four and two. 
 
Beyond Fardon. Suggested in theme by Bertha M. Clay’s 
 celebrated novel, but a brapd-new play in construc¬ 
 tion and stirring incidents, and rich in its abundance 
 of original comedy. Its story—American—is of com¬ 
 pelling interest. There is not a dull moment in its 
 development; its characters do something worth 
 while all the time. Though thoroughly up-to-date 
 and well up in what is termed the higher class of 
 plays, its action moves with the celerity of melo¬ 
 drama. It is thoroughly clean in tone and teaches an 
 obvious moral lesson. It is confidently expected that 
 “Beyond Pardon” will duplicate the success of 
 “St. Elmo,” financially. It is the best opening 
 bill offered for some time. Its cast includes four 
 ladies, (double to three) and six males which double 
 to five. There is an admirable heroine, and excellent 
 masculine lead; splendid light comedian and ingenue, 
 great heavy, and characters male and female. Can 
 be elaborately or simply staged; nothing special, 
 “Beyond Pardon” is well worth consideration. (18151 
 
 Her Lord and Master.—Society Comedy-Drama in four 
 acts. While the play does not resemble Bartley Camp¬ 
 bell’s famous success “Fate” in story or in character, 
 it is of the same general style. The emotional interest 
 is intense, the comedy element unusually strong, and 
 the sensational features make it equally attractive to 
 the gallery and the parquet. The story centers around 
 “Mildred Page,” an excellent role for an emotional 
 leading lady, her scenes calling for light and shade in 
 their enactment, with very effective climaxes. In one 
 act she assumes the disguise of an old hag. Part calls 
 for handsome costuming. “Tommy Bean” and “Dickey 
 Dodd” are two typical “chappy” boys, who cause un¬ 
 limited laughter. “Bertie, the Lamb,” in “The Henri¬ 
 etta,” is a similar part. “Nancy,” a product of the 
 city streets, is the rough soubrette; “Andrew Temple” 
 is an old man on the “Duustan Kirke” orderl “Hungry 
 Crowe” and “Chicago Jack” are two “knights of the 
 railroad ties.” It is an ideal opening bill for the better 
 class of repertoire companies. Six males and three 
 females are required. No special scenery necessary. 
 
The Minister’s Child. A comedy drama in four acts. A 
 play that has a pure and wholesome environment, 
 with a coloring of intrigue. It is the “old, old story” 
 
 A woman’s devotion and a man’s indifference. He 
 wanders from the fold and falls amidst the snares of 
 a great city. His final redemption is a woman’s love. - 
 The comedy is brilliant and the dramatic action con¬ 
 sistent, with strong heart throbs that are not strained 
 to reach an effect, but are created in a purely natural 
 manner. A beautiful play, giving opportunities for 
 elegant dressing, and lavish display settings. An ex- * 
 cellent repertoire bill. Cast, five males and three 
 females. Males are, juvenile lead, genteel heavy, 
 light comedy, second genteel heavy, old man. Fe¬ 
 males, ingenue, comedienne, emotional adventuress. 
 
 Mother and The Boys. A four act comedy drama 
 teliiug the story of two boys who are equal own 
 ers in a run down farm. One boy chooses to try 
 his fortune in the city while the other stays with 
 the land. The former qnickly goes to ruin among 
 the bright lights and temptations of the city, while 
 the other following scientific farming, rises to af¬ 
 fluence and wins the girl of his choice. The love 
 of one brother, in contrast to the neglect of the 
 other for the widowed mother, forms a pathetic 
 theme that is relieved by the rich, wholesome com¬ 
 edy that runs throughout the entire play. There are 
 many chances for the display of histrionic ability 
 and a number of new and novel features are intro 
 duced in such a manner that any number of people 
 may be used, each having an important part in the 
 play. The cast calls for ten men and seven women, 
 but can be done with less by some of the parts A 
 being doubled. No special scenery is required. We 
 cannot recommend this play too highly for the use 
 of amateurs desiring a play with a moral and a 
 good object lesson. (2435) 
 
Thelma. —A new version and undoubtedly the 
 best dramatization of Marie Corelli’s fam¬ 
 ous novel, which in story, incident's and 
 characters it follows closely. This play is 
 worthy of the attention of high-class stock 
 * and repertoire companies. Under a com¬ 
 
 petent stage director the play can be fil¬ 
 tered to any demands as to scenic arrange¬ 
 ments and size of cast. There are many op- 
 r portunities for splendid scenic and elec¬ 
 
 trical effects. Costumes, Norwegian and 
 English. Cast: nine males (doubles, seven), 
 five females (doubles, four). Smaller com¬ 
 panies can omit one or two scenes (which 
 will not hurt story) and do the play nicely 
 with five and three. 
 
 Good as Gold. A strong play of western mining life abound- 
 ing in thrilling situations, and full of good naturaJ 
 comedy. A play that tells an intensely interesting 
 story, in a. manner that holds the attention of an 
 audience from start to finish. This play will prove an 
 addition to any repertire, as it is a thriller, without 
 being impossible inconstruction. The characters are a 
 romantic leading juvenile part for man, great charac¬ 
 ter comedy old man, two strong rough heavies and 
 one emotional character part. Ladies are good juve¬ 
 nile lead, old woman, and strong character comedy. A 
 rough soubrette (irish.) Play is one well suited for 
 use as a Saturday night bill, or for air domes. (2024) 
 
 Daughter of Erin, A. —An Irish drama in four acts. . Cast. 
 
 six males, four females. An up-to-date play that is 
 ^ strongly recommended to all desiring a real Irish 
 comedy, devoid of blood and thunder, red coats, evic¬ 
 tions and other stereotyped features. The plot is con¬ 
 sistent and naturally developed; comedy and pathos 
 f are intermingled in a pleasing manner, and each act 
 has a surprising and an effective climax. Scenic effects 
 may be made a feature, although nothing of an elab¬ 
 orate nature is necessary. 
 
Divorcons.-- A powerful satirical comedy in three acts, 
 from the pen of Victor Sardou. The atmosphere is 
 French. The theme the divorce question. The com¬ 
 edy is excellent. The story contains the elements of 
 deep human interest. A young and vain wife dreams 
 she is neglected by her husband and encourages the - 
 attentions of a young officer, and plans to secure a 
 divorce and marry her lover. The faith of the hus¬ 
 band in his wife is supreme; it never falters. By a 
 clever artifice he shows her the fallacy of her argu¬ 
 ment and the shallowness of her lover, and in the end ' 
 wins her affections. The sets consist of three hand¬ 
 some interiors. Cast, seven males and three females. 
 Principal characters are leading ingenue, middle age 
 light comedy male character, and juvenile. The re¬ 
 mainder are character creations. Play can readily 
 be cut to five and three. 
 
 The Gold Diggers. Comedy drama in four acts. A breezy 
 Western cyclone telling a story that possesses qual¬ 
 ities that rouse interest and demand generous recog¬ 
 nition from lovers of melo-dramatic situations. The 
 comedy predominates and is nicely woven among the 
 threads of the love story, forming a harmonious series 
 of “ rapid action” creating pictures that call for p 
 “third curtain.” The scenes are laid in Arizona. 
 Cast contains great comedy Jew and soubrette/ .Set¬ 
 tings simple, Cast, seven males, (doubles to five) 
 three females. An excellent play for repertoirecom- 
 pnnies. This is a ‘‘boiled down ” version of “The 
 Goldfields of Nevada.” 
 
 That Boy of Barker’s: Domestic comedy in four act \ 
 While the story of the play is one of considerable inter ^ 
 est, its greatest merit lies in the humorous manner in 
 which it is told. It may be described as a farcical com¬ 
 edy with dramatic climaxes. The characters are of a 
 rural type, the principal ones being a farmer boy (sta^. 
 role), two giggling country girls, an Irish boy, a tramp, 
 and an old woman whose tongue never tires. The full 
 cast is six males, four females. No special scenery 
 
The Banker, The Thief and The Girl. A modern melo-drama, 
 dealing with the different phases of life on the great 
 East Side of New York, A play full of snap and go, 
 that tells a thrilling story that will hold an audi¬ 
 ence from the going up of the curtain on the 
 first act until it falls at the end of the play. A splen¬ 
 did play for a Saturday night offering. Lots of sen¬ 
 sation—lots of comedy. Plenty of thrills, and last, 
 but not least, a consistent story well told. Ti»6 
 characters are an excellent lead and heavy, good 
 heroic comedy lead, (detective) unusually good char¬ 
 acter and light comedy. Easily produced. Cast, six 
 men and three women. Full line of pictorial print¬ 
 ing at Otis Lithograph Co., Cleveland, Ohio. (2088) 
 
 Why Lindy Ran Away. This is a new comedy drama of 
 laughter and tears, and one that touches every cord 
 of human emotion Lindy, who is dominated by an 
 unreasonable father, is a part that affords the widest 
 scope for histronic ability, since she goes from the 
 light heartedness of a mountain girl, to the very 
 height of emotional womanhood. Abner Lane, her 
 father, is a strong character part, with individual¬ 
 ity, and is in marked contrast to the sweet, self sac¬ 
 rificing Martha, the wife and mother. Wes Blake, 
 the mountain youth, and Mrs. Mayfair, an author¬ 
 ess, are comedy gems of the first water. Nate Hardy, 
 the miser, is a capital comedy heavy, and Alfred 
 Austrian, the civil engineer, is a fine juvenile lead. 
 The cast calls for five and three, but can easily be 
 played with four and three. It is a play that is full 
 of merit, every character finely drawn, a story of 
 heart interest, and in all a play that will appeal to 
 the masses. (208 ) 
 
 97ork and Wages. -Sensational drama in four acts. One 
 special set required, the exterior of iron works. Heroic 
 male lead. Excellent rough soubrette and low comedy 
 parts. In industrial centers the play is uniformly and 
 extraordinarily successful; in other communities it 
 succeeds on its own merits, because it contains all the 
 elements of popular success. 
 
Wife In Name Only, or A Girl’s Mistake. A dramatic 
 
 gem in four acts. The motive is true, of intense 
 nature, and is brilliantly handled. The story i 3 
 thoroughly American and natural. The dramatic 
 elements are artistically woven into a truly great 
 play that possesses heart interest, intense pictures 
 that are striking and free from inconsistency. The 
 comedy is pleasing, bright, modern and of the type 
 that appeals to intelligent and cultivated people. 
 A feature bill with strong male and female leads. 
 Splendid opening play for repertoire companies. A 
 strong attraction for stock, no matter of what class. 
 Easily produced. Permits of elaborate stage set¬ 
 tings, and modern elegant dressing. Full cast, six 
 males and three females. Can be played with five 
 and three, (one double) also four and three, (two 
 doubles.) The doubles are legitimate and easily made 
 
 Fool of Fortune, A.—Comedy in four acts, lo¬ 
 cality, Chicago. A play of the times (to¬ 
 day), in which the intrigues of the Stock 
 Exchange and the schemes of the pro¬ 
 moter are related in a vivid manner. Not 
 a dull moment, action lively, dialogue crisp 
 and full of delightful comedy of modern 
 constructions. Sets, interior Good stock 
 and repertoire bill. An excellent play for 
 amateurs. Cast: five males, three females. 
 Male characters are: light comedy lead, 
 light comedy juvenile, heavy old man and 
 character comedy; female, ingenue, juvenile 
 and character old woman. 
 
 A Soldier’s Sweetheart. Frequently called Our Irish- 
 American Cousin.” A sensational comedy^drama in 
 four acts, with cast of two ladies and six men* 
 which by easy doubles and some changes may be 
 reduced to four and two. This play is one of the 
 best of the short cast pieces, is easily staged and 
 always gives the best of satisfaction. It tells a strong 
 story. The star part is a typical light comedy Irish 
 character strictly up-to-date. The other characters 
 are a genteel heavy, good old man, leading juvenile* 
 good part for leading woman, and excellent sou- 
 brette. Play is well adapted for amateur uses. 
 
The Whirlpocl. i comedy drama in four acts. A semi- 
 Western play. The action of the first act takes place 
 in New York (society atmosphere) the three follow- 
 ing acts in Montana. The story is intensely and 
 strongly dramatic, possessing a natural heart inter- 
 * est and ending of acts which are striking and of the 
 type that '’‘go.” The comedy has two shades - refine¬ 
 ment, and that wholesome Western flavor. This play 
 has the elements so much desired—refinement, strong 
 y in acting points, breezy comedy, coupled with rough 
 and ready cowboy realism. The leads are especially 
 strong. No special settings. Cast, six mal^s, (easy 
 double fiv ) and three females. (1980) 
 
 What A Woman Will Do. A comedy drama in four acts, 
 A play of contemporaneous interest and suspense 
 which does not cease until the final curtain. It has 
 all the elements which go to make up the real and 
 successful play. Its profound intensity of action is 
 relieved by brilliant comedy. Pathos and surprises 
 abound. Each and every part is a natural character¬ 
 ization and finds its prototype in life. This is a 
 drama in which there is always something doing. 
 It has a Western flavor mixed with Mexican pictu¬ 
 resqueness, a line of characters that are strong and 
 marked with individuality, and 44 all star ” list. 
 Stock and repertoire companies w r ill find this an ex¬ 
 cellent bill. Two sets, one interior and one exterior. 
 Cast six males (doubles five) and three females. 
 
 Lena Rivers. A comedy drama in four acts. This is a faith¬ 
 ful dramatization of Mary J, Holmes book of the 
 ^ same name. The story has been woven into a pretty 
 
 dramatic acting play. The quaint sympathetic at¬ 
 mosphere and charming love story are retained, the 
 comedy embellished. The play is easily staged, and 
 will always find warm admirers from those who seek 
 the drama in its purity. Cast, five males and four 
 females, (double three.) Grandma Nichols doubles 
 Mrs, Graham. 
 
SELECTED 
 
 LIST OF PLAYS 
 
 That are particularly suited to 
 the requirements cf 
 
 * 
 
 Schools and Colleges 
 
 also 
 
 Amateur Societies 
 
 The following plays are especially recommended. 
 They call for little or no special scenic effects; 
 they are pure in tone and contain nothing to 
 offend the most refined audiences. They are 
 not what are commonly known as amateur 
 plays, but include some of the best and most 
 widely known dramatic compositions of mod¬ 
 ern times. 
 
The Breadwinner. An exceedingly clever story of every- 
 day life and common people. A powerful protest 
 against the spread of the divorce evil. An answer to 
 Patterson’s great pro-divorce drama, “Rebellion.” 
 Fred Miller, a young mechanical genius, is happily 
 married, but has grown discouraged by the repeated 
 
 * failure of a favorite invention, and on the death of 
 his baby girl, he loses heart. He neglects his wife, 
 who attempts to carry on the home by giving music 
 lessons. The young husband descends lower and 
 
 * lower, and to obtain money pawns various articles he 
 takes from the house. In a fit of desperation, he 
 mortgages the wife’s only possession, her piano, with 
 out which she is unable to continue the home. This 
 proves to be the last straw to the young wife’s for¬ 
 bearance, and when the mortgagee comes to claim 
 the property, she rebels. A quarrel follows and the 
 husband leaves in anger. She then obtains a posi¬ 
 tion in a department store where she meets danger¬ 
 ous companions, whose temptations are more iusidi- 
 ous than open sin. To the neglected wife the glimpses 
 of this new life are especially appealing, and the 
 tempters seem fair to win, but she is saved by a lova¬ 
 ble priest, who comes to the rescue at the fateful 
 moment. A long sickness follows, during which the 
 young husband, aided by the same priestly influence, 
 redeems himself, the invention becomes a success and 
 with prosperity comes the desire for reconciliation, 
 at first the young wife refuses, but the priest pleads 
 the divine theory of forgiveness and all ends happily. 
 The characters are all good, the priest especially so. 
 The adventuress and the man about town are living 
 types of a dangerous class found in all large cities. 
 The young husband and wife are capital leads. 
 Zach, the furniture mover, and Mary, the heroine’s 
 fussy but devoted aunt, are good character parts and 
 “Billy” is a splendid youth part. Cast, five men and 
 three women. Scenery, one plain and one fancy 
 
 f interior. (20501 
 
College Boys. A real college play, that teaches a powerful 
 lesson of sterling honesty, and the friendship and 
 loyalty to ones college and classmates. Arch Stanley, 
 the son of a college professor, has been entrusted 
 with a sum of money, raised for the relief of the wid¬ 
 ow and orphan of a janitor, fatally injured in the 
 service of Elmwood college. While on his way to 
 deliver the same, he meets Walter Addison, a confi¬ 
 dence man, whom lie regards as a friend, not knowing 
 his real character. The boy is persuaded to visit the 
 latter’s room, where he is robbed of the greater part 
 of the money. He delivers the rest to the widow, tak¬ 
 ing her receipt, of which he is robbed later by Addi¬ 
 son. Arch, keeping his secret, returns to college, and 
 attempts, by saving his allowance to make up the 
 lost money, Some time after, Addison visits the coll¬ 
 ege and attempts by threats of exposing Arch to his 
 father and classmates, to force the latter to accept 
 him as guest and present him to Madeline Morris, 
 an heiress, to whom Arch is practically engaged, and 
 upon whose wealth Addison has designs. Arch, at 
 first refuses, and confides in his chum, Ed. Seymour, 
 the captain of the ball team. Ed. immediately be¬ 
 comes his friend’s champion, advises apparent com¬ 
 pliance with Addison’s terms, but arranges plans to 
 insure the latter’s ultimate defeat, Ed openly an- 
 nouces his intention to Addison, and the affair rapid¬ 
 ly developes into a battle of wits between them. By a 
 clever turn of events, Ed. succeeds in completly de¬ 
 feating Addison, and drives him in disgrace from the 
 town, at the same time preserving Arch’s reputation. 
 Ed and Arch are unusually good juvenile leads, and 
 Addison a powerful genteel heavy part. The comedy, 
 of which there is an abundance, is wholesome, clean 
 throughly up-to-date, without insinuation or jibes at 
 college institutions. ‘’Fat,” “Shorty’ and “Porky’' 
 are real boys, not the inanities generally offered as 
 students. Nellie, Nancy, Madeline and Grace are 
 naturally girlish. Zeke, amateur actor and chore boy 
 at boardinghouse, is a gem, and Susie, maid-of-all- 
 work, is a splendid part of the “Sis Hopkins” type. 
 “Lazy Ike” the tramp, who assists in Addison’s down¬ 
 fall, is a natural philosopher, and proves that the 
 “Knights of the Road” are not always as black as they 
 are painted. Mrs. Pilsen, who runs the boarding 
 house, is an excellent character part, and the Pro¬ 
 fessor and Colonel Seymorare good old men. Cast: 
 10 men and 6 women. Any number of others may be 
 utilized as chorus or auxiliaries. The piece may be 
 played either as strait comedy-drama, or as musical 
 comedy, as opportunities are offered for introduction 
 of songs and specialties. Scenery, required, very 
 simple. A college campus, for which an ordinary 
 landscape or garden may be substituted. A plain old 
 fashioned interior, and a rough interiorof “gym,” for 
 which a plain chamber may be used, supplemented 
 by apparatus from regular “gym.” (1984 
 
I he Disappearance of Dora. One of the prettiest comedy 
 offerings for many seasons. Simply and charmingly 
 written, yet with a vein of satiric humor irresistible 
 in it’s blunt, straightforward truth. Dora, the 
 motherless daughter of Cornelius Knickerbocker, 
 » the great steel and copper magnate, is reared in the 
 magnificent solitude of their country home by her 
 worldly aunt. Her education has been entrusted to 
 an old German professor, a former tutor in the Im- 
 ^ perial household. He is an idealist of highest type, 
 a believer, in the theory, of the simple life. Dora, 
 lonely, romantic girl, has accepted his theories, and 
 grown restless at her almost regal life. She is anx¬ 
 ious to go out among the humbler people and spread 
 happiness and contentment. Her opportunity comes 
 when her aunt tries to force her into marriage with 
 an imbecile member of the British aristocracy, and 
 Dora persuades the reluctant professor to run away 
 with her. They go to a village in New Jersey where 
 Dora tries her theories of universal happiness. The 
 result is a series of laughable and almost tragic hap¬ 
 penings, from which the now homesick girl, shocker, 
 and humiliated at the hypocrisy and ingratitude of 
 her pensioners, is rescued by her father’s junior part¬ 
 ner, who loves her, and whom Dora herself un¬ 
 consciously loves. There is, of course, the usual 
 happy result. The cast, which is a long one, 
 does not contain a single poor part— even the 
 '‘bits” are excellent. The characters are all types— 
 Dora, naive, unsophisticated, honest, lovable— her 
 attempts to 4, dogood’’ create the tenderest interest 
 —no better girl part ever written. The money-mad 
 father, the worldly aunt, the old professor, delight- 
 k ful in his ignorance of practical life, the sly old vet¬ 
 eran, his slatternly grand daughter, the colored 
 maid who resents her “Missie’s ’sociating with 
 such low white trash,” the minister’s fanatic wife, 
 j the blustering country sheriff, etc. The play is 
 especially well adapted to the use of colleges, 
 schools and amateur societies, as well as to profes¬ 
 sional companies. Costumes modern. Scenery re¬ 
 quired, an elaborate drawing room and a plain 
 cottage interior. . (2082* 
 
The Fourth Waltz. Comedy drama with songs. Our 
 latest and prettiest ottering for colleges, girl’s 
 schools and amateur societies. A story as light, as 
 daiDty and as exquisitely developed as that of Bar 
 rie’s masterpiece, “Quality Street.’ 7 The locale is 
 American—a small town in Eastern Ohio, and the % 
 characters are almost photographic sketches of the 
 types invariably found in “villages off the map.” 
 The play fills a popular demand, in that it offers a 
 large number of parts for girls. The cast is ter^ 
 female and only four male parts. All the parts are 
 good, worthy of careful study, and not mere “fill 
 ins” to support the leads. Martha is an old fash¬ 
 ioned girl, dangerously near the line of “old maid- 
 hood” and lovable in her gentle charity and self- 
 sacrifice. Harriet is a thoroughly human girl—the 
 kind that scores from the curtain’s rise. Cora, 
 Lettie, Agatha and Bessie are bright, typical Amer¬ 
 ican girls. Mrs. Malvern is the stiff-necked village 
 censor and her devoted follower, Miss Simpkins, is 
 a type of the thin, snappy, narrow-minded, dis¬ 
 appointed woman, who never had a childhood. 
 Hayward, temporarily “down in his luck,” is the 
 best tramp part ever written, and the other men 
 are each excellent in their different lines. The play 
 is in three acts and is easily produced, scenery re¬ 
 quired being a garden, a parlor, and a plain cham¬ 
 ber or ante-room. Costumes modern light summer 
 gowns for acts 1 and 2, and pretty party dresses for 
 third act. 
 
 Note.—If preferred, this play may be produced under the 
 titles of “The Winning of Harriet,” “Harriet's 
 Romance,’’ “During The Fourth Waltz,” or “When. 
 The Prince Came/’ all of which are the property' 
 of this Company. (2405) 
 
The Girls Decide* One of those quiet, satisfying little 
 comedy dramas. It is the old story, in a new dress, of 
 that never ending controversy—which is the better, 
 marriage for love or marriage for money. A middle 
 aged couple, themselves devotion itself, have each a 
 ^ daughter by a previous marriage, whose futures are 
 their only disagreement. The father insists that 
 matrimony without the wherewithall for luxury is 
 folly. The mother on the other hand, insists that 
 love is the proper engineer for the domestic mac.hin- 
 ^ ery. The girls in deciding, follow the wishes of their 
 respective parents—one marries a poor artist for love 
 —the other a wealthy stock broker, for position. For 
 a while fortune smiles on the money couple, while 
 the others find it hard to make both ends meet; a 
 baby also comes, who adds to the struggle. The rich 
 man, grown arrogant, begins to despise the poor 
 couple, and finally orders them from his place. The 
 mother takes her daughter’s part. The wealthy son- 
 in-law thereupon bids them all depart aud they pre¬ 
 pare to do so, when a message arrives announcing 
 that a panic has wiped out the entire fortunes of the 
 old man and the son-in-law. The wife wishes to re¬ 
 main with her ruined husband, but in his anger he 
 drives her away. The poorer couple take the parents 
 to their own home, where wo find them a year later 
 in direst poverty. The sheriff arrives with a tramp- 
 ish individual to whom he has offered the alternative 
 cf accepting the position or being locked up as a 
 vagrant. The unwelcome visitor, who is the missing 
 husband, learns that his wife loves him. He discloses 
 himself to the artist, who makes him welcome. The 
 creditors become insistent whereupon the supposed 
 tramp produces a “roll,” and paying their claims, 
 drives them sway. A novel and pretty plan is then 
 arranged to unite husband and wife; the father and 
 mother are then pleasantly surprised, the prodigal 
 removes his disguise, and all ends just as the audi- 
 V ence wanted it to. Cast, five men, four women, Not¬ 
 withstanding the little note of tragic discord, the 
 piece is replete with plenty of light, character and 
 low comedy. Scenery, 2 gardens, plain interior. (2089 
 
IJttle Miss Mystery. A new and dainty offering for 
 girl’s schools and dramatic societies, when a large 
 number of ladies and small number of men are re¬ 
 quired in cast. (Cast of play 16 ladies and 3 men) 
 A play that tells an intense story and yet abounds in 
 comedy lines and situations and permits the intro-* 
 duction of mnsical numbers. The father of Ruth 
 Heritage, formerly treasurer of an Eastern city, has 
 been falsely accused of misappropriation of funds 
 and is a fugitive. • Ruth, acting* upon the advice 0 * 
 friends, changes her name to Mary Morrison and en¬ 
 ters a girl’s school. To the school also comes Julia 
 Coghlan, daughter of a famous politician, and Her¬ 
 itage’s bitter enemy and principal accuser. A mishap 
 proves that Ruth is under an assumed name, and 
 later she is shadowed by a spy to a cheap hotel. 
 In the accusation which follows, Ruth dare not tell 
 the truth through fear of her father’s arrest, and she 
 is placed under the gravest suspicion; she is saved, 
 however, by the shrewd investigation of the Dean. A 
 confession by the politician’s lieutenant, places the 
 theft where it belongs and all ends happily. A pretty 
 love story is incidentally introduced, as w r ell as an 
 abundance of school comedy, including the dress re¬ 
 hearsal of a play written by the German professor of 
 music. Ruth is a charming heroine, and Bertha, 
 the blind girl a most lovable character; Hilda, the 
 Swedish servant, is a scream; “Baby” Astor, the ath¬ 
 letic girl, and her only rival, “Mel” Williams, from 
 Williamstown, Massachusetts, are splendid comedy 
 parts; Bessie, honest, blunt Bessie, is another; Julia, 
 with her plebian ideas of superiority, provides the 
 mischief making; Miss Mouser is a good character 
 part and the dean, with her uncompromising ideas oV 
 justice and honor, is a glorious ideal of womanhood; 
 Henry, the page, who acts the villain in the play, is a 
 splendid light comedy part; Robert is a manly hero 
 and the German professor a gem of dialect comedy 
 Scenery very simple, a garden with set house, the in¬ 
 terior of a gymnasium and a plain interior, (2415) 
 
Snow White. A musical comedy, or extravaganza, found¬ 
 ed on the old fairy tale. Everybody remembers—and 
 what happier than the memories of childhood— 
 when they cried over the troubles of Little Snow 
 White, the persecuted Princess, laughed at the 
 i dwarfs, sympathised with the Prince, hated the bad 
 step-mother, and the awfully wicked old witch, 
 with her poisoned apple and her magic comb, and 
 how we all rejoiced when the good personages were 
 rewarded and the wicked punished. A play for chib 
 ^ dren and grown-ups. The prettiest and daintiest 
 offering in many years. Bright comedy without the 
 slightest suggestion of coarseness. The play is in 
 six scenes—including a palace interior, a dark for¬ 
 est, a cottage interior and a rocky cavern. It af¬ 
 fords opportunity for elaborate production, yet can 
 be given effectively in a very simple stage setting. 
 Oast, fourteen men; double to ten, and six women; 
 as many chorus, male and female, as desired. The 
 musical numbers were especially composed by Mr, 
 Daniel Dore, leader of the famous New York Win¬ 
 ter Garden productions, which is a guarantee of 
 their originality and excellence. They are published 
 by the John Franklin Music Company, 1531 Broad¬ 
 way, New York City, from whom they may be ob¬ 
 tained on an order from this office. Parts all good. 
 Stage managers will have no trouble in casting this 
 piece, as each character offers opportunity for indi¬ 
 vidual recognition. While the play was written pri¬ 
 marily for college and school production, it will ap¬ 
 peal strongly to professional managers desiring mu* 
 sical attraction, (2236> 
 
 k 
 
 
Nancy 5tarts a Boom. Bright, clean comedy of rural New 
 England. A wonderfully human story, with that de¬ 
 lightful “homey” flavor that made the “Old Home¬ 
 stead” famous. To a small town on historic Cape 
 Cod, called for several reasons, Woosam, comes 
 Nancy Leigh, a young Southern orphan, whom un-> 
 expected reverses have forced to leave school and 
 seek employment. The town, rich in business pos¬ 
 sibilities, is, typical of the locality, “sound asleep.” 
 Nancy, wide awake, proves a needed stimulant. Sh^ 
 soothes the prejudices of the inhabitants, arouses 
 their dormant ambition, provides them with an elec¬ 
 tric railroad, and places the “burg” on the commer¬ 
 cial map. Incidentally she proves a “Cupid” for the 
 chronic old maids and bachelors, and wins a hus¬ 
 band for herself. No play in recent years has been so 
 rich in character sketches. Nancy herself, is delight¬ 
 fully naive, sweet and irresistable. No prettier in¬ 
 genue part ever written. William, first “page” at the 
 school, afterwards clerk for Uncle Abe, in Woosam, 
 is a boy part, suitable for star comedian. Peggy, 
 blunt, honest, lovable, is best expressed in one word 
 — charming. Selfish Imogene, and her chum, Ethel, 
 are sufficiently detestable as Nancy’s enemies. Mrs. 
 Winthrop-Courtney is the small town aristocrat, ar¬ 
 rogant, over-bearing. Capt. Silas the town magnate, 
 gruff, but tender hearted, is a great character part, 
 and Abe Horton, who “keeps store,” Squire Wiliiamt 
 the ship owner, and Deacon Dill, the town clerk and 
 undertaker, are roles in which failure is a practical 
 impossibility. Wood, the promotor, Miss Swine- 
 bourne, and Stephen, the colored porter, are all 
 good. The girls who work in the store and the vil¬ 
 lage quartette, are small but satisfactory ‘ bits.” Tbt 
 play affords ample opportunity for the introduction 
 of musical numbers, specialties, etc Cast, 8 males, 
 11 female principals and any number of extras de- 
 ired. Scenery, parlor, plain interior, and interior *4 
 small country store. May be produced simply or 
 elaborately. Specially recommended for stock, and 
 for large schools, colleges, societies, etc, (2371) 
 
A Phillpine Romance. A stirring, semi-military play, 
 dealing with a native uprising in our Atlantic pos¬ 
 sessions. The hero, a captain of U. S. Infantry, loves 
 a young American girl, visiting in Manila, who, am¬ 
 bitious for his future, insists that he shall make a 
 ^ name through heroic service. News of a great up¬ 
 rising reaches head quarters and the hero obtains 
 permission to accompan y the avenging expedition, 
 t The American force meets with a series of defeats, 
 and is finally surrounded by the marauding savages, 
 ^ and it is only a question of a short time when they 
 will be at the mercy of the enemy. In this dilemma, a 
 friend of the hero, determines on a t$p, in native dis¬ 
 guise, through the enemy’s lines, in an attempt to 
 reach a deserted wireless station some miles away. 
 In trying to carry out his plan the friend is shot in 
 the head. The hero adopts his disguise, takes his 
 place and saves the garrison. The friend recovers, 
 but from the nature of the wound, all recollection of 
 the past few hours has been blotted from his memory. 
 The hero determines that his friend shall have the 
 credit for the heroic deed, and reports accordingly 
 to his superior officers. The force returns to Manila, 
 where the friend is lionized, and where a report 
 starts that the hero was guilty of cowardice under 
 fire. He is called upon to explain his position during 
 the action, which he is unable to do without betray¬ 
 ing the fact that he, himself, sent the saving message 
 and gave credit to another. He finds himself doubted 
 by all, except the girl, who comes loyally to his de¬ 
 fense, A court martial is ordered and disgrace im¬ 
 pends, when by a series of clever deductions, the 
 truth is brought home to the commanding officer, 
 ^ The story becomes a department secret and the usual 
 happy ending follows. Cast: Eight men, doubles 
 nicely to six, and three women. Any number of supers 
 may be used in second act if desired. Not a bad part 
 in the piece, leads, heavy, characters comedy, all ex- 
 ■ cellent. Scenery: Two pretty interiors and tropical 
 drop, with fortifications. (2046) 
 
The Professors Predicament. — An exceedingly 
 clever play built on the broad comedy lines of “The Priv¬ 
 ate Secretary,” “The Gilden Fool,” etc. A success with 
 all classes'of audiences. Available for both professional 
 and amateur production. The professor is a great part 
 for an eccentric comedian full of laughable dialogue aqgi 
 situations, with here and there a dash of the heroics. 
 Pansy is a dainty Ingenue role while Alice, Maude, Con¬ 
 stance and Ella are boistrous school girls of the soubretle 
 order. Dick and Tom are capital light comedy parts and 
 Staples and Featherstone offer excellent opportunities f^r 
 good character work. Other parts all good. Piece may 
 be played with eight men and eight women. Scenery may 
 be elaborate or simple without detriment to play. Cos¬ 
 tumes, modern summer dressing. This piece is especial¬ 
 ly well adapted for college and society production. 
 
 College Chums. Do not confound this entirely new play 
 with the cut-down version of “Pals,” produced under 
 the same title. This present offering is stronger in 
 every quality. Its story is infinitely more intense, 
 its action more compact, its interest more cumula¬ 
 tive, its incident more abundant, its comedy richer 
 in possibilities, its climaxes and curtains more 
 thrilling. The action begins at Yale University and 
 the characters, each admirable in opportunities, are 
 carried through four acts of engrossing intererest, 
 finishing in Northern Idaho. The leading parts both 
 male and female, are of more than common distinc¬ 
 tion—the heavies among the best of their kind. A 
 character juvenile of super-excellence, the best yet 
 of “palmy day legits;” a character woman that is & 
 scream; a Western sheriff and a college professor, 
 both fat comedy parts. The cast includes six male*, 
 (doubles five) and three females. Scenic effects sim¬ 
 ple. Can be elaborated. The fight in the last act, a 
 special feature, comes as a fitting climax to a nat¬ 
 ural sequence of exciting events, and is not draggy* ' 
 into the play. (1904) 
 
Our Alma Mater. The latest and the best of all plays 
 dealing with college life. It is clean, wholesome, and 
 abounds in vital qualities, while brim full of healthy 
 comedy. It has a vein of serious interest and points 
 an obvious moral. It is instinct with human nature; 
 ^ the American student is photographed with absolute 
 fidelity; his struggles, his trials, his rivalries and his 
 associations in the microcosm of college, are shown 
 -v in a series of truthful and interesting stage pictures. 
 
 In building this play a ripened experience in dra- 
 ^ matic construction is joined with a love for the high¬ 
 er ideals and nobler aims which distinguish the 
 American student from ail others. Our Alma Mater 
 has its scene in an imaginary Western university. It 
 is equally adapted for the use of professional dra¬ 
 matic companies, and college organizations. Its 
 scenic requirements are simple—can be elaborated if 
 desired. It admits of the introduction of musical 
 numbers, marches and other embellishments. There 
 are twelve principal parts—seven male,, five female, 
 and as many auxiliaries as desired. Our Alma Mater 
 will alwoys be remembered. 
 
 A College Oirl Out West, A breezy Western comedy drama 
 played with five men and twelve girls. It can be 
 produced either as a straight comedy drama, or by 
 the introduction of musical numbers, as excellent 
 musical comedy. Every character is a speaking part 
 and has a place in the telling of a consistent story, 
 which makes it an admirable play for schools and 
 colleges. The dressing is elegant and picturesque, 
 as there is a pleasing mixture of the fashionable 
 Eastern society with the typical Western costume. 
 A The male characters are, romantic lead, with singing 
 voice if possible, eccentric old man, genteel heavy 
 and juveliles. Female characters are breezy East¬ 
 ern girl who goes West, society woman, commedi- 
 ^ enne, great character part, and other ranch and 
 college girls. As many supernumaries may be used 
 as desired for striking ensembles. (1311) 
 
The Order of The Yellow Robe. A clean comedy of mas¬ 
 terly construction, abounding in incident and mirth 
 provoking episode, rapid in action and cumulative 
 in interest. The characters, all male, are excellent 
 and easily portrayed. The theme deals with the 
 efforts of a well meaning pork packer to get into so-^ 
 ciety, and who stumbles on a confederate, an inno¬ 
 cent barber, who is identified with a Yogi from India, 
 and obliged to assume the character of a Mahatma 
 skilled in Veda lore. The follies, fads and foibles of 
 of the ‘"cult” receive a good natured slap in the^ deT 
 velopment of this charming play, in which nothing 
 whatsoever offends. There are ten roles, each of im¬ 
 portance. Auxiliaries may be used or omitted as 
 desired. There is but one set, a simple drawing room. 
 The costumes are modern, “The Yellow Robe” has 
 no peer in plays requiring an all male cast. (1887) 
 
 The Girls of Pallas. An original comedy drama in which 
 the characters are all feminine. It is a college play 
 of the higher class, and'tells a story of unflagging in¬ 
 terest. Its scenes are laid in the imaginary Pallas 
 University, and the American girl student is shown 
 with photographic fidelity. The play is vital, healthy 
 and human: its plot is probable, consistent with a 
 defined desire of development and elevation. There 
 is an abundance of sparkling comedy, and nothing to 
 offend the most fastidious. In the progress of “The 
 Girls of Pallas,” is shown a play within a play—viz: 
 a rehearsal for a lawn peformance of Shakespeare’s 
 “As You Like It.” An admirable opportunity for 
 the display of elocutionary talent and the introduc¬ 
 tion of musical selections, which can be omitted if 
 desired, including incidentally the glees of Sir HeniiX 
 Bishop, and the gems of Mendelsohn from “Midsum¬ 
 mer Night’s Dream.” There are nineteen speaking 
 parts and auxiliaries and choruses ad lib. The 
 scenic effects are simple—can be elaborated if de^ 
 ired. This play is a dignified offering, worthy and 
 sure to please. U889) 
 
The Charity Girl. One of the prettiest school plays ever 
 written. May be given as either musical, or straight 
 comedy. Mary Fabian, a charity scholar at Rock hill 
 school, while beloved by the pupils, is treated with 
 great severity by Miss Cayenne, the botany teacher, 
 
 ^ ^ and Professor Craven, who finally have her expelled 
 on a false charge, Mary, who is discovered to be 
 the missing heiress to a great fortune, finally dis- 
 proves the charge and returns in triumph. Two pret- 
 ^ ty love incidents provide a necessary sentiment to 
 offset the predominating comedy. Characters are all 
 good. Mary and Carmen, her particular chum, are 
 excellent ingenues. The two tramps, the Senator 
 and the Judge, are capital character parts. The 
 heroes are all that heroes should be, and Miss Cay¬ 
 enne and the sneaking Professor, are fine heavies. 
 The giggling girl, lazy girl and the dunce are all good 
 short soubrette roles. Especially available for 
 girls’ schools. Cast, eight men, eight women, and as 
 many chorus as desired. Scenery is simple. A light 
 wood, a plain interior and a garden. (2247) 
 
 The Perplexities of Peter. A musical comedy in 3 acts; 
 Mrs. Barbara Flirtington, a giddy young widow of 
 fifty, with a more or less grown up family, whom she 
 jocoselv refers to as “the chicks,” while summering 
 in the Catskills, meets one Peter Perkins, a guileless 
 youth of thirty, who falls a victim to her mature 
 charms. The “chicks” object to their mother’s mat¬ 
 rimonial aspirations, and proceed to make Peter’s 
 visit a decidedly lively one. Then they suddenly dis¬ 
 cover that they will share in their late father s 
 property if their giddy mamma marries again, and 
 decide in favor of the wedding. Peter, however, dis¬ 
 illusioned by the “chicks’ ” playful methods, de¬ 
 clines. A breach of promise suit and various threats 
 of bodily injury, bring poor Peter to the verge of 
 despair, when he is cleverly rescued by a chum, who 
 loves one of the “ehicks,” and an impecunious Ger¬ 
 man Professor who desires the widow. The synopsis 
 gives but a faint idea of the immense comedy possi- 
 bilities of the play. Cast, seven men, seven women, 
 chorus if desired. C2248) 
 
Amateur Minstrels 
 
 We can supply six different Minstrel Programs, com¬ 
 plete in every detail, each containing all gags, songs, dej 
 scription of acts, and, in fact, everything connected with" 
 the entertainment from start to finish. These programs 
 have been used by leading professional organizations car 3 
 rying performers specially engaged for each number of th 
 bill. It is not always possible to find available talent in 
 an amateur company to present some of the features, such 
 as acrobatic acts, feats of legerdemain, etc. Where this 
 difficulty arises we are prepared to furnish material to 
 take the place of that portion of the entertainment, and 
 call special attention to the “Gag Book,” “Georgia Min¬ 
 strels,” and Negro Farces, fully described on other pages of 
 this catalogue. With these, in addition to one of the Min¬ 
 strel Programs, an entertainment can be arranged that 
 will suit any style of talent, and in them will be found ma¬ 
 terial for several other performances, by simply getting 
 another of the'Minstrel Programs. 
 
 WE HAVE ALSO TWO 
 Female Minstrel Programs 
 
 That have been arranged for Amateur Female Minstrel 
 Organizations. They are particularly adapted for High 
 Class, Social or Church Entertainments. 
 
 Price of Minstrel Programs, - - - $2.00 Each* 
 
 “ “Georgia Minstrels,” - - • 2.00 “ 
 
 “ “Gag Book,” .... 2.00 “ 
 
 “ Negro Farces,.1.00 “ * 
 
 By sending cash with order any two of the Negro Fai&. 
 ces, or any one of the publications mentioned above, will 
 be mailed, post paid. Should the purchaser wish to make 
 a selection, on receipt of $2.00 we will ship C. O. D.,* with 
 privilege of examination, selections from our black face 
 publications to the amount of $8.00, and allow a credit of 
 $2.00, less express charges, on whatever the consignee may 
 wish to retain. v 
 
LATE ADDITIONS 
 
 To Our List of 
 
 BLACKFACE SKETCHES 
 
 > PRICE *2,00 EACH 
 
 Luiu. One of the best of the old time blackface sketches, 
 Splendid negro part. Good old man, juvenile man 
 and woman. Two scenes, dark wood in one and in¬ 
 terior. Plays about twelve minutes, This act never 
 fails to ‘get over’ in splendid shape. 
 
 An Exchange of Compliments, Quick fire sketch for two 
 blackface comedians. Clever, up-to-date, a laugh in 
 every line. Capital introduction for singing or dan¬ 
 cing specialty. Scene, street in one. Plays about 
 ten minutes. 
 
 Stranded, Screaming blackface sketch for two men. Un- V 
 usually good part for low comedian. Two minstrels, 
 the sole survivors of a troupe, while wending their 
 way on foot, back to civilization, camp for the night 
 in an old country graveyard, where many and varied 
 are the mysterious things that happen. Scene, dark 
 wood. Plays about fifteen minutes. 
 
 He Wooedi Then He Wouldn’t. Blackface sketch for three 
 men, one to play wench. A brilliantly written satire 
 on what may happen when women get the vote. A 
 colored Adonis, after vigorously wooing a dusky 
 Juliet, suddenly decides not to marry; The maiden, 
 Jk however, who has been following the trend of the 
 suffrage movement for advancement, decides other¬ 
 wise. She drags the would b© delinquent to the 
 church, and. aided by the powerful eloquence of the 
 parson, convinces the lover that his personal safe¬ 
 ty lies only in matrimony. One of the surest of sure 
 hits. Scene, country landscape, W’ith set church. 
 Plays about twelve minutes. 
 
List of Negro Farces 
 
 All Acts in this List One Dollar Each 
 
 This list embraces a number of one-act farces, in which tty 
 eading comedy part is played in black face. They were the 
 property of the famous negro comedian, Mr. Cool Burgess, 
 and have been played by him in the leading vaudeville the*r 
 tres and with all the leading minstrel organizations dur iv 
 the past fifteen years. They have never been published arci 
 are now the exclusive property of the Chicago Manuscript 
 Company. They are replete with ludicrous situations, 
 -right dialogue and strong comedy climaxes. There is noth- 
 ng of a suggestive nature in them, and ihey will please the 
 most refined audiences. They are especially adapted for 
 use in minstrel or vaudeville entertainments, for opening 
 or closing he performance. Time of representation from 
 15 to 25 minutes. 
 
 Necromancer, The. 2 men; black and white face. Time 
 of representation 15 minutes. 
 
 Three For Yes, Oiie^For No! 3 men. Time of represen¬ 
 tation 20 minutes. 
 
 Four Dollars a Week. 2 men. Time of representation 
 15 minutes. 
 
 the Rehearsal. 3 men. Time of representation 20 min* 
 
 ntes. 
 
 Doctor’s Shop. 3 men. Time of representation 15 min. 
 utes. 
 
 How D’ye Dike the Place. 2 men and 2 ladies. Time 
 of representation 25 minutes. 
 
 The Sleep Walker. 3 men and 1 lady. Time of represent 
 tation 25 minutes. 
 
 A Trip to Paris. 4 men and 1 lady. Time of representa¬ 
 tion 20 minutes. 
 
 The Obliging Servant. 3 men. Time of representation*^ 
 15 minutes. 
 
 >lr. and Mrs. Brown. 2 men and 1 lady. Time of repie 
 mentation 20 minute®. 
 
Musical Entertainments 
 
 Wo have three Musical Reviews which are of the nature 
 «£the entertainments given at the Weber & Fields Music 
 Hall. Each is divided into three parts, the first consisting 
 of a comedietta or short extravaganza, introducing popular 
 tffusical selections, male and female choruses, comedy sit 
 ^prions, bright, sparkling dialogue and novel features in 
 ensembles, etc. Each of these playlets is complete in itself 
 and concludes with a chorus from one of the late musical 
 comedies. 
 
 The second part consists of an olio the character of 
 which depends upon the nature of the available talent. 
 
 The third division of the performance is adapted from 
 one of the standard light operas, each being arranged with 
 a view of simplifying the production and still retaining 
 the gems of the vocal numbers, the sparkle of the dialogue 
 and brightest of the mirth-provoking situations. 
 
 The stage directions are so clearly given that experience 
 in stage-craft is not necessary for successful production. 
 The music is all within the scope of any company of good 
 singers and does not require operatic training for itj 
 rendition. 
 
 THE PRICE OF THESE REVIEWS IS $5.00 EACH, 
 
Musical Entertainment No, 1 
 
 NUMBER ONE CONTAINS: 
 
 PART ONE. 
 
 The Debutante’s Lawn Party. —A musical burlesque. 
 Plays one hour. This clever burlesque possesses all 
 essential features of success, catchy music, bright dia 
 logue and the novel “Scarf dance.” Costumes to suit 
 the occasion. Scenery easily arranged. Cast: fivema&s 
 and two females. Chorus, male and female. ^ 
 
 PART TWO. 
 
 A Female Stump Speech.—An up-to-date theme for a 
 strong-minded woman. Plays twelve minutes. 
 
 PART THREE. 
 
 The Village Belle.—A snappy comical farce. Plays forty 
 minutes. A sure laugh winner. Costumes modern. A 
 kitchen scene. Cast: two males and one female. 
 
 PART FOUR. 
 
 The Mash I Made.—A burlesque on Andreas’ comic opera, 
 “La Mascotte.” Plays one hour. This burlesque is 
 fresh, cnsp and original, sprinkled with music from 
 “La Mascotte.” Costume play. Scenery not difficult. 
 Cast: six males and two females. Choruses, male and 
 female. 
 
 Musical Entertainment No. 2 
 
 NUMBER TWO CONTAINS. 
 
 PART ONE. 
 
 God of Love.—A semi-classical and picturesque burlesque 
 written in blank verse. Playsonehour. Though pitch*! 
 in low tones the action is pervaded with musical num¬ 
 bers, marches and a vein of quiet humor. The general 
 ensemble is very effective. Costumes varied. Scenery 
 simple. Cast: four males and five females. Choruses, 
 male and female. 
 
 PART TWO. 
 
 Reckless Rube.— A monologue A humorous story of a 
 
 “rube’s” experience. 
 
PART THREE. 
 
 The Queen of Bohemia.— A musical burletta, Plays one 
 hour. This particular bright and amusing comedy 
 abounds in cheerful, humorous dialogue, tuneful songs, 
 catchy music and dances. Every character is good and 
 h affords abundant opportunity for effective work. Cos¬ 
 tumes modern or fantastic. Scenery easily arranged. 
 Casts six males and one female. Choruses of villagers, 
 4Lmale and female. 
 
 Musical Entertainment Noo 3 
 
 NUMBER THREE CONTAINS: 
 
 PART ONE. 
 
 Navajo.—A picturesque musical burlesque. Plays one 
 hour. This is a new and original burletta. It is an In¬ 
 dian fantasy introducing the poetical character, “Hia¬ 
 watha.There is a field for the presentation of pic¬ 
 turesque groupings, Indian dances and characteristic 
 music. The comedy element is very funny. Costumes 
 modern and Indian. Scenery simple. Cast: three males 
 and two females. Choruses of Indian squaws, chiefs 
 / and papooses. 
 
 PART TWO. 
 
 You’ll Find Me.—A farcical comedy. Plays twenty min¬ 
 utes. This is a most unique little play. The servaht 
 characterization is very comical. Costumes modern. 
 Scenery simple in arrangement. Cast: three males and 
 one female. 
 
 PART THREE. 
 
 at Interlude.—A comic quartette. 
 
 PART FOUR. 
 
 T£e Yachting: Party.—A musical burlesque. Plays one 
 ^Q>our. The action takes place on board a yacht. This 
 ^^burletta is founded upon presumably nautical mate- 
 ! rial, highly exaggerated incidents and language, with 
 • the introduction of airs from popular comic operas, 
 satilor dances, choruses, etc. Costumes yachting, sail¬ 
 ors. Scenery, a yacht, easily arranged. Cast: six males 
 1 and two females. Choruses, sailors, charity girls, etc. 
 
OUR CATALOGUE OF ' ] 
 
 Copyrighted Plays 
 
 All of which are tried out successes, including Dramas^ 
 Comedies, Farces, Melodramas and Musical Comedies, 
 This list is complete and includes the latest additions^. 
 
 OTJR LIST OF 
 
 Copyrighted Musical Comedies 
 
 We Have Over Fifty of these, all especially 
 adapted to the needs of small musical shows. (Cast, 
 five or six people.) 
 
 OUR LIST OF 
 
 Copyrighted Dramatic Tabloids 
 
 We have Over One Hundred of these, all 
 
 of which are our own copyrighted property. They 
 comprise the best in comedy, drama and farce comedy. 
 
 Any of these Lists Sent Free on Application, 
 
 THE CHICAGO MANUSCRIPT CO. ‘ 
 
 431 N. CALRK ST. 
 
 CHICAGO, 1LI