CORNELL UNIVERSITY LIBRARY THE ANNA S. GURLEY MEMORIAL BOOK FUND FOR THE PURCHASE OF BOOKS IN THE FIELD OF THE DRAMA THE GIFT OF William F. E. Gurley CLASS OF 1877 1935 Cornell University Library PN 3155.F39 Producina amateur entertainments 3 1924 027 189 871 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027189871 PRODUCING AMATEUR ENTERTAINMENTS BY THE SAME AUTHOR GIRLS' CLUBS Their Organization and Management With an Introduction by JANE DEBTEE RIPPIN " There is nothing important about girls' clubs that is left unsaid here." — The Edtwational Times. "No club manager should be without this sensible and practical guide." — Argonaid. "A comprehensive study." — The Evening Mail. E. P. DUTTON & COMPANY ' ' Petkouciika* ' A Paiitominir Ballet at Thu Noighburhood Playlii.usi-, Xew York Cily PRODUCING AMATEUR ENTERTAINMENTS Varied Stunts and Other Numbers with Program Plans and Directions BY HELEN FERRIS AVTHOB OF "G?BLS' CuUBb" NEW YORK E. p. DUTTON & COMPANY 681 Fifth Avenub 3- Copyright, 1921 By E. P. DUTTON & COMPANY A.U rights reserved Printed in ths United States of America TO FRANCES WESTON MORSE AUD MARY HEYWOOD TOLMAN BECALLINO THE VICISSITUDES OP BEHEARSAL THE CBIBEB BEHIND THE SCENES AND ALL THE BLITHESOME MOMENTS OF OCB OWN DRAMATIC FBOLICS PREFACE The ideas here presented have been collected primarily for lighter moments, in response to a demand often expressed by individuals and organizations interested in Amateur Dramatics; for in these, as in all human activity, lighter mo- ments have their place. They are not a substi- tute for serious and sustained dramatic endeavor : rather are they a supplement to that endeavor, for evenings of frolic when good spirits reign supreme. Programs, of the types described in this book, may be definitely and constructively useful as training for other dramatic work. A "take-off stunt," cleverly executed, is essentially character portrayal. The popular song-and-dance number can convey to its performers a sense of rhythm, of stage action, of color-combination. Topical songs can reveal the intimate connection between the musical theme, the words, and the singer's own interpretation. Any pantomime, however informal, must contain pantomime essentials in order to be intelligible to the audience. Experi- vii viii PREFACE ence in directing, in planning costumes, and in other phases of production, even for an informal performance, is valuable in proportion as these are typical of more artistic and ambitious effort. In short, this book is sent forth in the hope that it will help "to perform better those desirable ac- tivities that are likely to be performed anyway" and* "to reveal higher types of activity, making these latter both desirable and possible," as Pro- fessor Thomas Briggs of Teachers College, Co- lumbia University, has so happUy phrased it. "This is a plea for gladness, with a touch of sprightliness and beauty." An appreciable amount of the material is not original with the author-collector. The gathering of it has been gradually accomplished through the play-times of years, by listening to the echoes of laughter and merry songs, in colleges, in summer camps. Club parties, and professional entertain- ments. It has not been possible to trace each idea to its source and directly to acknowledge the indebtedness, so inseparably part of our tradition of good times has it all become. The executives of the Boy Scouts, Camp Fire Girls, Catholic organizations. Community Serv- ice, Drama League, Girl Scouts, Jewish organiza- tions, National League of Girls' Clubs, Girl He- PREFACE ix serves, Y. W. C. A., Y. M. C. A., Playground and Eecreation Association, and Woodcraft League have been most cordial and generous in sharing the material of their own resources. So, in the truest sense, this book is not the work of one person but of many. To those whose love of fun and joyous laughter conceived these good times is extended siacerest gratitude. And espe- cially do I thank Mr. and Mrs. Arthur Burckly of the professional stage; Professor Elbert K. Fretwell of Teachers College, Columbia Uni- versity; Ernestine Friedmann, formerly Alta- mont Camp director, Y. W. C. A.; Mrs. Austin Latting Hobbs of Community Service ; Mrs. Flor- ence M. StoweU of the John Wanamaker Store, New York ; Mr. Clarence Perry and Mr. and Mrs. E. G. Boutzahn of the Eussell Sage Foundation; Mrs. Elizabeth C. Moore, my editor; my sister, Myrtle Grimm Ferris; and my parents, Mr. and Mrs. Elmer E. Ferris — ^many of whose sugges- tions are to be found in these pages. Helen Feeeis. New York City, January, 1921 CONTENTS CHAPTER I Planning the Program PAGB Scope of the book — The enteetainment pbooram — Questions TO ASK SeLECTINO THE DATE RaNGE OP POSSIBLE DITMBEBB How TO ABRAN6B THE PBOQBAM TaKINQ STOCK OP TIME A TYPICAL PBOQBAM iNTEBLtTDES OP DANCE AND OBAMA ThE DiBEcnNQ — The cbbativb touch 1 CHAPTER II stage stunts for One Person How to ubb stunts — Takb-opps — ^Piano stunts — Dashtno DBAMATICS CaBTOONIST STUNT StUNT PANTOMtMEB 13 CHAPTER III Stage Stunts for Groups A JiAoiciAN — Mandolin mtstebt — ^Fhats op pbowbss and skill— Dbill takb-opps — Pbbpoeminq animals — Talkt-talk — Stage chatteb dialogues— Melodbama — Movie takb-opp — Gldipsbs op school life — ^Pantomqibs — ^Tableaux 30 CHAPTER IV Musical Numbers The obohebtba — Inpobmal obchestha — ^Rasob op musioal STAGE NUMBBBS — StAOB SBTTINO FOB SOLO NUMBEBS — UsB OP POPULAB SONGS — GeOUPINQ OP PEEPOEMEES — StAGE ACTION — SUMMBB-TIMB AND SPOBTS NUMBBBS — FlOWBB NUMBBES — OlD- PASHIONBD DBBBS NUMBBBS — In BVBNINQ DBBSS — Op COUNTET LIFE — Echoes op othbb lands — Op the V. S. A. — Childebn's Fboucs — Novelties — Combination numbees 69 xi xii CONTENTS vAam CHAPTER V Song Specialties Topical songs — Sttgqestions fob tuues and obioinal woeds — Motion bongs — Commuhitt sings — A melodrama sing — ^A MUSICAL VOTAQB ^TaBLEATJX- WITH SONGS PanTOMIMBS Balcony scenes — Effective finalbs 90 CHAPTER VI The Minstrel Show Idea What it is — Its advantages — ^Fagtoes in its success — Used as A single numbee — Used as an evening's pbogeam — Re- maksals — Effective ideas foe twentt-two kinds 114 CHAPTER VII Single Ideas That Unify a Program To unite the entibe peoqram with one idea — ^An outinq at an amusement pakk — ^Ak nroooB block pabtt — A countt faib — A "Pop" concekt — The newspapeb idea — A feast of fun and feolic — Booking fob vaudeville — A babt show — ^Pic TUHESQUE ideas — AnNOUNCINQ THE PEOGBAM CONNECTING THE PEOGBAM WITH AN INFOEMAL PLOT 126 CHAPTER VIII Featuring Organization Activities: In Plays, Symbolic Ntunbers, Demonstrations, Lantern Slide Numbers Methods of peesentation — Making the point cleab — Sbobt PLATS WeITING OEIGINAL PLATS IdeAS FOE PLOTS StM- BOLic numbees feom Girl Rbseevbs, Camp Ftbb, Wood- CEAFT League — Bot Scout demonsteations — Lantebn SLIDE numbees — Monologues — Dialogues — Peesentation of gifts 149 CONTENTS xiii CHAPTER IX Featuring Organization Activities: In Tableaux, Pantomimes, and Stimts Tableaux — National League of Giels' Clubs numbeb — ^A GiBL Scout numbeb — ^A pantomimb of glass wobe — ^Wooj> CBAFT League movies — Aj A "Pep Expert" Livens up an Audience. "He put the Pep in Pepper." Upon seeing him, one realizes his abounding optimism. His smile is most evident, perpetual, and insistent. He starts, "My friends, you CAN. Ton may not think you CAN. But you CAN. Start each day saying, *I CAN'!" Material for this speech may be gathered from "Success" books and advertise- ments. Any local Librarian wiU quickly grasp the possibilities of this number and wiU suggest books. Make all the Expert's remarks very ob- vious, and let him deliver them with an air of complacent profundity. "Her First Piece." Mother's darling little girl plays her "First Piece" at a Eecital. Select music that is very evidently a First Piece. Mother's daughter plays perfectly — that is, she "gets in" all the notes, including a resounding bass, but the whole is absolutely devoid of any expression. She may break down and cry, if desired, comforted at last by a long stick of pep- permint candy. A boy could do this as weU. A variation may be worked out in "practising." A boy or girl comes in with an alarm clock. He is The Jolly Jj':ster Of the Child HeaHli Or^-ani/.ation of America The Quaker Bride's Trol-sseau An Episode in "The Spirit of Womanhood," I'hiladelpliia Community Service STAGE STUNTS FOR ONE PERSON 17 to practise for fifteen minutes Much hinders im- mediate practising: he has to arrange the stool, wash the keys, find lost music, etc. "Mother's" voice is frequently heard, urging concentration. The amount of actual practising done is small. "Maria Hayseed Visits New York" (or any other town). Your own home town may be used as the object of "Maria's" visit and interest. This setting gives an excellent opportunity for local jokes. A "Town Guide" may be with her, to point out objects of interest. "Our Telephone Operator Whiles Away Dreary Hours!" A Telephone operator sits at a switchboard. She chews gmn and talks to her friends over the telephone. These friends may be either men or women. She is reading a book on "The Meaning of Dreams and Signs" and is greatly impressed! Excellent material for this number is found in Beatrice Herford's "Mono- logues" (Scribner). See also "Line's Busy" by Albert E. Ullman (Stokes). ' A Community Song-Leader. The well-known character "Powerful Katrinka" is good for this. Sleeves rolled up, a rolling pin in hand, she means business. She reads a letter from General H. Quarters to the effect that whenever she led the singing in the front-line trench, the Germans ran 18 PRODUCING AMATEUR ENTERTAINMENTS the other way. She sets to work, systematically. She divides her audience into melting sopranos, basso profundos, dramatic altos, and sqneaky tenors. Great confusion. Discords. She labors. Katrinka's audience may be on the stage, or she may work with the real audience. "Miss Swat-the-Fly: An ardent Reformer." She is well equipped with pamphlets, fly-swatters, a soap box, and large signs reading "Swat the Fly. ' ' She places the soap box in a strategic posi- tion, ascends, sees a fly, jumps down, swats the fly, re-ascends and speaks, with much expression : Are you staying home to cook? Swat the Fly! Are you reading in a book? Swat the Fly! Do not let him buzz around — When you see him, up and pound, Wherever he is found Swat the Fly! Are you at a Picture Show? Swat the Fly! Even when you calling go Swat the Fly! Swat him on the lady's hat — Spoil the hat?— Don't think of that! Wherever he is at Swat the Fly! STAGE STUNTS FOR ONE PERSON 19 "Hermione." Use "Hermione and Her Little Group of Serious Thinkers" by Don Marquis (Appleton). If there is any local Woman's Club or "Discussion Group" make Hermione a mem- ber of that. She discusses matters of large and immediate importance in a learned but perfectly idiotic manner. "A Student of Nature." He may be a Bug- Man, a Butterfly-Chaser, or a Bird-Man. If a Bird-Man, he may look through his field glasses at the audience and see many kinds of birds before him — a jay; a humming-bird ("you ought to hear him hum, *0h, how I hate to get up in the morn- ing!' "), a thrasher ("If you don't believe it, ask his little boy"), etc. There are many Nature Verses (very inform- ing) to be recited: "What a queer funny little bird a frog are — When he walk he hop most — When he sit he squat most — He ain't got no tail at aU hardly most." Excellent sources for further verse of this type are to be found in "A Nonsense Anthology" by Carqlyn Wells (Scribner's), and in Oliver Her- ford's "A Child's Primer of Natural History" and "More Animals" (Scribner's). 20 PRODUCING AMATEUR ENTERTAINMENTS "The Colyumist," The curtain rises upon a newspaper "Column Conductor" at his type- writer. He has a towel wound about his head. A clock points to midnight. As he writes, he solilo- quizes about his readers and the town, and at last he reads what he has written. Any locally pop- ular "Column" may be used as the basis of this. "Household Hints by Aunt Matilda" may be a humorous variation. Curtain rises on a dis- tracted man (who may have other men about him). He is "Aunt Matilda." He reads aloud many queries from readers — about housekeeping, caring for the baby, and Lovelorn Searchings. He prepares replies. "Stealthy Steve the Sleuth." A dectective in action, who sees marvelous clues in what is per- fectly obvious to all, such as, "A man has been in this room. I deduce that from seeing his hat," etc. "Betsy Speaks a Piece for the Caller." Have a child speak a tongue-twister. The child may become confused, or he may not. Either event wOl delight an audience. The following is ex- cellent (origin unknown) : John Nott's Knitter John Nott could not knit so he invented a machine which could knit and which he called STAGE STUNTS FOR ONE PERSON 21 the ' ' Nott Knitter. ' ' But the ' ' Nott Knitter ' ' could not knot knots, so Nott invented an attachment for the "Nott Knitter" which could knot knots and which he called the "Nott Knotter," and when the "Nott Knot- ter" was attached to the "Nott Knitter," not a knitter could knot knots such as the knots Nott knit with the "Nott KJiotter" for the "Nott Knitter." Then Nott fell in love with a knitter who knit knots with the "Nott Knotter" for the "Nott Knitter." Nott asked her not to knit knots any longer but to become a Nott forever, but the knitter said, "Nit." "Tony." An Italian, who may have a barrel- organ and a monkey. He tells Italian stories. He may speak a selection from T. A. Daly's "Can- zoni" or "MacAroni Ballads" (David McKay). "Selina Sue Sees the Show." This is a panto- mime showing the various sensations of a coun- try girl visiting a city theater for the first time. One does not see the play itself, but from her actions and facial expressions one gathers a clear idea of what is happening on the stage. Enter Selina Sue, sitting center stage, facing the audience. First, she is represented as looking around the theater, amazed at the people she sees entering. The curtain rises. At what she observes upon the stage, she is overcome by embarrass- 22 PRODUCING AMATEUR ENTERTAINMENTS ment; but presently, after a few fleeting and reluctant glances, she becomes more and more fascinated. She edges to the front of her seat. At last, in her eagerness, she falls off. As a "sad part" is presented, she weeps, then sobs. How- ever, as the love-scene develops, she is cheered, and, putting her finger in her mouth, she herself becomes very coy I At last, as aU ends happily, Selina Sue heaves a sigh of relief. Some preliminary announcement should be made. "In this mnnber, you will see Selina Sue from the country attending the theater for the first time in her life. Before your eyes, she will register her emotions for you. "We will leave you to guess the action of the play I" Getting Ready for the Party. A young girl goes through the motions of getting ready for a party. She is most particular! She is also annoyed by her mother's repeated pleas for haste (Mother is offstage). Also, the door-beU rings before she is quite ready, and she knows that her escort has arrived. Whereupon there is a great hurry and flurry. The success of this stunt will depend upon a careful working out of small details, such as dressing the hair. A group of girls might plan the pantomime. STAGE STUNTS FOR ONE PERSON 23 THREE PIANO STUNTS "Musical Lectures" are very funny. The pianist announces that he will play a selection in which "every little motif has a meaning all its own." He then teUs a story, every point of which the piano theme Ulustrates. Sands in the Desert (or "The Desert Sym- phony"). For this procure, if possible, an elderly piano whose pedals squeak loudly — the climax depends on this point. Before playing each group of notes (theme) announce its title, as follows : A Desert. Here the simple chord of A minor, both hands. Two Trees. First a single A, up in the treble, then another in the bass. A Running Brook. (Very unusual in a desert, but then, this is an unusual symphony!) Eight hand runs the first five tones of the A minor scale, and down again to A — two or three times. A Star. Very high E, played once. Enter a Roaring Lion. Extremely grumbling notes down low in the bass. In the A-minor key, but mussy, both hands. 24 PRODUCING AMATEUR ENTERTAINMENTS Enter a Gay and Tripping Gazelle. Ex- tremely delicate notes in the treble, A minor, mussy but tripping. Lion sees Gazelle. Grumbling notes in the bass, perhaps A, C, E, A, and down on the same — ^both hands. Gazelle sees Lion. Agitated treble notes, about the same. Pause, sad and impressive. Crunching of Bones. Play nothing — ^just work the pedals up and down as grindingly as possible. Pause. A Desert. Same as at first. A Star. Same. Two Trees. Same. Musical Hungarian Goulash. This uses two pianists (one piano or two) and some singers, in at least two parts, and consists of two well-known song or piano pieces of utterly different character played at the same time, but in the same key and tempo and harmonizing well. An example is Ethelbert Nevin's "Narcissus" played in the treble, against the old song "Daddy Wouldn't Buy Me a Bow- Wow, Bow- Wow," which go to- gether quite charmingly. The idea is to fit words STAGE STUNTS FOR ONE PERSON 25 of local significance to each tune, and have them sung as the music is played. It takes careful rehearsal, but is effective if accurately and evenly done. It is a stunt well enough known in most communities so that you can count on finding per- sons who know other pairs of musical numbers that go together. "Professor Bangthekeyski." The Professor is most professional. He is very particular about the height of the piano stool, the pedals, which he oUs, etc. He explains that he has written a Piano Romance. His original composition is entitled: "Love's Young Dream; or. You Never Can Tell About Father," Various motifs should be worked out upon the piano, such as a single high note to represent a star; the birds — ^high notes trilled; Ethelwyn — a light, airy scale, run up and down; Percy — a deep note or two; Father — still deeper, etc. The Professor tells the following story, playing each motif as its cue is introduced : It is a lovely evening and a single star is out. Ethelwyn is at the window, listening to the twittering birds and looking at the single star. Her heart is beating rapidly. And Percy — ah, Percy, is coming. She looks from the window and giggles. Percy is in sight. He breaks into a run as he approaches the 26 PRODUCING AMATEUR ENTERTAINMENTS house. He does not see the single star. Nor hear the twittering birds. He is looking at Ethelwyn. His manly voice is heard, calling. Ethelwyn's silvery laugh is also heard, in reply. He begs her to come down. She giggles. She comes down. They talk to one another there quietly beneath the single star and the twittering birds. Then Father's voice breaks the sUence. It is quite a break. "Who is there?" he thunders. "Perct//' lisps Ethelwyn. "What does Percy do for a living?" roars Father. Father is no longer young. He bothers about money. Silence. Father roars and thunders : then, "TeU Percy to go home." SOence. Ethelwyn's heart beats rapidly. The single star disappears under a cloud. The twitter- ing birds no longer twit. They are afraid. So is Ethelwyn afraid. So, alas, is Percy. Father's manly voice comes nearer — ^nearer — nearer. He uses brute force. Bang! Percy lands outside the gate. He runs down the street. Ethelwyn runs up the stairs. Father grins. The single star comes out once more. The twittering birds also twit. But no one knows what happens to Percy after that. The musical-interpretation idea, which is not new, may still be used with much expansion and variety. Any kind of story can be worked out. Swift action should, however, characterize such a stunt, in order to hold the attention of the audience. STAGE STUNTS FOR ONE PERSON 27 STUNTS FOR A CLEVEE ACTOR Dashing Dramatics. In this, the actor alone plays all the roles, assuming first one part and then another, shifting by a simple costume change and a decided contrast in voice-tone. Enter the actor, carrying a white scarf, a black scarf, a white felt hat, and a tall silk hat. He explains that he himself, alone and unaided, will now enact a drama of true love, bitter jealousy, and heroism. When the white scarf is about his shoulders, he is enacting the role of the Heroine; when the black scarf is used, he is the jealous Sister; the white felt hat, the Hero; the tall silk hat, the Villain. Use any simple and obvious plot. For instance — Scene 1. Hero tells Heroine he loves her. They plan an elopement, that evening. Jeal- ous Sister (who herself loves Hero) over- hears the declaration of love, and vows revenge. Scene 2. Villain comes to call on Heroine. Jealous Sister sees him first. They plot to deceive Heroine. Villain will arrive that evening, disguised as Hero, and will elope with Heroine. They wickedly gloat. Villain hastily leaves. Scene 3. The elope- ment. Villain arrives. Successfully carries off Heroine. Enter Hero, finding jealous 28 PRODUCING AMATEUR ENTERTAINMENTS Sister, who is now disguised as Heroine. He discovers the base deception; dashes in pur- suit of Villain; rescues Heroine (sound of combat, off-stage) ; the two lovers return and magnanimously forgive Sister. Why not? They are so happy! Besides, she promises to do the cooking and wash the dishes, always, always, for penance I The action, "costume changes" and dialogue in this stunt must be carefully planned and re- hearsed. The more smooth and rapid the various changes, the more amusing the number becomes. "Lightning-Change Imitations." A person who is an excellent mimic may give several imita- tions. If he is apt and rapid in making up, he may do this upon the stage, making a few slight shifts in costume to give the desired effect, such as changing hat or coat. Or the actor may use no make-up or costume changes at all, portraying the imitations by means of dialogue, facial expression, and action. Clever imitations of well-known actors and actresses or singers are excellent for this. STUNTS FOB CABTOONISTS OB OTHER AKTISTS A Preposterous Painter: or, A Coolheaded Car- toonist of Considerable Concentration. This num- ber centers about an artist or cartoonist who STAGE STUNTS FOR ONE PERSON 29 actually paints a picture or draws a cartoon before the eyes of the audience. The curtain rises upoti an artist's studio. A large easel is center-stage, with a canvas or a drawing-board upon it. An assistant in a long smock is busy making ready. Enter the artist or cartoonist, who at once starts to work. The orchestra may play during the num- ber. The artist may draw or paint any kind of picture ; or he may select some well-known person from the audience and ask him (or her) to pose for a portrait. Have an understanding concern- ing this before the performance begins, so that the number may not be delayed by refusals. Ask an artist of real ability to appear. One group of girls secured the services of an eminent illustrator for a number. The people selected for "models" were general favorites, and the por- traits were then auctioned off. Prepare a frame made the size of the canvas or paper which is to be used. When the picture is completed, ' the assistant should place this frame about it, thus giving a finished appearance to the whole. A variation of this number may be worked out in which the artist tells a story and illustrates the story as he works. CHAPTER III STAGE STUNTS FOE GROUPS A MAGICIAN — MANDOLIN MYSTEET — ^FBATS OP PBOWESS AND SKILL — ^DBILL TAKE-OFFS — ^PEBFOBMING ANI- MALS — ^TALKY-TALK — STAGE CHATTEB DIALOGUES MELODEAMA — MOVIE TAKB-OFP — GLIMPSES OF SCHOOL LIFE — ^PANTOMIMES — TABLEAXJX. A Magician — ^Mysterious — Marvelous. This stunt is a take-off on the regulation magician-acts SO well known. It should be carried off with all possible "professional" elaborateness. "The Man of Mystery: or, Howcanshe — The Woman of the Spirit World." The curtain rises on a stage, empty save for a chair (or throne) and a magician's small table covered with a black sUk handkerchief. Enter the Manager and Howcan- she. The Manager introduces this wonderful woman, relating the story of her Tour Triumphal around the world. He claims the utmost for this little lady. He explains that she, blindfolded, will guess the identity of objects placed before her so STAGE STUNTS FOR GROUPS SI and will answer mystifying questions. He proves that there is absolutely nothing up Ms sleeves. His hands will remain at the end of his arms dur- ing the entire actl etc. "Everything will be done before the eyes of the audience." He then uncovers his table, asking the audience to concentrate upon the questions, but to speak no word aloud unless requested to do so. He then holds up an onion. "Howcanshe, I am holding before you a popular garden pet. What is it?" (He places the onion beneath her nose.) "An onion." Manager bows. Other objects are then identified (with everything very obAdous). A stick of candy (placed in H.'s mouth). A glass of water (H.'s finger is placed in the water). "Liquid or solid?" Liquid. Manager holds up two fingers. "How many fingers am I holding up?" (He pats H. twice upon the shoulder.) Two. Manager asks any well-known man in the audi- ence to stand, calling him by name. "Who is standing?" Mr. (naming the same name.) An excellent finale requires two small boys or girls who look alike; twins, when available, are splendid. The trick is for H. to have one get under a box, taking her seat upon the box. She 32 PRODUCING AMATEUR ENTERTAESTMENTS pretends to pass the boy through the floor, through some wall, around to the back of the room, then summoning him to come up the aisle. Of course, the boy who walks up the aisle is the second boy, the first being under the box all the time. When Boy 2 has ascended the stage, the Man- ager makes him rflisappear through the wings. The box is then lifted and Boy 1 is revealed. Cur- tain. Have curtain lifted, revealing the Manager, Howcanshe, and the two boys, hand in hand. Much will depend upon the informal talk of the Manager throughout the act. At the outset, he may say, bringing out the first boy, "We have here a live boy, very live, very lively. He has been especially fed up for this occasion, as he is about to go through a very trying ordeal. Howcanshe will place him under this box. Howcanshe will then sit upon the box, and proceed, by leger- demaia, to pass him out through a crack in the floor," etc., etc. The Maddening Mandolin Mystery. How do they do it? Their sMIl defies imitation. Per- formers: Players on a mandolin (or any other string instrument). This stunt is most effective if at least four players are on the stage. Off stage are an equal number of performers (or as many STAGE STUNTS FOR GROUPS 33 more as are desired). Those off stage are the ones who actually do the playing. "These wonderful players on the stage can per- form in all positions, sitting, standing, doing acro- batic feats. To-night they appear before you, unexcelled, at tht top of all Melodious Mandolin Magicians!" Enter the performers. They tune up, elab- orately. They play. Tirst, in the usual manner. Then they put the mandolins behind their backs, imder their chairs, over their heads, etc., playing merrily all the time. (In reality, they are only going through the motions. The off-stage players are furnishing the music.) Climax : the stage per- formers put their mandolins on their chairs and walk away, leaving them behind, still playing! The entire company may then walk out for a rousing encore. This number requires careful rehearsing and also careful placing of the off-stage players so that their playing may actually sound as though it were coming from the stage. Professional Encounters. Athletic encounters adapted to stage presentation are universally popular. The encounter may be between two individuals, as in a Tug of War or a Tub-Tilting Contest (see Bibliog. II, B. 2) ; or it may be be- 34 PRODUCING AMATEUR ENTERTAINMENTS tween two groups, as in a game of Pass Ball (see Woodcraft League Manual for Boys). The exhibi- tion of a gymnasium class on apparatus of all kinds is effective. This may be presented as a group of "Professional Acrobats." Introduce professional touches : having the acrobats call to one another, clap their hands, having a flag waved by the topmost person in a pyramid, etc. Work out orchestral accompaniment, with "shivery" music for the daring feats. Acrobats may be dressed as a "family" of all ages, as for instance, Japanese or Arabs. Jolly Jugglers. These may be of Japanese, Arab, Italian or any other nationality. One may be an excellent juggler (many people have ac- quired facility in this as a "parlor trick"), accom- panied by a would-be juggler. Or the entire num- ber may be a take-off. Oranges, rubber balls that bounce, tin plates, etc., may be the juggled articles. The Juggler should have an assistant who labors with him, pointing proudly to the Juggler's startling exhibition, and catching articles which the Juggler drops, and quickly concealing them. A Dazzling Exhibition of Skill, Concentration, and Rhythm. Three (or more) groups appear on stage, side by side. Each group does a different drill, with different apparatus, to the same music, WMk 'Si ■EIjK'^_ 1 t ^^^^^ S OA C.Vcai 1 1 1.. A Professinnftl Coniljat Every Circus Must Have a Parade I Seen ik a Y. M. C. A. Circus A Feat ov Skill Indeed Seen in a Y. ^I. C. A. Circus ' ! Hhr^>^^h[^I I'JH n ■■:» fmm m i 1 ■p JmSc^* W ivn A GiRi, IjESKKVf: (Y. W. ('. A.) Diai.L. !Sax FrxAXnsco Ev('i-\' iiumhIkI" of a '_'niu|i iiwi\" hr imludi'ij j:\ n faiir\- .Ir I ^•-'' ■•■■ ■- STAGE STUNTS FOR GROUPS 35 as: One group: Indian Club Drill. One group: Hoop Drill. One group: Dumb-bell drill. The effect of this is to give an idea of great skill and complication, whereas each drill may be very simple and easily learned. Electric-club swinging is spectacular. Athletics of Other Days. This is an amusiag number for either young men or young women. For girls especially, the old-fashioned "gym- nasium suits" are very picturesque. Study old photographs of "teams" for the costuming. Ee- member that young men athletes of other days usually wore moustaches. A second part may be added, featuring a similar team of to-day. If desired, at the close, each team may pose for a photograph, in characteristic atti- tudes. Yesterday's team (a baseball team, for example) will be elaborate, in its poses, with many baseball bats and fancy attitudes. To-day's team will be very "manly," upstanding, and muscular! TAKE-OFFS ON FEATS OF SKILL An Endurance Test. Have two very dramatic recitations spoken simultaneously, the speakers standing side by side, gesticulating dramatically. "Curfew must not ring to-night" and "Barbara 36 PRODUCING AMATEUR ENTERTAINMENTS Frietchie" are excellent poems to use. A Referee may introduce the contestants, asking the audi- ence to note their poise, their wonderful lung- power, etc. Talk-fest (from the Woodcraft League Manual for Girls). "The idea is to have two good talkers talk simultaneously for not more than two min- utes. Each selects her own subject. A jury of three persons is appointed. The contest is decided on the basis of the continuity, humor, and general value of the speeches." For this mmiber the jury may sit in state upon the stage. Antonio: The Dare-Devil Trapeze Performer. Antonio's "Trapeze" is a swing, with a broad board upon which Antonio performs. A thick mattress lies under the trapeze, upon which are many pillows, comfortably arranged. Antonio's manager arranges the piUows with greatest care. Antonio does obvious "stunts" on the board. At last, he comes down, gets off, and goes to sleep on the mattress. Curtain. The Speed Kids vs. The Lightning Flashes. A take-off on a basket-ball game. The two teams consist of players who are overcome by fatigue. The teams may be of girls, each having her own French maid. These maids rush out to powder noses, arrange hair, etc., during the game. The STAGE STUNTS FOR GROUPS 37 players walk wearily about, handing the ball to each other very politely — even to their opponents, saying, "Here, YOU take it. What do I want with it?" They frequently call "time out," sink- ing into the easy chairs on the sidelines, where they are revived with difficulty. All players look mournfully at the ball-cage. How are they ever going to throw the ball away up there? Ah, an idea. There is a ladder standing by. They get the ladder and put it up. With much help, a mem- ber climbs the ladder and drops the ball in, going to sleep as she does so. The game is over. The Umpire calls, excitedly, "Send for an ambu- lance!" The Umpire is an important person. Her specialty is "open decisions, openly arrived at." "Did you mean to throw the ball to Sally or to Jenny? Jenny caught it. But if you 'meant to throw it to Sally, Sally shall have it," etc. A DrUl Take-Off. This idea may be carried out in one of several ways. The group drilling may consist of boys, or girls, or of boys dressed as girls. They may be policemen; the Town Fire Department; the Women Police Reserves; or Farmerettes. If Farmerettes, Maud MuUer must command, carrying a rake. Her company is attired in shade hats, smocks, bloomers, heavy shoes^ — or, 38 PRODUCING AMATEUR ENTERTAINMENTS by way of contrast, in fancy, French-heeled slippers. Each carries a garden implement as her "weapon"; hoe, rake, etc. Enter in grand pro- cession, out of step, out of line. Everything is done with greatest effort and seriousness. "Halt. At-ten-tion!" They halt and achieve a line with difficulty. Captain Muller holds inspec- tion and finds: 1. That Farmerette Rosebud did not marcel her hair this morning. Hereafter no one will be permitted to run the tractor unmar- celled. 2. Farmerette Phyllis did not powder her nose. 3. Farmerette Gwendolyn did not polish her shoes. Captain Muller is grieved by this careless- ness. She is encouraged, however, because she has a medal to award (a large soda cracker, on a string, pinned with a safety pin). "This coveted honor is conferred upon Farmerette Phoebe for conspicuous bravery in the performance of duty. She did not run when a field mouse approached." Drill: "Present Arms" — ^they present imple- ments to their neighbors. "Right Dress" — drop implements and rearrange hair, tie shoestrings, etc. "Guide Right" — take neighbor's hand and guide her anywhere and everywhere. "Parade Rest" — sit down. "Squad right and about march" — ^great confusion. "Salute" — ^they do this gracefully and aesthetically, with waves, etc. STAGE STUNTS FOR GROUPS 39 Finale: They sing. Tune: "Tramp, tramp, tramp, the boys are marching." (A variation of an Altamont Camp Song.) Tramp, tramp, tramp, the bugs are marching — Watch them hustle, see them go. Some are brown, and some are black. And they never will come back, For we're chasing them away with spade and hoe ! PEEFOEMING ANIMALS Performing animal stunts are very popular. Such a number may be a modified circus act, with a Trainer, who has a whip, sugar lumps, and other devices for urging his "animals" on. In the Y. W. C. A. publication, "The Circus," this type of number is called "Wild Animals: A Remark- able Demonstration of Human Control over the Biggest Brutes that Breathe." Variations of this idea are to be found in the following : Popular Pets: A Revival of Old-Time Favorites. Characters: (from Mother Goose) Old Mother Hubbard and her Dog; Pussy and her Mistress; Mary and Her Little Lamb ; My Dame, My Master and Cockadoodledo. Use "Bubble Book" records, by Ralph Mayhew and Burges Johnson (Harper). 40 PRODUCING AMATEUR ENTERTAINMENTS Each group may enter separately, with the animals concerned exhibiting almost hmnan in- telligence. Enter : Old Mother Hubbard and dog. Dog does tricks. Mother very proud. She recites f amifiar poem about herself and dog. They go to the side of stage, or exit. Enter Pussy and Mis- tress. They sing: "I love little Pussy, her coat is so warm." (See Mother Goose collection of songs, or the Rubble Books.) Enter, Mary and Little Lamb, Lamb is very frolicsome. Enter: My Dame, my Master and Cockadoodledo. They sing, "Cockadoodledo." (See Mother Goose, or Bubble Books.) Then the entire company enter (or come forward, if they have remained upon the stage) and do a queer, happy dance to the Cocka- doodledo tune. This may be made very funny. At the close, they sing (to the same tune) : The moral of our tale, we give you as we part, Always have toward animals a kind and loving heart. Feed them every day, send them out to play — And then they'll never leave you, but around your house they'll stayl Alice-iu- Wonderland Tea Dance. Performers : Alice, the Hatter, the March Hare, the Dormouse. Make the costumes very eccentric. STAGE STUNTS FOR GROUPS 41 Curtain rises on the tea party in full swing. As much conversation as desired may be introduced, modelled upon the Tea Party Chapter in "Alice in Wonderland. ' ' At the close : Alice: Let's dance. Hatter: Where do we dance? Alice: Why, on our feet, you silly! Hatter: On your feet or my feet? Alice: You dance on my feet and I dance on your feet. Why, no — ^that's not right. It should be just the other way. March Hare: Yes, just the other way. I dance on her feet and she dances on my feet. Alice: Oh, no, no, no. It's not that way at ALL. Hatter: Well, Alice, why don't you show us how? Excitement. Table is pushed back. They dance. Make this dance very grotesque. Alice leads. Each interprets Alice's steps to suit himself. March Hare hops, etc. "TAIiKY-TALK," OR STAGE CHATTER These terms are popularly used when perform- ers upon the stage talk informally either to each other, to members of the orchestra, or to members of the audience. One of the performers may be seated in the audience, carrying" on the conversa- tion from there. It is done with or without musical 42 PRODUCING AMATEUR ENTERTAINMENTS accompaniment. The conversation gives a good opportunity to introduce apt, general or local jokes. The following characters illustrate the possibilities of this idea : "I'll tell the World," Two salesgirls, behind a counter, talk over Current Events as they see them ; their customers ; their beaux. "Indoor Sports." Two school girls or debut- antes talk over life from their viewpoint, espe- cially "the men." "Hotel Hash." Two or more women sitting in rocking-chairs on a hotel veranda, knit and dis- cuss, talking especially of the young people of to-day who are so far inferior to those who lived ' ' when I was young. ' ' "Did you ever hear that ?" Two or more women, speaking chiefly in "bromidioms." Use the book "Are You a Bromide?" by Gelett Bur- gess (Huebsch). "Talk of the Town." Two small-town resi- dents discuss things. They may be women at a tea, or the kind of men who go to the General Store and sit on boxes. "Hoboes en route for Hoboken," Two tramps who discuss the town, traveling where "conditions are not what they used to be," etc. They close their discussions by producing from STAGE STUNTS FOR GROUPS 43 their pockets muffins to which they sing adoringly : (Tune "K-K-Katy") M-M-Muffins, beautiful Muffins, You're the only food that I adore ! And when the F-Family finish their b-b-breakfast, M-M-Muffins, meet me at the kitty-k-Mtchen door! "Dear Old Pal of Mine." A young man re- turns to his home town, suitcase in hand. He meets his old sweetheart, now grown. They recall old days. "The Old Home Town." Two boyhood friends meet again after many years. They exchange reminiscences. "Our Treasures." Two mothers discuss their children, at first exchanging household hints, etc., amicably. Fervent rivalry arises, however, about their lovely offspring. The "beautiful chil- dren" may appear as a finale — ^very dirty, and far from exemplary. "A Ford Feud." Two or more proud pos- sessors of Fords appear. They have a contest to see who can tell the most humorous Ford jokes. "Bill and Mable." Edward Streeter's books "As you were. Bill," and "Love Letters of Bill to Mable" (Stokes) may be used as the basis of an amusing number. The curtain rises on Bill 44 PRODUCING AMATEUR ENTERTAINMENTS calling upon Mabel; or taking her for a trolley ridie, etc. Bill relates what a Hero he was in the War, etc. Their conversation may easily be worked out from the material in the book. "He Works His Way." A talk-ofE on the College Student who is selling household equip- ment during his simimer vacation. The article in question may be a fireless cooker (the Student knows very, v6ry little about cooking!). Curtain rises on Student in the Housewife's living-room. He is waiting for her to appear, and is reading aloud from his book of Salesmanship Instructions. "The voice with a smile wins." (He assumes a special smile for the occasion.) "Speak cour- teously at all times." (He practises what he fondly believes to be a courteous tone.) Work this out from any book on Salesmanship, selecting obvious instructions. The Housewife comes in while he is rehearsing. The Student is very much embar- rassed. He has an exceedingly difficult time. At last, however, the lady buys the cooker because the salesman "reminds me SO much of my husband. He looked exactly like you the first time he came to call on me." The Student is joyful over the order — ^until the Husband himself arrives, prov- ing to be homely, and very eccentric in his appear- ance. STAGE STUNTS FOR GROUPS 45 "A Cook's Tour." The curtain rises on Mr. and Mrs. Newlywed eagerly awaiting the ar- rival of a cook for whom they have advertised. Mr. Newlywed is considerate of his wife's feelings but — ^he is very hungry! An automobile horn is heard. Enter the prospective cook,' very "styl- ishly" dressed. She at once assumes control of the situation, asking the Newlyweds many ques- tions, stating her demands, such as "breakfast in bed," etc. At last she leaves in disgust because she knows she never could stand the work. She is not strong. Tears from Mrs. Newlywed. Mr, Newlywed promptly invites his wife to "come down to the Hotel and we'll have a square meal, no matter what it costs. " Curtain. DEAMATIC SPECIALTIES Melodramas. "Guaranteed: Sixty Thrills a Minute. Your money back if you are not thrilled. ' ' An effective and easily-given stunt is an A B C Melodrama (see the Alphabetical Romance in "Ice Breakers," by Edna Geister, Womans Press). This type of melodrama is given in the following way : 1. No lines are spoken. The con- versation consists of portions of the alphabet repeated with great feeling, A few words may be 46 PRODUCING AMATEUR ENTERTAINMENTS spelled out, to help the audience to understand the acting. 2. All action is greatly exaggerated. 3. All costumes are made as ridiculous as possible. 4. All properties are also ridiculous and plainly- labeled with signs, as, for iostance, a single plant labeled "Dense Forest." If printed programs are used, give a short synopsis of the plot. Do not hesitate to make the most extravagant claims for the plot and for the acting ! ' ' Stock ' ' characters for such melodramas are: A lovely, giggling, lisping heroine; a fat heroine; a designing mother who is lured by MONEY; an irate father; a rich suitor; a lady- like suitor who lisps; an athletic hero; a college- boy hero who plays a mandolin; a gypsy fortune- teller; a spiritualistic medium; a small brother who gets under a sofa and listens ; Sherlocko the Detective, who is very, very wise about what is perfectly clear to all ; bandits and pirates who are ruthless and fierce, etc., etc. Make the costumes appropriate as well as exaggerated: the heroine in white; the villainess in black; college hero in white flannels and sweater with huge college letter ; rich suitor in frock coat, tall silk hat, and gardenia. The following plot illustrates the possibilities inherent in this idea: STAGE STUNTS FOR GROUPS 47 The Bold, Bad Bandits: or, Love WILL WIN Truth compels us to state that this is not a play for the nervous. Those who have nerves, prepare to leave us now. As the sad plot develops, pages will sell handkerchiefs at a reduced price. The Tortuous Plot Actl Scene: The Garden by the Heroine's Palatial Summer Residence. The Hero courts the Heroine with violent love-making. L-O-V-E. The Heroine is quite willing to be won. Enter Mother, who is very angry. The Hero is P-O-O-E. She calls Villain, who separates the lovers and ejects the Hero. G-0. The Hero G-O-es. Mother thrusts Villain at Heroine and leaves. Villain makes love. Hero returns quietly, and throws note at Heroine's feet. She conceals note with her shoe. She refuses villain, in spite of his M-0-N-E-Y. Villain goes in anger, forgetting his top-hat. Heroine, alone, reads note. E-L-0-P-E T-0-N-I-G-H-T. She is joyful. She rushes out, dropping note._ Reenter Villain, looking for hat. He gets it, also the note. R-E-V-E-N-G-E. 48 PRODUCING AMATEUR ENTERTAINMENTS Act 2 Scene: Dense Forest. Villain employs Bandits for Kidnapping. Enter Villain. He whistles. Bandits skulk in. Villain gives them bags of money to K-I-D-N-A-P. Exit Villain. Bandits hide behind the dense forest. Enter Hero and Heroine. They embrace. But, stay! He has forgotten the E-I-N-Q-. He must return and obtain one. He tells the Heroine to W-A-I-T. Exit Hero. The Bandits promptly fall upon the Heroine, tie her, and leave the spot. The Villain rushes upon the scene, sees the ban- dits in the distance, and accidentally drops a five-ponnd box of candy. Acts Scene: The Bandits' Cave. The Heroine is at one side, tied. Bandits and ViUaiii are at supper, eating long macaroni. Only the Villain has a fork. Enter Hero. All thiik he is a feUow-bandit. He is welcomed, because of the candy. He signals to the Heroine. Bandits eat the candy. Pain comes to them. Villain snatches off the Hero's disguise. They fight. The Hero is victorious. The Villain falls, after carefully arranging a sofa pillow. The Hero unties his lovely Bride. The Ban- dits come to life and all agreeably exeunt in wedding-procession formation, to the tune of the Lohengrin Bridal Chorus. STAGE STUNTS FOR GROUPS 49 "Movies." This stunt is a take-off on a motion- picture performance., The actors speak no lines,, but convey the meaning of the plot entirely through pantomime. There is piano or orchestra accompaniment throughout. Necessary explana- tions, such as are thrown upon the screen in motion-picture theaters, are here made by means of large cards, upon which have been printed such necessary explanatory sentences as, "Between Acts One and Two, three years have passed. The Girl-Sweetheart has grown to a charming Young Woman. Harold returns and finds her waiting." Actors "register" various emotions as in the Motion Pictures. The role of the pianist is im- portant. She should be elaborate: in dress, in coiffure, in her musical interpretations. The plot of the stunt should be obvious. At the Movies. This is also a pantomime. The performers represent several members of the audience at a motion-picture performance. They may be: the Young Man and his "Best Girl"; Mother and Father; Grandmother; the Bad Boy who has run away from his mother to come, etc. They enter, sitting in a row across stage, facing the audience. There is a musical accompaniment, as at the "movies. " The idea of the pantomime is to show how the various members of the stage 50 PRODUCING AMATEUR ENTERTAINMENTS audience react to the plot they are seeing. For instance, the Bad Boy is "thrilled" at one part, the Young Woman is "scared," and the Young Man takes her hand to comfort her ; the love scene makes Mother and Father hold hands, as do also the young couple; Grandmother weeps, the Bad Boy is disgusted. A second part may be added to this stunt, using what is described above as Part 1 : The Audience. Part Two will then be the actual "Movie" which they have just seen. The plot suggested for the Melodrama may be used for this, presented in motion picture style. Mother's Strike. Some fearfully neglected chil- dren enter. Their stockings are torn ; their hands and faces are dirty; their clothing is ragged. They huddle at one side of the stage, looking off into the wings, very evidently awaiting the arrival of someone. The "someone" proves to be a parade of mothers. They are On Strike, labeled variously as "Mother of Six"; "Mother of Four Boys"; "Mother of One Bad One," etc. They carry signs, "We demand an Eight-Hour Day," "Woman's Work is never donel We want to know WHY," "What do you mean Woman's Work?" etc. One Striker may be the Leader, ascending a soap box to relate their grievances. STAGE STUNTS FOR GROUPS 61 or all may line up across the stage front and recite the following in chorus. They may be frequently interrupted by wails from the children : We say the thing we're going to have Is that eight-hour day. We're going to quit the mending, To wash up doesn't pay. We're going to let the dishes go, We'll cook but once a day. The Mds can howl for dinner, But we shall be away. The — ^Mds — can — ^howl — for — dinner , But we shall be away. Exit mothers, ignoring children. Curtain on this scene of desolation. The Gimmes. Scene: a doctor's office, with a number of children waiting. A sign, "Doctor's Office" is prominently displayed. Enter the Doe- tor. He is nothing if not professional. He stands the children in a row across the stage. He tells them to follow his directions. "Stick out your tongues. Say a-a-a-a-a-a-h. Pat your heads and rub your chests. Whistle Yankee Doodle." He ponders. Looks ia several huge tomes. His ver- dict is, "You all have the Gimmes. I can see that you have been bothering your kind parents with your 'Gimme a penny. Gimme another piece of 52 PRODUCING AMATEUR ENTERTAINMENTS cake, (riwme some more pie.' Now yoti are all to go home and you are not to say Gimme any more. And if you DO say it, your parents are to pay no attention whatsoever to you. On no account are you to say, 'Gimme a penny'." The children promptly fall upon him, crying "Gimme a penny." He cannot escape them. At last in desperation, he takes out some pennies and passes them all around. The children rush joy- fully from the stage, returning at once, with loUypops. They flourish these triumphantly and sing: Tune : "Harrigan, That's Me." (A Y. W. C. A. Camp Song) L-0-double-L-Y-P-O-P speUs LoUypop, It's the only decent kind of candy, The man who made it must have been a dandy! L-0-double-L-Y-P-O-P you see; It's a lick, on a stick, guaranteed to make you sick, Oh, it's LoUypops for me! Whereupon they pay the inevitable price for the eating of the candy: stomach ache! The Doctor, produces a huge bottle and spoon. Two mothers appear at either side of the stage, with signs, "We TOLD you so." The children take the medicine, weakly singing the LoUypop song. Their render- ing is utterly devoid of joy. Curtain. STAGE STUNTS FOR GROUPS 53 SCHOOL GLIMPSES The "school" idea has long been a favorite. For years we have had Old-Fashioned Singing Schools, Spelling Bees, Kindergarten Days, etc. It forms an excellent basis for a stunt because so many kinds of short numbers can be introduced, including "talky-talk" between teacher and pupils. The Kindergarten Kids. This number repre- sents a number of "children" in their kinder- garten, with their dear Teacher. The "children" are grown-ups dressed as children. This may be a single stunt or the basis for a longer entertain- ment feature, or even of an evening's program. Let a trained kindergarten teacher plan the various numbers in it, if possible : the songs, the little recitations, the questions and answers, etc. In one city, this was given on a Community Pro- gram, with the Mayor and leading citizens as the "children." The children enter in coats and hats ; great con- fusion ; presents for Teacher : they march toward their little chairs; they sing "Good morning. Merry Sunshine I ' ' Teacher tells a story ; etc., etc. Individualize the children : have the cry baby,, the bad little boy, the goody-good girl, etc. 54 PRODUCING AMATEUR ENTERTAINMENTS School Days. This is a variation of the idea above, for older children. As the curtain rises upon a school-room (of any desired type) let the orchestra play ''School Days" (from "Babes ia Toyland" by Victor Herbert).* This may also be sung by a chorus behind scenes. Enter the Teacher, carrying a dictionary and wearing severe dress and spectacles with tortoise-shell rims. She looks at her watch, "Is it time for school or isn't it? This daylight-saviag drives me wild. I never can remember whether to add an hour or subtract it. And whatever I do, it's wrong!" She rings a huge bell. The pupils enter, noisily. Individualize the pupils: the very bad boy, the very good boy, the giggling girl, the prim girl, etc. Any desired order of events may be used; songs, classes, recitation, a talk (full of platitudes) by a visitor or a School Inspector. Much local fun can be introduced in a lesson on General Information or Who 's Who. A humorous geography lesson may be worked out from the book, "This Giddy Globe" by Oliver Herford (Doran). A song contest may be held, with the school divided into two "teams." • See footnote, page 71. STAGE STUNTS FOR GROUPS 55 PANTOMIMES AND TABLEAUX Lifelike Likenesses: Satisfaction Guaranteed. Scene: A Photographer's Studio. The photogra- pher "takes pictures" of various customers: Twins, a Bride and Groom, an Actress, a Family Group, a Debutante, a young man who wishes to present his photograph to a young lady of charm. This photographer should believe in elaborate poses I City Adventures! Perils to Pedestrians. Scene: Corner of 42d Street and Fifth Avenue, New York, or any busy corner in the entertainer's town. Feature a policeman, automobiles (express wagons), motorcycles (tricycles); various types of people, not forgetting Dainty Dorothy who becomes stranded in the midst of the traffic and must be rescued. The Automat Lunch. Feature a Customer who falls prey to the attractions of the displayed food. She buys everything in sight, especially the des- serts because she passes them first. At last, she staggers to her seat, only to be quite overcome by her final view of the large amount of food she has purchased. Tableaux in a Frame. Tableaux may be effect- ively shdwn in a frame constructed upon the 56 PRODUCING AMATEUR ENTERTAINMENTS stage. For informal stunts, this frame may be simply a make-sMft, with, screens or other avail- able articles. For the more finished production numbers, it may be built by a carpenter, with a "door" upon hinges opening out from the front, to reveal the pictures behind, closing at the end of each tableau. Special lighting at ijie back of the frame may be necessary to display the tableaux effectively. "The Family Album." by Kate F. Ellis (Walter Baker) contains complete directions for construct- ing the "Album," the tableaux of which show various members of a family in hiunorous poses. A monologue is to be spoken with this stunt. Another variation of this idea was once pre- sented by the Lambs' Club. De Wolf Hopper, as Jester, opened the door of the frame, revealing, in order, "The Seven Ages of Man" (from Shake- speare 's " As You Like It " ) . These were tableaux, each actor stepping from the frame to the stage to enact his number. This was a finished per- formance. "Familiar Folks in Familiar Poses." In this, the Interlocutor may show and tell about "Who's Who" — ^wherever you live. ' 'Don't be a Goop. ' ' Use the Little Goop books, "containing every child's every fault" by Gelett STAGE STUNTS FOR GROUPS 57 Burgess (Stokes). For the tableaux give selected Goop exploits as depicted in these books. The verses describing each exploit may be recited with the corresponding tableau by a very severe Nurse or Parent. "The Hall of Fame, or, Heroes and Heroines from Bookland." A man and a woman may dis- cuss the books they used to read when they were young. The following suggestions may be used as tableaux, pantomime, or with spoken lines, as in- dicated. (a) Featuring Little Elsie of the 997 Elsie Books Curtain rises on Elsie, playing with her dolls. Enter Two Bad Ones (boys or girls). They untie Elsie's hair ribbons; smash her dolls. She says, "Boys, I am very sorry to see you do this wrong thing. You are hurting yourselves more than you are hurting me. But stay! I have one more doll. That doll I will get. And then you may break it, too." She goes. Boys run away. She returns. She says, in ecstatic tones, "Just think, I have one doll left ! Isn 't that perfectly lovely I ' ' (6) Featuring Little RoUo: the Child Wonder. A modern version of this popular young Hero of the Seventies. Scene: Little RoUo's Office. He wears spectacles with shell rims. Various assistants 58 PRODUCING AMATEUR ENTERTAINMENTS are taking orders from him. Telephone rings. RoUo: "Eollo speaking. Yes. Oh, the Presi- dent of the United States. Good morning, President I No, I am sorry I cannot come to Washington to see you to-day. I didn't answer yonr letter because I have been so busy. What is that? Certainly I will give you my advice. An Airplane route over the Pacific? {He knits his hrows.) Y-Yes, I say to start it. Will I be Commander-in-Chief? I must have time to think that over. You will give me a week? All right. Good-bye, Presi- dent." Rings off. Calls office staff. Ad- dresses them. "I shall be sorry to leave you. You have all been faithful. But a caU to a higher duty has come to me. My country needs me," etc., etc. CHAPTER IV MUSICAL NUMBERS THE OECHESTEA — INFOBMAL OBCHESTEA — EANGE OP MUSICAL STAGE NXJMBEES — STAGE SETTING EOE SOLO NUMBEES — ^USE OF POPtTLAE SONGS — GEOUP- ING OP PEBPOBMEES — STAGE ACTION — SUMMEB- TIME AND SPOBTS NXJMBEES — PLOWEB NtTMBEBS — OLD-FASHIONED DEESS NTJMBEES — IN EVENING DEESS — OP COUNTEY LIFE — ^ECHOES OP OTHEB LANDS OP THE U. S. A. CHILDBEN's FEOLIOS — NOVELTIES — COMBINATION NUMBEES. Musical munbers of all kinds add life and color to ajiy program. Avail yourself of all local musical talent that is worth while, presenting it in an effective manner. THE OECHESTEA Regarding the music for accompaniment to stage numbers, the foUovsdng rule is important: Secure the test possible music. Good music in- 59 60 PRODUCING AMATEUR ENTERTAINMENTS spires both performers and audience. It is one of the most important elements in a successful variety program. If it is necessary to economize on expenses, economize on music last of all. The following suggest various possibilities in the program's musical accompaniment: 1. Professional Orchestra 2. Amateijir Orchestra 3. Small Orchestra Units 4. Piano only 5. Informal Orchestra In an orchestra of any size or type, an impor- tant member is the player of the Drums and Traps, especially in the stunts and take-offs; for example in the acrobatic climaxes, have a roll of drums, ending with a crash of cymbals, etc. The pianist is also an important person, espe- cially with the vocal solo work. Some pianists have a natural gift for accompanying comic and topical songs; others have the light touch of the artist for the lyrics and ballads. Thus it is often wise to use two pianists. The Informal Orchestra. With an informal program, an informal orchestra may be made the center of much humorous by-play. The "Kitchen Orchestra" idea has long been popular for this, with the musicians dressed in kitchen costume : in MUSICAL NUMBERS 61 bungalow aprons and sweeping caps; in chef aprons and caps. Combs with tissue paper, or kazoos (see Bibliography) may furnish the music. Eatchen utensils may represent the instru- ments, — a toaster, the violin; a frying pan, the banjo; a rolling-pin, the flute, etc. The Director should exaggerate his work of leading. An orchestra of clowns may also be made very amusing. "The Circus" (Y. W. C. A.) suggests, for another costume that "a very elaborate uni- form, red flannel jacket, red trousers, or white knickerbockers elaborately trimmed with gold braid, adds very much to the appearance of the band. Of course, it must be directed by the baton of a pompous, dignified band-master." Many other ideas for amusing costumes may be worked out. MUSICAL STAGE NUMBEES The following indicate the range of possibilities and will be useful in taking stock of your musical talent : 1. Instrumental solos; on the piano, harp, vio- lin, banjo, mandolin, guitar, flute, cornet, etc. 2. Instrumental group work: orchestra, mando- lin club, etc. 3. Vocal solos of popular songs. 62 PRODUCING AMATEUR ENTERTAINMENTS 4. 7ocai solos 01 lyrics and ballads. 5. Vocal group work: Glee Club, Community Chorus, Women's, Men's, or CMldren's chorus. 6. Song-and-Dance Numbers. 7. Dance Numbers : solo or in groups. Stage Setting for Solo Numbers. An artistic setting for solo numbers may be arranged as fol- lows: the piano (grand, if possible) upon the stage, a lighted piano-lamp, and any other attract- ive living-room properties — a table, with a bowl of flowers upon it, a davenport or settee with pillows. Carry out a definite color-scheme in the lamp- shade, the upholstery, the pillows. Over the piano or settee may be draped (in very simple lines) several yards of silk or satin, of a color in har- mony with the general scheme. Make the performers ' entrance dramatic, as, for example: enter the accompanist, who goes to the piano and plays a few light measures; enter the soloist, who bows to the audience. Popular Songs as Vocal Solos. Have the piano on the stage, if possible. If a girl is to sing, have a young man for pianist ; if a young man, have a girl at the piano. This gives opportunity for by- play, the man singing to the girl or vice-versa. If this is to be a before-the-curtain number, the MUSICAL NUMBERS 63 pianist in the orchestra may be the object of the singer's attention; or he may direct his song to some prominent person in the audience. If accom- panist and soloist are both to be upon the stage, plan harmony in their dress: evening dress for both, afternoon dress, street dress, summer dress, etc. Choice of Popular Songs. If popular songs are to be used, select the best, from the standpoint of words as well as of music. Such a popular song number may consist of one song in which the verses are used and the chorus is repeated as often as desired; or several songs may be sung in im- mediate succession. In this latter ease, verses are sung or not as desired. Where several songs are to be sung in a single niunber, if possible secure the help of a trained musician in arranging your order of presentation. Have various types of song to give contrast: a soft lyric followed by a lively marching song, etc. Grouping of Performers. These numbers may be presented by girls only, or by girls and men. Effective groupings are : 1. An equal number of men and girls. 2. One man and a number of girls. 3. One girl and a number of men. 64 PRODUCING AMATEUR ENTERTAINMENTS 4. A blonde girl, with a group of men (any- desired number) ; a brunette with an equal number of men. 5. Two couples : a blonde girl with a dark-haired man, and vice versa. In other words, have a plan in your grouping. With a chorus, feature one person or a couple, as soloists, singing or dancing in front of the others. Rehearsals. If a number of songs are to be used in a single number, rehearse that number in the exact order in which it is to be placed on the program. If possible, do not have an absolute break in the music, between songs. Ask the pianist to work out chord transitions, if the songs are not readily adapted to the same key. Action. The action accompanying song num- bers is of utmost importance and should be care- fully and definitely worked out. Decide upon the word or beat in the music upon which the nod of the head or the wave of the hand is to come. Re- hearse this at all rehearsals, after the performers have memorized the words. The following action is effective : 1. Curtain rises on empty stage. Performers enter, singing. 2. Singing is heard behind curtain. Curtain rises on performers in effective formation. As MUSICAL NUMBERS 66 soon as curtain is np, chorus marches to a line, semi-circle, or other position, as desired, all singing. When in position, song number then starts at beginning of song. 3. Singing heard behind curtain. Curtain rises upon chorus walking about stage, as in a street or garden scene. 4. Singers stand motionless on verse, save for a nod of the head or motions with hands.^ At chorus, sway from side to side. 5. All whistle on one chorus. If performers break down and laugh, all the better. If a good solo whistler is available, feature him. 6. Sing very softly on one chorus, performers standing closely together, arms about each other's waists. 7. Stand as above. One performer sings, others hum melody or pretend to strum guitars and hum a "chord" accompaniment. Singing "plunk, plank, plank," gives this effect. 8. Invite audience to join in. One performer acts as song-leader. 9. Climax : on last chorus (which should be a lively one) throw tiny candy hearts into audi- ence, or flowers, etc. 10. Exit : waving to audience. Last performer to disappear leans back and throws kiss or gives an especially merry farewell. 66 PRODUCING AMATEUE ENTERTAINMENTS COSTUMES AND TITLES* Spend some time upon the titles of your song, dance, or song-and-dance numbers. Make each title give a special significance to the costuming. For example, in a summer-girl-and-man number, calling it "Summer Resort Specialty" arouses at once a whole series of associations in the minds of the audience and is thus of far greater value than the mere announcement "Special Song Number." The following numbers are classified on the basis of types of costume. The title and costumes are appropriate for song numbers, dance numbers, or combination song-and-danee numbers. Many of the costumes suggested are readily available in most groups. The special point is to arrange available costumes artistically. SUMMER-TIME AND SPORTS NUMBERS "Summer Resort Specialties" — "Those Allur- ing Summer Girls"— "On the Board Walk." Men and girls in summer clothes. Girls' dresses of harmonious colors ; shade hats, parasols. Per- formers may each have small folding camp-stool *Songs mentioned may be ordered through local music dealers or music publishers' mail order departments. [See Bibliography I-D.] MUSICAL NUMBERS 67 over arm. At a given chord, all open; second chord, all place stools on floor ; third chord all sit on stools ; fourth chord, girls open parasols. Pos- sible action : girls enter first ; sit on stools. Enter men ; they stand behind girls. Effective shade hats may easily be made from inexpensive garden hats, faced below the brim with colored gingham. A large bow of the same color and material as the facing may trim the hat. When parasols are used, work out effective twirling, with opened parasols : all twirled in same direction; half being twirled from right to left, every other one twirled from left to right; para- sols twirled over shoulders; parasols twirled in front of performers. Special attention to the color arrangement of the parasols will produce a beautiful effect. , ' "Tennis Teasers — Love All!" Chorus in sum- mer sport clothes. Work out a special color effect with gay sweaters. Carry tennis racquets. An added novelty may be introduced by having the performers throw a tennis ball or two to each other. Balls may be caught — or not I "At the Country Club." A chorus of golf- players in appropriate costume. Do not forget the caddy. "Over the Hills and Par Away." A chorus in 68 PRODUCING AMATEUR ENTERTAINMENTS riding costume. Crack whips. Imitate horses' gallop, etc. This number should be a very rollick- ing affair. "Swing High — Swing Low." Boys and girls, or young people, in appropriate summer dress. Erect several swings across stage (make certain they are secure). Entwine the swing ropes with flowers. Action: girls sit quietly in swing while boys sing to them; boys swing them on chorus — all sing; boys in swings, girls sing to them and swing them ; finale — ^they sit in swings together. "See-Saw." Erect one or more "see-saws" upon the stage. "Balloons! Balloons! Who said Balloons?" Each member of the chorus carries gay balloons of all colors. Costumes may be made of vivid colors — ^red, orange, purple, green. Balloons may be attached to performers' hair, shoulders, arms. The simplest dance is effective with this, as the attention of the audience will be fixed upon the balloons. Finale : throw the balloons out into the audience. "Take Me Out to the Ball Game." Chorus in baseball uniforms, carrying bats and balls. Give a "Baseball Game in Pantomime" (one inning). The music of "Chicken Reel" (Leo Feist) is excellent for this. "Dance" all action, with hop- MUSICAL NUMBERS 69 ping: going up to bat, running the bases, etc. If carefully worked out as to detail this can be made most effective. "Bubble-Blowers." Chorus with bowls of water and soap-bubble pipes. They blow bubbles and sing. "Skaters of Skill and Fame." Scene, Ice Palace, Petrograd. The chorus in skating cos- tuipe. Use roUer skates. The order of this num- ber may be as follows: 1. Announcement by "manager" of champion skaters. 2. A solo skat- ing exhibition, or man-and-girl skating. 3. Enter chorus in skating drill, singing. "College Days." Chorus of college students: all representing one college, or from different Alma Maters. Feature college colors, pennants, cheers. They sing a medley of college songs. Use song "On the Campus" (Witmark). FLOWER NUMBEE8 "Flower Girls — ^AU in a Row." Girls in sum- mer dress, with sashes, carry baskets of flowers. Baskets with large hooped handles are especially good. Feature the baskets in the action: swing them from side to side; hold high above heads, etc. Each performer may have an electric flash hidden in her basket. At a given signal, all lights 70 PRODUCING AMATEUR ENTERTAINMENTS are turned off, and performers at the same time light flashes among flowers. Faces and flowers are thus illuminated, making a very pretty picture Grirls should look through handles. "Flowers for Sale." Chorus dressed as flower- venders with large trays of flowers. "Say it with Flowers"— "The Flowers He Sends Her. ' ' Girls dressed as all kinds of flowers. For costumes see the Bibliography (Dennison Paper Co.) "Daisies Won't TeU— or Wm They?" Chorus in yellow and white, with petaled hats if desired. They carry daisies. Introduce old custom, "He loves me — ^he loves me not." "When you look in the Heart of a Rose" (Leo Feist)— "Mighty Lak' a Rose" by E. Nevin (J. Church). Chorus in rose costumes. Use the songs of these titles. "When it's Apple-Blossom Time in Nor- mandy." Chorus in pink and white. Use song of same title. USING OLD-FASHIONED DEES8 "An Old-fashioned Garden" — "Laces and Graces" — "The Charmers of Long Ago and To- day." The entire chorus may be old-fashioned girls; or each girl may represent a< diffQrent MUSICAL NUMBERS 71 period, bringing the costumes up to the present. An effective opening to the "Old-Fashioned G-ar- den" is to show a white-haired man and woman, walking hand in hand, in the garden ; for this use the song, "Silver Threads Among the Gold." "Laces and Graces" music (Witmark). "Dances of Yesterday and To-day." This number is, in effect, a history of the dance. Use dances and costumes appropriate to each period: Colonial Minuet, Polka, Waltz, Tango, Fox Trot, or any modern dance. USING EVENING DEESS "At the BaU"— "Love's Dream after the Ball" — "Love's Dreamland." Chorus in evening dress. Girls have fetching fans (as large as possible) which they are adept at using. "My Rainbow Dream." Chorus in evening dress. Girls' dresses of pale rainbow colors, arranged in proper sequence. Girls may have scarfs of tulle matching their dresses. Secure scarfs to hair. Tie ends to hands. Use arm move- ments in number, to display scarfs to best advan- tage. Use song, "Beautiful Lady" (The Pink Lady).* •When an admission fee is charged to an entertainment, arrangements must be made with publishers for the use of numbers ^om copyrighted mns_i(;aj comedies, See Bibliography I-P-3l^ 72 PRODUCING AMATEUR ENTERTAE«JMENTS A variation of this idea is a chorus of eight girls, each of seven in a dress of one rainbow color, and the eighth girl in gold, representing the pot of gold at the foot of the rainbow. Use song, "1 am Always Chasing Rainbows" (J. Fischer). "Cupid's Little Dart" — "Cupid Never Misses a Shot." Chorus in evening or summer dress. Feature Cupid, a little girl in fluffy pink with gold wings and a bow and arrow. She shoots cardboard arrows at singers and also out into audience. If possible, have her sing a short love-song alone. When Cupid enters, throw spot-light upon her. Use song, "I'm Falling in Love with Someone" (from "Naughty Marietta" by Herbert, — ^Wit- mark. See note on page 71). "Black and White." Chorus in black and white, each girl in a white dress with big black flower at belt, black hat, white stockings, black slippers. IDYLLS OF COUNTET LIFE "When the Cows Come Home." Chorus of milkmaids with pails; or milkmaids and farmer lads. Dress of old-blue, with white aprons and caps for the girls ; brown overalls, tan shirts, large hats for the boys. "Maud MuUer Revue." "Rebecca of Sunny- ^m MUSICAL NUMBERS 73 brook Farm and Co." Chorus of farmerettes; of farmerettes and farmer boys; or "Maud" with a chorus of farmer boys. Eural costume. Use the round to the tune of "Black-eyed Susan": Come to dinner, come to dinner, Hear those bells, hear those bells, Bacon and potatoes, bacon and potatoes. Pork and beans, pork and beans. Black-Eyed Susan ^ r J=i i| I r ii iTi'ii JjfJ'j J - 1 1 "Little Bo-Peep." Chorus in shepherd and shepherdess costumes. Feature long shepherds' crooks. ECHOES OP OTHER LAIIDS Strive to introduce colorful details which will help to convey the atmosphere of far-away places. "Meet Me Where the Lanterns Glow" — "In Old Japan." Chorus in Japanese costume with lighted Japanese lanterns. Decorate with cherry blossoms. Use "Meet Me Where the Lanterns Glow" (the Hippodrome song — ^Eemick). "In Venice." Construct a gondola, if possible, and in it have a number of "Italians" with ffuitars. They play and sing in the moonlight. 74 PRODUCING AMATEUR ENTERTAINMENTS " 'Neath the Italian Moon." Pierrette appears in the balcony and sings, calling to Pierrot. He is then heard playing his guitar and singing in the distance. He comes nearer, then appears beneath the balcony. This may be elaborated into a dance number as follows : Pierrot begs her to come down. At last she consents. His company of Pierrot dancers appear and dance any light dance of rejoicing. Or Italian maidens may appear and do the Taran- tella. They may then all sing. Use the Neapolitan song, "0 Sole Mio." (Words adapted from a Vassar serenade.) Verse : Here in a garden, comrades all are gathered, Here find our work each day; here find our joyous play, Bright shines the sunshine; brighter still our faces. As, singing, we go forth to meet each day. Chorus : Borne on each breeze, fond memories, Bring to our hearts the glad refrain Of love that will remain, Yes, through the years, 'twill still remain. "See-a-da-Monk." Italian organ-grinder with monkey. Rent a real organ-grinding "music box." The monkey may be a real one, or he may be MUSICAL NUMBERS 75 "imitation." A great deal may be made of this monkey part, if taken by a person. Spend some time on tbe costnme — a little hat such as a "bell- hop" wears; a little red coat with gilt buttons; a little tin cup to collect the money. Chorus of children gather around, to sing or dance, or both, as the organ tunes allow. A striking entrance may be made if the Italian and monkey enter from the back of the hall, walking up the aisle, and then on to the stage. There the Italian may recite a humorous Italian selection. (See "Canzoni" and "MacAroni Ballads" by T. A. Daly.) Chorus then enters, either up aisle or from stage wings. The song, "Good-a-bye, John"* from "The Eed Mill," by Victor Herbert (Witmark) is excellent. "Aloha-oe." An Hawaiian number, with ukeleles and Hawaiian guitars. Costumes of white with red paper festoons and orange festoons give an artistic effect. Use song "Aloha-oe." "Dance and Song in Far- Away Lands" — "A Leag:ue of Nations ' ' — * ' Brothers All. " Any group of folk dances. A realistic touch may be added to this number, if each group sings the national anthem of the country which it represents. If *When an admission fee is charged to an entertainment, arrangements must be made with publishers for the use of numbers from copyrighted musical comedies. See Bibliography I-D-3. 76 PRODUCING AMATEUR ENTERTAINMENTS desired, close with a tableau of all, waving Ameri- can flags. The idea of this finale is that here in America all are united: Democracy's children, (See BibKography II-C.) ECHOES OF THE U. S. A. "With the Colors." Girls in white dresses with red, white and blue hats, collars, capes, or aprons. Introduce military features as salutes, marking time, etc. A flag drill may also be used. Use song: "Yankee-Doodle Boy," by G. M. Cohan. "Across the Plains"— "The Texas Rangers." A cow-boy and cow-girl number in appropriate costumes. Feature rope twirling. If an expert is available, use him for rope stunts. Each chorus member may have a lasso, exhibiting a simple circle twirl. A feature may be the reciting of a selection from "Cowboy Songs" by John A. Lomax (Sturgis and Walton). Use song, "O Wah Hoo" (Witmark). "Wig- Wag"— "All's WeU." Chorus in sailor costume, with signal flags. Feature wig-wagging. Station one or two performers in the gallery and in the audience. They signal a message to those on the stage and receive replies. Use Sailor's Hornpipe dance. "In the Shadow of the Tepee." ^Curtain rises r if - s \^aik ■|F%I^^#**^ ^^:: : ■ii ^■:^^i^:^ •;- Jiw*»v-^ _.__.: — '• ^''^4i*4-^^^r'' ^ ■ '■'■■ " ■' o MUSICAL NUMBERS W on Indians asleep around a fire. Enter : a soloist who sings, "From the Land of the Sky-Blue "Water" by Cadman (White-Smith) or "By the Waters of Minnetonka" by Lieurance (Theodore Presser). Indians awaken and dance. (Indian dances and songs in Woodcraft League manual.) At close, all may sing "Mammy Moon" a Camp Fire song in Camp Fire Girls' Manual. "The Gypsy Trail." A band of gypsies feast, sing, and dance. Use song, "The G-ypsy Trail" by Tod E. Galloway. CHILDREN'S FE0LIC8 (Done by children or by performers dressed as children.) "School Days." Chorus of school children. Chorus may sit on a fence and write on slates. Soloist, boy or girl, in front. Use songs : " I Can 't Do That Sum" by V. Herbert* (Witmark) ; "School Days"; "Down by the Old Mill Stream." "Santa Glaus Land." Use the Toyland num- ber* from "Babes in Toyland," by Herbert (Witmark). Santa Claus may be featured. "Bubble Books." Use the "Bubble Book" "When an admission fee is charged to an entertainment, arrangements must be made with publishers for the use of numbers from copyrighted musical comedies. See Bibliography I-D-3. 78 i PRODUCING AMATEUR ENTERTAINMENTS records (by R. Mayhew and B. Jolinsoii, Harper & Bros.) on a talking-machine. "Mother Goose" may summon the various characters. For musical games, see "Plays and Games for Indoors and Out" by Belle R. Parsons (A. S. Barnes). "The Bogey Man." Scene: the nursery. Chorus or solo featuring bed-time songs and "Yama-Yama Man"* (in domino costume, with taU, pointed hat) from "The Three Twins" (Witmark). The recitation, "Little Orphant Annie," by James Whitcomb EUey, may also be used. "Do a Good Deed Daily. Rendered by Boy Sprouts and Scamp-Fire Girls." Real or take-off Scouts in this number. Curtain rises on a stage empty save for a great number of papers scattered about, an old barrel or two, or any other objects littering the street. Boys and girls appear. They are scandalized. They at once set to work to clean it up — "our good deed." Have enough performers to accomplish this quickly. Rehearse it carefully. Let each person know just what he or she is to pick up and where he is to put it. When order is restored, sing Scout songs and give cheers. A *When an admiasion fee is charged to an entertainment, arrangements must be made with publishers for the use of numbers from copyrighted musical comedies. See Bibliography I-D-3. MUSICAL NUMBERS 79 song contest may be held between the boys and the girls. The Mayor or other prominent citizen (real or "take-off") may appear with a tray of medals, and give each performer a medal for his part in this noble work. "Cones! Cones! Cones!" Enter a dealer in ice-cream cones. Calls: "Here's where you get your money's worth. Five cents for the ice-cream cone including the cone. You don't have to give it back ! ' ' Eeal cones may be used, or huge imitation ones. Megaphones covered with paper and stuffed with cotton make good imitations. Enter chorus of excited patrons. This chorus may be entirely of children, or it may be mixed, children accom- panied by parents and nursemaids, etc. Bring in some comedy: the mother who never gives her little boy anything that isn't sterilized; the boy who has just received his weekly allowance of twenty-five cents and spends it all here — ^he'd rather be perfectly happy for once than just a little bit happy a lot of times. "Little— but Oh, My!" Chorus of small girls dressed as children, singing children's or pop- ular songs as desired. An effective novelty is a ' * baby parade ' ' — the babies may be dolls or * ' take- off" babies, with well-known girls or boys in the character parts. In this latter case, chorus may 80 PRODUCING AMATEUR ENTERTAINMENTS be dressed as nursemaids. Check the babies witb. a polieeman (side-stage comedy by him). Chorus sings and dances, exeunt forgetting babies. They hastily return. Great confusion reigns in the efforts of each nurse to get the right baby. This scene may be made very funny. "Skipping Skippers." Each carries a skipping rope. The feature of the number is the skill shown in rope-skipping. FASHION SHOWS AND OTHEE SPECIALTIES The scene for a "Fashion Show" may be any spot in which many and various people meet: a street; a hotel lobby; a railroad station; a garden party; a ball. The selection of the setting must be made with regard to the type of clothes to be shown. Local merchants are often pleased to cooperate in costuming a "Fashion Promenade" or a "Dress Parade," if mention of their assistance is made upon the program. "Fifth Avenue Fancies." Chorus dressed in street clothes of various or similar types. Use song, "In Old New York"* from "The Red MiU" by Herbert (Witmark). "When an admission fee is charged to an entertainment, arrangements must be made with publishers for the use of numbers from copyrighted musical comedies. See Bibliography I-D-3. MUSICAL NUMBERS 81 "Moods of the Mode." Chorus dressed in various modern styles of morning, afternoon, and evening dress. A variation of this idea may be in the use of evening dresses of former years up to the present time. This may be called "To Chase the Glowing Hours." "My Magazine Cover Girl" — "My Lady's Trousseau' '— ' ' Off for College. ' ' Use song, ' ' Girl on the Magazine Cover" by Irving Berlin. Girls in this number are dressed in all the various types of dress which to-day's girl wears for all kinds of occasions. Work out the details according to each local situation. "June Echoes" — "Brides of Long Ago and To-day." Use brides' costumes of the various dates. Each bride's entrance may be distinct. It may be simple or elaborate, with attendants. An artistic arrangement is to have a "rainbow" wed- ding, with each bridesmaid's dress of one rainbow color. "When Artists Frolic" — "Mind-the-Paint Girls." Chorus in artists' costume: smocks, tam- o'-shanters. Girls may be in black-and-white striped skirts ; black tams ; white stockings ; black slippers laced on with black ribbon; smocks. Each may have palette in one hand, paint brush in other. It is effective to have smocks in various colors, 82 PRODUCING AMATEUR ENTERTAINMENTS with a striMng color scheme worked out. Ask someone to help with this who knows the laws of color combination. "Never-Mind-the- Weather Girls"— "My Girl- in Sunshine or in Rain." Two costumes used. First part of number: raincoats, sou '-westers, etc. Second part : summer clothes with parasols. Exit, between parts, for change of costume. NTJMBBES FOE SPECIAL OCCASIONS To costume a chorus appropriate to a special holiday is a simple matter. For Hallowe'en — "A Jack-o'-lantern Frolic." Chorus in orange-and-black or black costumes, carrying Jack-o'-lanterns. They enter to dark house and stage, lanterns grinning out. They sing and execute simple figures in dark. Lights up. They render entire number. "A Gathering of Witches." Chorus in witch costume. Curtain may rise upon witches gathered about a cauldron muttering incantations. They sing weird songs and dance. "The Ghosts Are Out." A chorus in white sheets. Number may be staged similar to "Jack- o'-lantern Frolic." For Christmas: "Christmas Holly and Red MUSICAL NUMBERS 83 Ribhon." Costumes of bright green and red. Eed ribbon streamers may be featured. A "Snow" Dance is also appropriate. Costumes of white, with tinsel. White scarfs with silver and gold spangles may be used. For St. Patrick's Day: "Cheer in Erin." Bright green costumes. Use Irish songs, as "A Little Bit of Heaven" by Ball (Witmark). For May Day: "The Queen of the May." "Upon a Throne Sits the Queen." Feature a gay frolic with costumes of delicate colors. Introduce a May-Pole dance, if possible. For July 4. "Echoes of the Glorious Fourth." A drum corps of girls. They may be dressed in military style ; black shoes, white spats, dark blue skirts with row of white braid down either side; white waists with Buster Brown collars and dark blue ties ; dark blue sleeveless Eton jackets edged with white braid. All but one member play snare drums. She plays a bass drum and has learned many fancy twirls and twists of the wrist. The features of this number may be : 1. A drill. 2. Songs. 3. Bugle calls. 4. A comet or trombone solo. This type of number should not be attempted unless the girls can learn to drum well. 84 PRODUCING AMATEUR ENTERTAINMENTS NOVELTY NUMBERS "Glowing Glow- Worms." Cliorus in any fluffy costume. May represent flames in orange and red. They carry electric flashlights. Enter to dark house and stage. Flashlight flashes give effect of glow-worms. Use song, ' ' Shine, little glow-worm, glimmer, glimmer" (J. Stern). "Happiness in Every Box." Across stage, have a row of "boxes" large enough to contain performers. These "boxes" are covered and lettered to represent candy boxes. Chorus put heads through paper covers and sing. Come out from boxes and sing. If desired, each girl may represent one kind of candy. "The Nation's Sweetheart in Review." Chorus of small girls all dressed like Mary Pickford, curls, etc. They may sing and dance. If desired, at climax, "Doug" may come sliding down a rope, whereupon all the Marys rush about him. "Vanquishing Vamps." Chorus of tall girls dressed in black: big hats, long black earrings, etc. Introduce a great deal of "Vamp" action. "Help Wanted." Chorus of housewives in aprons, caps, with dusters. Or maids in black and white, and chefs in aprons and caps. "Bandits Bold." Chorus in bandit or pirate MUSICAL NUMBERS 85 costume. Feature such pirate accessories as red 'kerchiefs, daggers, large earrings, etc. "Rags and Tags." A "hard times" number. Chorus in shabby and tattered clothes. Chorus may be very lighthearted and carefree. Feature song, "Hard Times, Come Again No Mo'." PIANO NUMBEES If a piano can be placed upon the stage, piano solos or duets are most acceptable numbers. Such numbers may be classical or of a light or humor- ous nature. A spectacular piano number is to place upon the stage two or more pianos, with pianists playing the same music upon all simul- taneously. This requires careful rehearsing. A good comedian can make a specialty piano number most amusing. He can announce his ability to play any number requested by the audi- ence. After each request, he plays the same tune, as, Yankee Doodle. He may also give a Musical Lecture (see page 23). "The Home Center: Our Piano." 1. Use "Eer First Piece" (page 16). 2. A group of young people, playing and singing popular songs. 3. Mother playing and singing to Father the songs Qf their youth ; ' ' :pen Bolt, " " Jingle, Bells, " " In 86 PRODUCING AMATEUR ENTERTAINMENTS the Gloaming," "Seeing Nellie Home," "Sweet Eosie 'Grady," "Annie Rooney," etc. SOCIAL DANCING EXHIBITIONS The good times of a social dancing class or club may be easily and effectively represented upon any program. The scene may be a ball room or a dancing-floor at a "tea-dance." All are in evening dress ; or all are in afternoon dress. The curtain rises upon as many couples as desired. All are gaily visiting. Orchestra music immediately starts. All dance for a minute or two (any social dance is excellent). Music ceases. Dancers go to stage back and side (thus forming a background for what follows). Announcement is made of the presence of two "far-famed" dancers. A specialty dance (of any kind) is then given. At its close, the other dancers upon the stage applaud. Where- upon all dance once more. Curtain. Note: As many "specialty" dances may be introduced as desired. In schools, such a number may be called "The Junior Prom." COMBINATION NUMBBBS Combination numbers may be easily worked out to include, in a single number, talky-talk, songs, MUSICAL NUMBERS 87 dancing. This is possible only when the per- formers of the single act are versatile. Any desired nmnber of performers may be used, and any desired order of events. The following illustrates : Performers : a young man (the pian- ist) ; two young women (singers and dancers). One is decided blonde in type, the other is a brunette. They are of the same height. The cur- tain rises on a drawing-room scene, a grand piano stage left. Enter the pianist in evening clothes. He sits down at the piano and plays. Enter the girls, who dance. They exit, at the close of the dance. The spotlight is thrown upon the pianist, who then gives a piano solo. Re-enter the girls in a new costume. They chat with the pianist, at last consenting to sing. If it is desired to close the number with a second dance, they may exit at the close of the song. The pianist may give another piano selection (or, if he is versatile, his solo may be upon some other instrument). ' Ee-enter the girls, in a third cos- tume. They dance. PANTOMIME WITH OE WITHOUT MUSIC '(See also Index under "Pantomime,") Pantomime is best given with accompaniment, but as a stunt it may also be effective without 88 PRODUCING AMATEUR ENTERTAINMENTS music. The following suggestions made by Mar- jory Lacey-Baker ia an article in the "Association Monthly" will be helpful. "Before attempting to produce a panto- mime, it is suggested that you begin with an informal discussion of pantomime — ^what it is, how it differs from gesture, and its place in dramatic work. Perhaps the very simplest definition of pantomime is that it is action without words. It differs from gesture in that it takes the place of words, whereas ges- ture is used to accompany words, to empha- size them, to reinforce them. . . . Good pan- tomime must be true to life. There is a great temptation to exaggerate it, not to trust it to carry of itself. But it Avill, to an unbelievable extent. Beside being true, each movement must make a little picture, and it is well to remember that too many motions will blur the picture. — Have the girls work out some simple descriptive pantomime, such as throw- ing ball, jumping rope, or bowling a hoop. Organize groups of girls to play imaginary ball or jump imagraary rope. This helps them to develop their 'Pantomime sense.' 'Pantomime sense' (or the lack of it) is shown when, for example, a girl in jumping an imag- inary rope stands far enough away from any person or object to prevent her rope from hitting it; or when, in playing ball, she watches the hand of the thrower, and catches it from the (JireQtion, high or low, ri^ht or left, MUSICAL NUMBERS 89 from which it is thrown. ... In rehearsing, block out the action, bit by bit, and go over these parts separately many times before at- tempting to put them together. . . . Music is a vital factor in all pantomime production, and, like the setting, should serve as a back- ground for the action." CHAPTEE V SONG SPECIALTIES TOPICAL SONGS — SUGGESTIONS FOB TUNES AND ORIG- INAL WOBDS — MOTION SONGS — COMMUNITY SINGS ^A MELODRAMA SING A. MUSICAL VOYAGE TABLEAUX WITH SONGS ^PANTOMIMES ^BALCONY SCENES — ^EFPECTIVB FINALES. Topical songs, motion songs, tableaux with songs, and finale songs deserve separate mention for the variety program. Topical Songs. By topical songs are meant songs whose words are Kimaorous, containing "hits" either local or general. The words and the accompanying action are the prime considera- tion. Select songs that are fitting, and assign them to persons who can "get them over." Such a singer need not have a cultivated voice, but if he is a good comedian, he can make up for this. In fact, he need not sing at all but may speak the words, to musical accompaniment. Madame Yvette Guilbert, while writing primarily to artists in her 90 SONG SPECIALTIES 91 book, "How to Sing a Song" (Macmillan) lias given some excellent suggestions in the chapter, "The Comic Spirit." She says, "The sense of humor is a natural gift, and an artist will be able to sing a comic song or play a comedy or a farce only according to his own sense of humor. . . . We must avoid an exaggerated interpretation, drifting into vulgarity, and the slap-stick of the clown." Topical songs may be rendered as: 1. Solos. 2. Duets, one person singing the first verse; the partner singing the second verse; both singing the third, and so on. 3. Chorus numbers, verses rendered by the soloist; chorus standing motion- less on the verse save for nods of the head or other slight motion. At the chorus of the song, all sing, accompanying the words by motions and dance steps. Topical songs may be those current, or the words may be original and written to well-known tunes. "When you're all dressed up and there's no place to go" and "Nobody ever cultivated me" are examples of the first kind. In writing original words, the two important considerations are a clever idea for the song, and an appropriate tune. The words may suggest the music, or the tune the words. The following are points to work from : 1. A wail of any kind, for 92 PRODUCING AMATEUR ENTERTAINMENTS JJo - bod- y «T - et cut - tl - vat - ed me, Haf hal Im wUdl I just 'growed np, as yoa flee, Since I was a child. Im a lit - tie prai-rie floVr, Grow-lng wild - er ev-'ry hooTj No- bod- y ev - er cul - tl - vat - ed me, hal I'm wildl instance, "Romeo and Jnliet" (any college collec- tion) ; "The Heart Bowed Down by Weight of Woe" ("The Bohemian Girl"). 2. "Dreaming, Only Dreaming, That is All" — ^good for a verse about how you wish to see things go. 3. "Bingo" (the Yale song) has a suggestive idea, "We won't go there any more. " 4. " PoUywoUydoodle ' ' ( any college collection) is sprightly. Other good tunes to which local song-hits may be written, incor- porating good-natured jokes about well-known people and things are these from "The Mikado" (Gilbert and Sullivan— Chappell) : "Tit-Willow," the Lord High Executioner's song, "I've got 'em on the List," and the Mikado's, "My Object All Sublime." The following theme, "And so did you, pal," from a Vassar song, may be widely varied to fit SONG SPECIALTIES 93 local situations. Words written by H. F. for Altamont Camp, 1915. Just see that girl wlio sits right here, Just watch her smile from ear to ear, Just hear her giggle and see her grin, She's happy at Camp and she can't keep it in. And neither can you, pal. And neither can you, pal, And neither can you, pal — That ain't no lie. 2. I know a girl, she's here to-night. She thought those ice-cream cones just right. She ate ten of those cones up at the store. And still that girl went back for more. And so did you, pal. And so did you, pal. And so did you, pal — That ain't no lie. About ten that night, she felt so queer, She called the nurse, "Oh, nursie, dear, I swear I'U never eat cones no more." BUT Morning found her at the store! Along with you, pal. Along with you, pal. Along with you, pal — That ain't no lie. j'ijsii^ i J j_^j,;,jj^ i j ^^J'pir r^^^^' i ^ 94 PRODUCING AMATEUR ENTERTAINMENTS Motions add greatly to the effect of this: 1. Point to "that girl," ai^d to various "pals" when mentioned. When she feels "queer," signs of agony. When she "swears," raise hands in air and be very serious. On "BUT," pause and point. The Wail of the Christmas Ties. Each person is supposed to represent a "Christmas Tie" come to life. E ach costume is made of " loud ' ' material, with patterns appropriate to the various verses of the song. The Ties enter, sadly weeping, and sing, amid sobs: Tune : "Romeo and Juliet" (College Song). 1. I am the Floral and the ladies think I'm swell, (Scorned by the men — scorned by the men) Flowers in gardens may do very weU, (But on ties we are scorned by the men !) Ne'er was a story so mournful as this one. If you have tears, now prepare to dismiss one. Flowers on that one, or flowers on this one. How we are scorned by the men! 2. I am the Plaid and so loud you can hear me, (Hated by men — Abated by men) Fathers and brothers, they never come near me, (I'm always hated by men) Even the grandpas, they all seem to fear me, When they're alone, they shamefully jeer me, I think my colors are pretty — ^but dear me ! How I am hated by men I SONG SPECIALTIES 95 3. I am the Polka Dots and, oh, what a life I (Spurned by the men — spurned by the men) Given last Christmas to John by his wife, (Spurned by the men, by the men) For when John saw me, from grace how he slided. Ne'er did a tie hear the adjectives I did, If he'd had to wear me, he would have suicided. Buried, alas, with me on I 4. (In unison) Ladies, now listen to our tale of woe, (Wailed by the ties — ^wailed by the ties) When to the store to buy neckties you go, Run quickly past the Christmas Ties I If you have pity, don't leave the store with us. We may be bad, but there are plenty more of us. Husbands don't want us. We only make them roar at us — Don't ever buy these Christmas ties! Limelight Limericks. Limerick meter is espe- cially well adapted to topical songs. For a limerick number, clown costumes are good. Enter clowns, with clown action. They line up across the stage front, and each chants a limerick. This may be done as a contest, a Judge afterward de- ciding solemnly which limerick was best in words and rendering. The verses may be original or they may be taken from any limerick coUeetion. See "Nonsense Anthology" by Carolyn Wells (Scribner). 96 PRODUCING AMATEUR ENTERTAINMENTS Use any of the following tunes : I Went to the Animal Pair "The Boy and the Toot" Copyrighted by The Century Company and taken by their permission from "St. Nicholas Songs." "A Most Intense Young Man," from Gilbert and Sullivan's "Patience" (Chappell), is also good. MOTION SONGS In a solo number, effective motions may be developed as the singer desires. With a chorus, all should use the same motions, at the same time, requiring careful working out and definite re- hearsing. For example : 1. Sing the song through, with words sung in full and motions used. 2. Repeat, omitting words where motions occur, but making the motions. SONG SPECIALTIES 97 "The Damper Song" (Origin unknown. Transcribed by Esther Sleight) . Oh, 1 pushed the dam-per In, and 1 pulled the dam-per out. And the smoke went up the chim-ney just the same, Just the same, just the same. And the smoke went op the cbim * ney^. just ^the same^ Oh, I pushed the damper in, and I pulled the damper out, And the smoke went up the chimney just the same. Just the same — just the same — And the smoke went up the chimney, just the same! a — Sing through and use motions at the same time. 6 — Oh I {motions only) and I pulled the damper out. And the smoke went up the chimney, just the same. Just the same — ^just the same — And the smoke went up the chimney, just the same ! c — Oh, I {motions only) and I {motions only) And the smoke went up the chimney just the same. Just the same — ^just the same — And the smoke went up the chimney, just the same! 98 PRODUCING AMATEUR ENTERTAINMENTS d — Oh, I {motions only) and I {motions only) And the {motions and hissing sound) just the samel Just the same, just the same. And the smoke went up the chimney, just the samel Motions — Pushed the damper in — Hands pushed forward. Pulled the damper out — Hands pulled back. Smoke went up the chimney — Hand motions upward. The Camp Fire Girls have a splendid motion song, "Mammy Moon," which can be adapted for general use. Full directions can be obtained from them. Other motion songs : To-Day Is Monday Mon • day; Ha-sen-pfef-fer, All yonhap-pyi^th-erB, we wish the same to yoa. To-day's Tuesday, To-day's Tuesday. Tues- day string beans. To-day's Wednesday. To-day's Wednesday. Wednesday S-OU-OU-P. To-day's Thursday. To-day's Thursday. Thursday roast beef. To-day's Friday. To-day's Friday. Friday fish. SONG SPECIALTIES 99 To-day's Saturday. To-day's Saturday. Sat- urday pay day. To-day's Sunday. To-day's Sunday. Sunday church. -hpTT =1= Old MacDonald Had a Farm 1 1 1--: : t-l 1 r- — 1 1 — r — Ttpeat fk^t J — J J ■ -J 1 1 II \ 1 1 ^ J \ A. > II Old ^Stt — c — i MaC' v\-\- • Don - aid had \ 1 : r a farm, Ee - -H 1 1— igh, ee - > 1 k igh ohi -trH — 1 With a chick-chick here and a lN J J cUck-chick tkere, J J J h Here a D.S. L Chick, -V- there J^ J 1 a chick, Ev-Vy-where a chictchlck; Old Mac-Don-aid had a farm, Ee*lgh, ee-lgh. ohl Repeat with due]bs,turkeifa,donkeif,Ibrd, repeatii^ backward and Adding each staoza.) COMMUNITY SINGS "Hello, Neighbor, Let's Sing." A "Community Sing" in which the audience joins is excellent. It is especially useful when a stage-set is being made behind the curtain. A good song-leader is neces- sary, directing from the stage. The words of the songs may be printed upon the program or, if a stereoptioon is available, the words may be thrown upon a screen. In printing words of popular songs or other copyrighted numbers, remember that the permission of the publisher of each should be secured. Be specific when you write : say what you wish to print (chorus, as a rule), what the 100 PRODUCING AMATEUR ENTERTAINMENTS entertainment is (a benefit), that song sheets are not to be sold. The Bureau of Community Music, Community Service (see Bibliography) issue inexpensive leaflets of song-words, which may be obtained for distribution. Their handbook, "Community Music," contains many definite suggestions for a Sing number. They suggest the following songs for a 15-20-minute number : Song 1. "America" 2. "Smiles" 3. "Old Folks at Home" 4. "Pack up Your Troubles" 5. "The Long, Long Trail" 6. "Lil' Liza Jane" Hints for Leader All stand. Standing starts the sing with greater volume. Sing song through once. Then ask audience to leave out the word "smile." Instead, each person must smile at someone. Excellent harmony. Sing song through once. Then ask audience to emphasize wor3 "SO," and pause on it. Practise this! Excellent harmony. Have audience rise gradually as voices ascend in the two "ohs" in the chorus, and resume their seacs on "Lisa." 7. "Old Black Joe" SONG SPECIALTIES 101 8. "Mistress Shady" 9. "The Star-Span- gled Banner" Singing the days of the week may be accented by having people clap hands as each day is reached and stamp feet similarly as song is repeated. Audience stands at attention. Sing Stunts. Messrs. Bartholomew and Law- rence, 'm "Music for Everybody" (The Abingdon Press) have given the following suggestions for some Sing Stunts. 1. The Singing of Rounds. This necessitates dividing the audience into sec- tions and introduces an element of competition between the several divisions. — "Scotland's burn- ing," "Three Blind Mice," "Are You Sleeping, Brother John?" and "Little Tom Tinker"— are quickly learned. Lit -tie TomTink-er Got burnt by a clink - er, And then he be-e;an to ctyi — Poor llt-'tle In- no-cent boyi 2. Song Battles. Choose two songs in the same key and the same tempo, and with the same number of measures; also preferably beginning on the same beat." The singers should be divided into two equal groups. - . . When.allig.ar.ranged, the two spn^s. 102 PRODUCING AMATEUR ENTERTAINMENTS are to be sung simultaneously, the object being to see which group can outsing the other in volume. The choruses of many popular songs, such as, "There's a Long, Long Trail" and "Tipperary" suit themselves admirably to a song-battle; also occasional college and traditional songs, such as, "A Spanish Cavalier" and "Solomon Levi." 3. Songs such as "Reuben and Eachel" in which the women can take one verse and the men the other. A Stereopticon Sing. For using the stereopticon slides in a Sing, "Music for Everybody" gives the following suggestions for Leaders : Don't ever have the machine behind the screen. It leaves the leader in the dark. Don't stand in front of the screen and shut the picture off. Don't forget to arrange with your slide-operator some sort of signal for changing slides, to avoid needless delay between songs. Don't forget to instruct your operator thor- oughly beforehand as to every item on your pro- gram, so that no misunderstandings and hitches will occur. Whenever possible, have the piano on the opposite side of the screen from where you stand, and so placed that the light from the screen will reflect on the music. Otherwise, the accompanist cannot see to play and to watch the leader. Don't ever go on the platform to begin the sing SONG SPECIALTIES 103 until you have personally seen that the focus is correct, the operator^ ready to begin, and every- thing In order. A Musical Voyage. In this idea (originated by a Community Service Song Leader) the songs used are arranged as a Voyage. The Leader asks the singers to imagine themselves about to take a trip to Europe, with the entire story of their trip told in songs s 1. At the Dock. "Goodbye, My Lover, Goodbye*' 2. The Ship Starts. "Sailing, Sailing" 3. A Serenade on Deck. "My Bonnie Lies Over the Ocean" 4. Reveille on Shipboard. "Oh, How I Hate to Get Up in the Morning !" 5. Arrival in England. "Drink to Me Only with Thine Eyes" 6. A Glimpse of Scotland. "Annie Laurie" 7. In Erin's Isle. "Mother Machree" 8. In Paris. "Oh, Frenchy ' ' 9. Thoughts of Home. "Old Folks at Home" 10. A Naval Officer's Invitation. "The Navy Will Bring Them Back" 11. Sandy Hook is Sighted. "Stars and Stripes Forever" 12. Popular Song Greets Them. "Every- body Neighbors" 13. A Neighborhood Celebration. "Auld Lang Syne" 104 PRODUCING AMATEUR ENTERTAINMENTS 14. Home Again. "The Star-Spangled Banner" This conception is easily varied to fit any Mnd of "trip" or "story." It is also excellent for a Glee Club Community Chorus stage number, A Melodrama Sing. (Originated by F. K. Brown for Community Service). This idea is also capable of great variation. Use any plot desired. In selecting tunes, use those which are certain to be familiar to the audience. "Eomeo and Juliet" Cast of Characters : Romeo : in love with Juliet Juliet : ditto with Romeo The Moon: who helps out The Orchestra and the Conductor The Audience : which is the Chorus I Act One — Scene One. Juliet's Garden. Orchestra plays, "Comin' Thro' the Rye," followed by the Chorus singing : Romeo meets Juliet, a comin' thro' the rye, Romeo loves Juliet, to give the tale we'll try, Every lassie has her laddie, Juliet has hers, And Romeo he smiled on her, when comin' thro' the rye. SONG SPECIALTIES 105 Enter : Romeo, serenading Juliet, to the tune of "Sweet Adeline." Sweet Juliet, My Juliet, It seems an age since we last met. In all my dreams your fair face beams, You are the idol of my heart, sweet Juliet. Juliet appears on balcony, sings to same tune, substituting "Sweet Romeo." Curtain Scene 2. Juliet's Balcony, Moon rises. Chorus sings : By the light of the moon, By the light of the moon, By the light, by the light, by the light of the moon. If you want to hear a serenade, just come along with me. By the light, by the light of the moon. Enter Romeo, beneath balcony. Juliet above. Romeo: sings "Drink to Me Only with Thine Eyes." Juliet: sings, "How Can You Leave Me?" (Tune: How Can I Leave Thee?) AH: repeat, "By the Light of the Moon." Juliet comes down from her balcony. A love scene. Whereupon Romeo, Juliet, and the Chorus sing: to tune of "Farewell, My Blue BeU." 106 PRODUCING AMATEUR ENTERTAINMENTS Goodbye, my Eomeo, farewell to you, One last fond look into those eyes of blue, 'Mid moonlight splendors, now we must part, Give me one last long kiss, my own sweet- heart. TABLEAUX WITH SONGS (See pages 55-6) Picturesque charm can be gained by using songs illustrated by tableaux. Such ballads as these are especially good: "Carry Me Back to 01' Virginny." Tableau arranged after the picture by W. L. Taylor show- ing a girl before a fireplace, with her old "Mammy" standing beside her. "The Perfect Day." A man or woman with white hair, in deepest reverie. "My Little Grey Home in the West." Two tableaux of a happy family. 1, Mother and several children absorbed in a story book. 2. Father's return. The family is seen joyfully wel- coming him. "Comin' Thro' the Rye." A country lad and lass. "Put on Your Old Grey Bonnet." A man and woman in old-fashioned clothes. Scene: in SONG SPECIALTIES 107 the Mtehen. Mother busy at her household tasks. Father has come in to invite her to go for a ride. "The Seven Ages of Woman" (arranged by the "Club Worker"), (a) Babyhood Music: any good lullaby, such as "Sleep, Baby, Sleep." (&) Little Girl surrounded by toys. Mother or nurse may be with her. Music: any good child song, from, perhaps, "Small Songs for Small Singers" by W. H. Neidlinger (Schirmer.) (c) Girl Gradu- ate Song: "School Days." {d) The Engaged Girl. Song, "Love's Old Sweet Song." (e) The Bride. Music: Mendelssohn's Wedding March or that from "Lohengrin." (/) The Young Mother. Music: "Sing Me to Sleep." {g) The Grand- mother. Music: "Mother Machree" or "Silver Threads Among the Gold." BALCONY SCENES The serenade idea gives an excellent oppor- tunity for working in many kinds of musical selections; the serenade itself being beautiful in thought and setting or humorous, as desired* A balcony may be constructed upon the stage ; or if the auditorium has boxes in its seating arrange- ment, the person serenaded may appear in one of these, and the serenader may then sing from the stage. 108 PRODUCING AMATEUR ENTERTAINMENTS "Romeo and Juliet." Romeo serenades Juliet. She also sings to him. Use tuneful love lyrics. "Santa Claus Serenade." Santa in the balcony. His children may serenade him, using bright, lively songs such as "Jingle, BeUs," as weU as real Christmas carols. If a humorous number is desired, write on the program for this: "Santa's always been left in the cold. Whoever gave him anything? Let us remedy this. In this number you will see us giving him a serenade." The serenade may be made up of popular songs, or of songs belonging especially to the club or organiza- tion giving the Sing. Santa may gallantly respond by giving presents to several of the serenaders or to prominent members of the audience. Each present should be an inexpensive toy, of special significance in connection with the person to whom it is given. ' ' Our President. ' ' A club or other organization may serenade their President or Leader. This gives a good setting for Club songs and cheers and Club jokes, for the Leader should respond with a speech. "Seventeen— by the Pale Moonlight." One or more lads serenade "her" house, playing mando- lins or ukeleles and singing popular love songs. The girl (or girls) appear, greatly thrilled, and at SONG SPECIALTIES 109> last they let down a box of fudge. "Seventeen" by Booth Tarkington contains the setting for this idea. MOTHBE GOOSE TABLEAUX These are effective, especially for children. Little Jack Horner, The Queen of Hearts, Jack and JiU, Little Miss Muffet, Old King Cole, and other favorites may appear. Use any authentic "Mother Goose." The talking-machine records in the "Bubble Books" (Harper) may be used for musical accompaniment. EEVEEIES The much-used reverie idea (which has been variously written up) is capable of great adapta- tion. In it, some central character is disclosed upon the stage, lost in day-dreams. The various objects of the actor's fancy appear, and appro- priate songs may be sung. Her Reverie. A young woman dreams of her sweethearts: (1) The Little Kindergarten Boy. Song: "Good Morning, Merry Sunshine!" (2) The Barefoot Boy on Grandmother's Farm. Song : ' ' Down by the Old Mill Stream. " (3) The Grammar School Boy. Song: "School Days." (4) The Athlete in High School (a football hero). Use any local High School song. (5) The Leading no PRODUCING AMATEUR ENTERTAINMENTS Man in College Dramatics, Song: Any well- knoAvn College song such as "Coming Back to Nassau Hall." (6) The Man She is Going to Marry. Music: Any wedding march. His Reverie. The various episodes indicated above may be similarly used, depicting girls of all ages. The Sailor's Reverie. A young man in sailor costume looks over the postcards he has collected all over the world. A girl of each country appears before him. The national anthem of each country may be sung with each. The American girl ap- pears last. EFFECTIVE FINAIiES Nothing is better for the Finale of a variety program than to have the entire cast appear, waving farewell to the audience and singing a lively song. The following ideas are attractive: (1) Have the cast enter for the finale from the stage wings, up all aisles, singing as they come. (2) When the cast has gathered upon the stage, have some definite stage action, planned well. Let them swing from side to side, with the music rhythm (making sure they swing in the same direction!). Unison of movement may be easily secured if each member of the cast understands <; = , SONG SPECIALTIES 111 that he is to sway to the right upon a certain word. This starts the number correctly. (3) The audi- ence may be asked to join iu the finale song, and a song-leader may conduct this, from the stage. This is easily accomplished if the song words appear upon the printed programs. (4) Specialty finale features are: Throwing paper streamers into the audience (See Bibliography — ^Dennison). Throwing candy hearts into the audience. Wav- ing streamers and pennants of Club colors, which are kept concealed until a certain time, when the stage becomes a blaze of color. (5) Entire cast may form a specially arranged tableau, with the curtain going down upon the tableau, or the entire cast may join hands, or each may place his hands upon the shoulders of the performer in front of him and the long line may march gaily out. (6) After the finale has been sung, form a circle on stage, each performer having been assigned a partner. Have a "Grand-right-and-left" as in a "Paul Jones." Orchestra Director may blow whistle for all to one-step a few measures. Blows whistle again — all grand-right-and-left again. Curtain. (7) For the finale song, choose a lively tune and write verses of gay rejoicing. Eemember that the last number of any program is an audi- 112 PRODUCING AMATEUR ENTERTAINMENTS ence's final impression. With th.e variety pro- gram, make that impression one of frolic. A Finale Number. The following number has been used by a large Girls' Club, as the finale of a program in which both girls and young men appeared. The tune is the chorus of "Hello, Frisco" (Witmark). The soloist was stationed in a balcony box, at right of stage, the spotlight being thrown on her. Various units of per- formers were stationed, at the outset of the number : 1. Upon the stage. 2. At back of hall, right aisle. 3. At back of hall, left aisle. The soloist appeared in the box, a telephone in hand, and sang, "Hello, Club Girls, HeUo!" The girls on the stage replied, "How do you do, my dear? We only wish that you were here!" Soloist :^ "Hello, Club Girls, HeUol" Perform- ers at back of hall (beginning to move up aisles): "Oh won't you join us, too? There is so much that we can do." Stage performers: "Don't keep us waiting, it's aggravating." Aisle: "Why can't you hurry? New Girl, you're so slow." Soloist: "I'U be with you now, I'll be with you now. Hello, what do you do?" All on stage: "Learn how to dance and sing,' for we've arranged for everything. You know, we'll love you, too. Tour voice is like music in our ear. We're glad just to hear that you are near." Soloist: "Club girls, I called you up to say — Hello!" The full orchestra then played and the entire cast sang all the SONG SPECIALTIES 113 words. The girl in the box came down on to the stage and stood in the center of the front line of performers and the curtain went down upon a scene of rejoicing. If performers are to come up the aisles for the finale, some arrangement must be made by which they can ascend to the stage : portable steps may be placed in desired positions, or a runway may be built. If both are impossible, the various groups of performers may enter at stated times upon the stage, from different wings. CHAPTER VI THE MINSTREL SHOW IDEA WfliT IT IS — ITS ADVANTAGES — ^PACTOBS IN ITS SUC- CESS — USED AS A SINGLE NUMBER — ^USED AS AN EVENING 'S PBOGBAM BEHEABSALS EFFECTIVE IDEAS FOB TWENTY-TWO KINDS. The Idea Itself. It is not the purpose of this chapter to consider the "blackface" Minstrel, but rather to show how the Minstrel Show idea can be adapted to a wide variety of possibilities for Girls' Clubs as well as for Boys' Clubs and mixed Groups. We are all familiar with the Minstrel Show idea: the chorus who remain on the stage during the entire program; the Middleman who sits in the middle, runs off the program, and acts as buffer for the jokes; the Endmen who appear in special costumes and are the "funny men" of the evening. Advantages of the Idea. The Minstrel idea is deservedly popular for several reasons. The chorus may include any and every member of an 114 THE MINSTREL SHOW IDEA 115 organization, regardless of whether they possess any special talent. Many shrink from public appearance in any solo capacity, but they will enjoy being in the chorus of a minstrel show, laughing at the jokes and singing. The presence of the Endmen and the Middle- man offers an opportunity for informal fim- making, scattered here and there throughout the evening, fun which, in another type of program, must be concentrated in one or two numbers. The stunts and special numbers, acted as they are against the background of the chorus, stand out a little less clearly than if the performers were the only ones upon the stage. Any amateur dis- crepancies are accordingly less evident. ELEMENTS OF SUCCESSPTJIi PEODUOTION The following are important elements in a suc- cessful Minstrel Show. A Good Middleman who takes everything and everyone seriously, magnifying his own im- portance, announcing all numbers with great gusto and dramatic effect ; not always quick to see the point of a joke ; who feels that he must main- tain order and who is upset at any Chorus dis- turbances — ^which, of course, do occur. "With a clever Middleman, the program need 116 PRODUCING AMATEUR ENTERTAINMENTS have no obvious hitches nor awkward waits. He may hold in his hand a long and impressive roll of paper. Upon this paper is written the entire program. If any member forgets his cue, the Middleman may say, reprovingly, "I say, Miss Y., are you asleep? I thought you promised to sing us a song." Or, "Tell us that joke of yours, Mr. M., about the school-boy," etc. Endmen who can be spontaneously funny and can tell good jokes effectively. Individualize these Endmen. Great rivalry may exist between them. Each thinks highly of his own jokes, nothing of any others. This rivalry in jokes may also extend to reciting limericks or tongue- twisters; to singing songs; to executing stunts. A Chorus who are on the alert throughout and who can sing well together. Individualize various chorus members. One may lisp. One may stutter. One may be sleepy. One may be mourn- ful and in constant need of being comforted. One may be very slow in seeing the point of jokes and may titter loudly after everyone else has stopped laughing, etc. Jokes. Pay especial attention to jokes. Hold to a high standard concerning them. There are many good jokes that do not border upon the THE MINSTREL SHOW IDEA 117 vulgar. They may be found in joke sections of our best magazines. If local hits are made (and it is possible for these to be very enjoyable) exer- cise great care that they be free from malice. Harmless and amusing "personality" jokes may be made to center about a play on words or a pun. As, "Mr. Brown went to New York the other day, and when he got in the Subway, he was just like our Ball Team." "How was that?" "Oh, aU balled up." Tell aU jokes Avith dramatic effect. Use much cross-questioning. In most cases, avoid simply a question and direct answer. For example, in the above joke: Endman starts to laugh heartily. Middleman: I say, Mr. Smith, what's so funny? Endman: Mr. Brown went to New York the other day. M.: That's not funny. I didn't even smile. E.: I know that's not funny. What's funny is what happened when he got there, etc. Variety and Contrast. These principles apply to the Minstrel Show program as well as to others. (See page 5.) All types of entertain- ment numbers may be used, with special per- formers coming from among the chorus, the end- men, or entering on cue from the wings. Two Uses for the Minstrel Show Idea. This 118 PRODUCING AMATEUR ENTERTAINMENTS idea may be used in two ways. 1. As the basis for the construction of a single number. 2. As the basis of an entire evening's entertainment. 1. As a single number. The elements are the same: Middleman, Endmen, Chorus (as small or as large as desired). Action, dialogue songs, stunts are abbreviated. Such a number may be run off as follows. Example: "A Camp Inter- lude" — Middleman: Camp Leader: Endmen: The Athletic Camper, the Sleepy Camper. Chorus of Campers. Enter: the entire group, singing a Camp Song. They march to line across stage front, or to semi-circle. (Seats may or may not be used, as desired.) Middleman makes announce- ments; Endmen indulge in a few Camp Jokes; a Camp Stunt is given; Camp songs and cheers ; exit to marching song. In planning such a number, simply keep in mind the elements of the minstrel show idea and con- struct it to suit any special situation. 2. The Minstrel Show Evening. When the Min- strel Show idea is used as the basis of an entire evening's performance, the presentation is more elaborate. A special seating arrangement may be placed upon the stage. The chorus will appear to advantage on "bleachers," of as many rows as are needed. The Middleman may occupy a special THE MINSTREL SHOW IDEA 119 elevated seat. Tlie Chorus costumes may all be alike; or all those to the Middleman's right may be of one kind, all those to his left of another de- sign ; or all those sitting on the front row may be similar, those in the next row like each other but different from those in the front row, etc. Since the chorus remain upon the stage con- tinuously, arrange song numbers at intervals throughout the program during which they may stand. This gives movement upon the stage and helps in keeping the chorus alert. Rehearsals. As in the variety program (see pages 218-19), for the first few weeks the various units may rehearse separately; the chorus may re- hearse their songs; the Middleman and the End- men, their lines ; the specialty numbers their acts. When these various units have reached a fair de- gree of perfection, the whole may be put together. Thus the difficulty of too many large rehearsals is eliminated. Care should be exercised, however, that a sufficient number of complete rehearsals are scheduled, just preceding the final performance. EPI'ECTIVB IDEAS The following ideas may be used for the basis of single numbers or minstrel shows of an even- ing's duration. 120 PRODUCING AMATEUR ENTERTAINMENTS Newspaper Minstrels. The Latest! Extra! Chorus costume made from newspaper, with paper hats. Middleman: Editor, in shell-rimmed eye- glasses. A much harassed person. Endmen: Carefully selected characters from popular car- toons as: Powerful Katrinka, Song Leader (see page 17). Mrs. Prewin, a Boarding-house Keeper, who has many excellent ( !) household hints, as, "To make pie-plant pie, plant pie-plant." She also has many tales of her trials. The Katzen- jammer Kids who are down-at-the-heels because their mother is on a strike for the eight-hour day. (See page 50.) Percy and Ferdie, who try to impress, etc. The Editor may read the program from a newspaper. Fit all numbers into the news- paper idea. (See page 138.) Summer (Girl) Minstrels. Chorus Costumes: Summer dresses, pretty hats, parasols for the girls. Summer garb for young men if they appear. Middleman : Chaperone or Miss Center of Attrac- tion or Hotel Clerk. Endmen : The Giggling Girl ; the Life-Saver; the Only Man; the Croquet Cham- pion; Miss Swat-the-Fly (see page 18). Use summer jokes, summer features, summer sere- nades. Baseball Minstrels. Play Ball! Chorus Cos- tumes: Baseball costumes. Or men in baseball THE MINSTREL SHOW IDEA 121 suits and girls as "rooters" in street clothes. Or tlie chorus may represent a baseball crowd, with many types of people present, young and old. Don't forget the emotional young girl who is just CRAZY over baseball and who asks foolish ques- tions, to the great annoyance of her escort; the boy with his Dad; Grandmother and Grandfather from the country ; the dignified Professor who for- gets his dignity, etc. Middleman: The Umpire. Endmen: Famous stars or local champions (call one the Sultan of Swat) ; the Candy and Ginger Ale boy; the Old Fan, who knows all the Batting Averages since the first bat hit a ball; the News- paper Reporter. Work in good baseball jokes. Announce all numbers with baseball terms as: A Stunt — a "Grandstand Play"; a Monologue — a "Single"; a dialogue — a "Two-Bagger"; a Fancy Dance — a "Hit," etc. Feature the baseball player's well known superstition and belief in the "jinx." Endmen who are superstitious may object to the trimming on a certain lady's hat, to the seating arrangement, necessitating a shift, etc. Introduce a fake or expert juggling act. Have candy boy sing lollypop song (page 52). Use Baseball Pan- tomime (page 68). Athletic Minstrels. The baseball idea may 122 PRODUCING AMATEUR ENTERTAINMENTS be adapted to any sport, locally popular, as "Tan- talizing Tennis Minstrels," or " Country Club Minstrels" : Chorus in sport clothes. Sportligjit Minstrels: Echoes of the Olympic Meet. An Athletic Carnival. Athletes and "Rooters," Trainers and "Fans" of all kinds may be included in this : baseball, basketball, foot- ball, hockey, tennis, croquet, bicycle riders, etc. Middleman: Director of the Carnival, who runs off the events with a whistle and megaphone. Start Minstrel with a review.of all athletes before Director's Stand. Use constant surprises such as entrance of bicycle riders on bicycles up aisles; skaters on roller skates, etc. Have Middleman or Special Coaches exhibit athletes with eloquent descriptions of their training methods, diet, and prowess. "You see before you the man who holds the world's championship in the standing broad grin. His name is known from pole to pole — ^fish- pole to barber pole — etc." Have great rivalry between athletes, arguments over prowess, etc. Good athletic take-offs, adapted to stage use are to be found in Edna Geister's "Ice Breakers" and William Chenery's "Entertaining Amusements for Everyone." Merry Middy Minstrels. Sailor Lads and Lasses. Chorus : in Sailor Costume. Middleman : THE MINSTREL SHOW mEA 123 King Neptune, or Captain of the good ship "The Walloping Windowblind." Endmen: the Old Salt, the Cook, the "star" passengers, who may be a motion-picture actress, an Englishman with his monocle who has spent two weeks in America and knows all about us, etc. Use sea atmosphere in all possible numbers : a monologue may be entitled, "What are the wild waves saying? Sounds fishy to me" — a vocal solo: "Echoes of the Lorelei" — a Dance of the Mermaids in soft blue and green costumes. This dance is very effective if the girls selected have red hair. "Shark and Co., Inc." (giving any dramatic burlesque) appear after a long and suc- cessful run in Neptune's Deep-Sea Theater. En- tire Company sing their "Aqua Mater." There may be specialty choruses of Star Fish, Deep-Sea Monsters, etc. (see page 19). Sell Salt Water Taffy if obtainable. Hallowe'en Minstrels. Chorus: in similar cos- tumes of orange and blacks Or they may be in all sorts of fantastic costumes, typical of Hallow- e'en. Middleman: Mr. (or Mrs.) Jack-o '-Lantern, familiarly known as Jack, Either of the following is effective for entrance: 1. Each performer covers costume with sheet and enters, carrying a lighted Jack-o '-Lantern (see page 82). When 124 PRODUCING AMATEUR ENTERTAINMENTS lights go up, the "ghosts" throw back sheets and other costumes are revealed. 2. Have a lively Hallowe'en parade up the aisle and on to stage. In ways such as these a Minstrel Show may be given at any time of the year, with appropriate costumes and with timely special numbers. The following are suggestive of the great variety of possible Minstrels. 1. Christmas Belle Minstrels. Holly costumes of red and green. Middleman: Santa Claus or King Winter! 2. St. Patrick Minstrels. Costumes of green. Use Irish songs, jokes, and dances. 3. Uncle Sam's Singing Army. For patriotic occa- sions. Middleman: Mr. (or Mrs.) Uncle Sam. 4. Colonial Minstrels. Use old-fashioned cos- tumes. 5. Camp and Scamp Minstrels. Wear Camp clothes. (See page 122.) 6. College Min- strels. Feature college colors, songs, stunts, cheers. A social dancing number may be "The Junior Promenade"; a "wail" of a song — ^"The Exam Time Blues" (see page 92). 7. School Day Minstrels (see Stunt, page 54). 8. Black and White Minstrels. Feature black and white in the costuming. Clown costumes are excellent. End- men may be in "checkerboards," others in striped effects. 9. Advertising Minstrels. Chorus of housewives and well-known advertisements. End- THE MINSTREL SHOW IDEA 125 men may be : the Campbell Kids, Gold Dust Twins, Wriggly Spearmint, etc. 10. Flower Market Min- strels. Feature pretty dresses, hats, flower bas- kets. Or each may be dressed to represent a certain flower. 11. Popular Garden Pets. Each represents a vegetable. Or chorus in green repre- sents grass and foliage. Endmen represent vege- tables. 12. Clown Minstrels. Pierrot costumes. 13. Rural Minstrels. Parmer and farmerette cos- tumes. 14. Popularity Minstrels. Evening dress. 15. Hard Times Minstrels. Ragtag costumes. CHAPTER VII SINGLE IDEAS THAT UNIFY A PROGRAM TO UNITE THE ENTIRE PEOGKAM WITH ONE IDEA — ^AN OUTING AT AN AMUSEMENT PAEK ^AN INDOOB BLOCK PABTY — ^A COUNTY FAIE — ^A "POP" CON- CERT THE NEWSPAPEE IDEA ^A FEAST OP PUN AND FROLIC ^BOOKING FOB VAUDEVILLB ^A BABY SHOW PICTURESQUE IDEAS ^ANNOUNCING THE PROGRAM CONNECTING THE PROGRAM WITH AN INFORMAL PLOT. The Principle. It is often possible to closely unite all numbers of a program through the use of some larger idea ; of which each number is but a contributing part. The well-known "Circus" is an excellent illustration of this principle. Each number is part of the circus. AU are united by the ring-master's speeches, or the circus parade, in fact, by the whole circus idea. When searching for ideas that can thus unify a program, it is necessary to select those that are flexible, for into this larger program idea all kinds of numbers 126 SINGLE IDEAS THAT UNIFY A PROGRAM 127 must be worked. Such a program acquires an added completeness if the ushers' costumes and the style of the printed programs can be made to follow the general scheme. The plans outlined in the following pages have been successfully used many times and readily lend themselves to programs of the variety type. A SUMMER EESOET EVENING An Outing at Coney Island. The Atlantic City Board Walk. Dreamland and Screamland. Hit- land and Skitland. In a number with any of these titles, the entire program represents a trip to an amusement park. A play on the name of any locally popular amusement park may be used in the title of the program. The atmosphere of, an Amusement Park should be created in every possible way. As soon as the audience enter the building, they should be met by guards (ticket-takers) in fantastic costume who urge all to "step lively." On all sides may be large posters (of cardboard or wrapping paper). These announce the Evening's Thrillers. "Going Up! — Big Balloon Ascension promptly at 9:22. Not One Balloon— but Twenty-five!!" (See Balloon Dance or Chorus, page 68.) 128 PRODUCING AMATEUR ENTERTAINMENTS "Charley Chaplin is Eclipsed!! Hear Mr. Smith in his World-Renowned Act: Sixty Long Laughs a Minute. Your money back if you do not laugh!" (Any humorous act or monologue.) "Marvelous! Mystifying!! Enigmatical!!! Incomprehensible!!!! Done before your eyes. $1,000 reward (given Free) to the person who can tell how it is done." (See magician trick, page 30.) "The Bold, Bad Bandits, or, Love Will Win. Do not fail to see the Kidnapping Act! Watch the Plot unfold, unravel, and unwind. Witness the Muscular Prowess of a Hero urged on by Love! An exclusive Appearance before an ex- clusive Audience ! ! " (Any melodrama — see page 45.) The way in which the entire evening's fun is to be carried out depends largely upon the geog- raphy of the building where it is held. A long hall, a number of smaller rooms, or a gymnasium may be available for side-shows and "conces- sions" (fair booths). These will supplement the principal program, which may be held at a stated time in a separate auditorium, or in the larger space of the gymnasium. However, the side-shows and booths are not essential to the Amusement Park or Outing idea. SINGLE roEAS THAT UNIFY A PROGRAM 129 The latter may be introduced into the program that is given only on an auditorium stage. In this plan, the audience go directly from the entrance to their seats in the haU. At the door of the hall, a small platform may be erected, upon which a "Barker" heralds the attractions of the various numbers. A number of the performers themselves may also appear with him. The Y. W. C. A. booklet, "The Circus" refers to this feature as a " Bally-Hoo. ' ' This publication says ; ' * Some such statement as the following, colored and emphasized by the rasping, good-natured voice of the barker, makes the thing seem quite profes- sional. 'Ladies and gentlemen, right this way, right this way! Behold the world's most famous acrobats and clowns, the cleverest creations in Christendom, world-famed for their hair-pin turns in mid-air. Right this way, ladies and gentlemen! Behold the wonder of wonders! — Only fifty cents to see them all — ^worth a dollar!" Boys thoroughly enjoy this "Bally-hoo" stunt. Ushers. The ushers in the hall may be dressed in clown costume. Also, a simple costume for girl ushers can be achieved by using fancy crepe- paper collars over their own white dresses, with fancy, pointed hats. Printed Programs. An appropriate kind of 130 PRODUCING AMATEUR ENTERTAINMENTS printed program is that modelled after circus handbills — inexpensive white paper, printed in red. "Headlines" of various sizes, and colorful descriptions similar to those on the posters, carry out the general idea. If possible, space upon these programs may be given over to paid advertise- ments of local firms. A clever idea here is to write even the paid advertisements in an appropriate style, calling the attention of the audience to the real "amusement" value which the various adver- tised commodities possess. The Program Itself. Each number of this pro- gram is supposed to represent an Amusement Park attraction. Before the entrance of each number, therefore, a "barker" may appear on the stage and tell in grandiloquent style of the mar- velous wonders and past history of the per- formers. One large Club added a realistic touch to the running off of such an "Amusement Park" pro- gram by introducing "Spectators." Before the first nmnber, "Mother" and "Father" appeared on the stage in front of the curtain. They called their children — a son and a daughter, who came running up the aisle to them. A trip to Coney Island was then proposed. ' ' Oh, goody I goody I ' ' Off they all went (exit — stage left). Each sub- SINGLE roEAS THAT UNIFY A PROGRAM 131 sequent program number represented what they were seeing at Coney Island. At various places during the program, they re-appeared — sometimes on the stage itself ; sometimes in front of the cur- tain, where the "barker" joked with them; once coming up the center aisle of the auditorium. At each re-appearance, they were absorbed in some typical Amusement Park occupation, such as eat- ing hot-dogs, blowing whistles, or carrying prizes, won in the shooting gallery. ' ' Father ' ' won a big, woolly dog, ("too good to throw away," etc.). They also became more and more weary, more and more cross, as the evening progressed. Mother acquired a limp, etc. At the close of the program, they appeared and decided to return home. Whereupon, all the performers entered and gave them a merry send-off (the finale). This "Spectators" idea adds humor to the pro- gram and is capable of great variation. The spectators may be a young man and Ms "girl"; a party of young people ; some country folk, with their sophisticated city cousin, etc. One Club, called the Looking Forward Club, called one of these spectators "Miss L. F. C." Her escort took the identity of the local athletic association, "Mr. MOlrose." This added a touch of local color to the announced title of the entertainment, "Miss 132 PRODUCING AMATEUR ENTERTAINMENTS L. F. C.'s Summer Outing at Coney Island. (Accompanied by the handsome Mr. Millrose.)" The Spectators may make some entrances up the aisles, if desired. Care should be exercised, how- ever, that they do not appear too frequently. Use the amusement park idea in the titles of the various numbers, as, for instance, a minstrel show number (see page 118) may be "Our Merry-go- round of Minstrels. They never stop. One thing right after another"; "Seen from our Scenic Railway" — any number with lantern slides (see page 171) ; "A Trip to the North Pole" — a dance, or chorus, in white costumes, giving a winter effect; "A Ferris Wheel" — fancy march. "Straight from the Jungle and Forests Dark" — performing animals, etc. During a program intermission, candy, popcorn, ice-cream cones and "hot-dogs" may be sold by venders who go about the auditorium. Those who sell may be dressed alike, in bright costumes of red and yellow; the ushers may act as the sales- men ; or the venders may be highly individualized — an old Italian woman with a basket of popcorn balls ; a brisk, eloquent young man with the cones ; a colored gentleman in tall silk hat and Prince Albert coat, who sells peanuts — "Here's where SINGLE IDEAS THAT UNIFY A PROGRAM 133 you get your double-jointed peanuts. Five cents a bag, including the bag!" THE CIRCUS As effective and practicable as the Amusement Park idea is the Circus.* It is quite possible to adapt the Circus idea to a stage program, with the Circus parade up the aisle, the ring-master upon the stage; and the performers entering iii turn from the wings. Here, again, side-shows in ,;the hall or small rooms may or may not be given. The following performers are well-known circus features for the parade and the numbers: police- man; a "motor cop" on a tricycle; a band; ring- master; Italian organ-grinder and monkey; clowns; trained bears, elephants, etc.; acrobats, including a Dizzy Daring Baby Acrobat; Indians; Wild Westerners; Buffalo Bill and Co.; Ben-Hur Chariot racers (with toy express wagons, or wheel-barrows or Kiddy-Kars); a Wild Man; a Fat Lady; a Living Skeleton; a Snake Charmer; Siamese Twins. "P. T. Bamum" (himself) may be the Eingmaster. •The Circus program, given in a gymnasium or other large room cleared of seats, with the audience sitting upon bleachers, has been thoroughly described in the Y. W. C. A. " Circus. ' ' 134 PRODUCING AMATEUR ENTERTAINMENTS In the program, the clowns may have a stunt or grotesque dance: the acrobats may be a gym- nasium group who do really excellent tumbling and apparatus work; Buffalo Bill and the Indians may render a melodrama in which a stage coach is surrounded by Indians, but Buffalo Bill rescues the beautiful heroine; the trained animals may show almost-human intelligence: bears may dance, elephants may tell time and reveal by nods of the head the ages of various members of the audience, cats may* jump through hoops, monkeys in a cage may exhibit amusing antics. In regard to the animal numbers, Helen Durham says, in "The Circus," "A great deal of practic- ing and care is required for this animal event. Skill and originality must be used in making the costumes of the 'animals' so that theydook like the regular thing, yet wearable for one or for two persons as required by the nature of the animal. It is usually much more simple and satisfactory to hire from a costumer. — Am ple air space must be allowed in the costume." Putting Out a Fire. This popular Circus num- ber should not be forgotten. Feature a Fire Department, arriving in great turmoil. The fire may be produced by 'electric' sparklers (Fourth of July material) or red fire. Have the fire wherQ SINGLE IDEAS THAT UNIFY A PROGRAM 135 it must be reached by a ladder. Use atomizers to put it out. The great exertions of the Firemen with the atomizers is very funny. With a feature of this type, be sure the audience understands that it is a *'fake." Do not make it too realistic by crying "fire" in such a way that some may think it real. AN INDOOE BLOCK PAETY AND A COUNTY FAIB These are two Variations of the same idea. The County Fair is usually chosen when booths are erected for the sale of all kinds of articles ; when special exhibits are desired (see page 186), as well as side-shows and a special program. In the main program, the County Fair idea may pre- dominate in the titles and character of the num- ber: a "Farmerette" Drill, or Minstrels (pages 37, 72, 125) ; any skit or play may be given by the "Farmers' Footlight Favorites. Bail specialists, en route to Broadway (date of arrival un- known), a "talky-talk" number may be given by Si and Samanthy, etc. The ushers may be "farmerettes." The programs may be similar to those suggested for the Circus. If desired, the audience may come in farm dress, thus giving to the entire party an appropriate atmosphere. In- Qlude Qontest? such a^s climbing greased poles, or 136 PRODUCING AMATEUR ENTERTAINMENTS eating lemon pies with contestants' hands tied behind their backs. One of the chief features of an Indoor Block Party is the dancing for all comers. Plenty of room for this, together with a good band or orchestra, will assure the success of this part of the occasion. With this dancing may be combined the selling of refreshments in booths or by venders; exhibits; and a simple oi an elaborate special program. Let gay colors predominate. Decorate with banners and ribbons of all kinds. Ask the guests to come in clothes of the brightest possible colors. Sell gay balloons, whistles, etc. It is not necessary to have a stage for the pro- gram. The various numbers may be given in the center of the dance haU, during short intermis- sions occurring at stated intervals throughout the evening. A clown (or clowns) with a megaphone can clear the floor and announce the special attrac- tions. For short numbers, it is not even neces- sary for the audience to be seated. CABARET CONCEET IBBA A Cafe Chantant, "Pop" Concert, Club Caba- ret. Such evenings are patterned after evenings in a French Cafe. The room or hall should have SINGLE roEAS THAT UNIFY A PROGRAM 137 a stage, at one end or at one side. Small tables are placed in the hall; as the audience arrive they are given seats at these. French waitresses, in chic black dresses and saucy little white aprons and caps, take orders for refreshments (an excel- lent way of raising money). Upon each table may be a fancy menu card (in French, if desired). This menu may be printed upon the back of the program. Plain, non-folding fans are effective for this purpose, with the program and the menu on the two sides respectively. Fortune-tellers may wander about, reading pahns. Long-haired "poets" may honor various tables with their presence. Girls in Italian or Spanish costume may carry trays on which can- dies and fancy articles are for sale. A clown may carry a huge, mysterious "grab-bag," or a fisher- man may have a net filled with packages — a "Walking Fish-Pond." Those paying for the privilege may "fish" with a pole, line, and hook for desired packages. The program of the evening is given upon the stage. It may be continuous, or the various num- bers may be scheduled with short intervals be- tween. These give the guests an opportunity to move from table to table. "Sit down at our table for a while and have some ice cream" — such 138 PRODUCING AMATEUR ENTERTAINMENTS invitations ■will be frequently extended during such an evening. In the intervals, various prom- inent people may be "paged" and messages to them read aloud from the stage. This gives an opportunity for locally significant humor. Some of the performers may, after rendering their numbers upon the stage, come down and wander or dance in and out among the tables scattering little souvenirs, etc. This idea lends itself to many kinds of decorating effects as well as to many an artistic arrangement of the tables. It is also well adapted for use in a Garden Party or other outdoor Festival. A small platform is easily erected in the center of the gar- den or yard upon which the numbers are given. For an evening Japanese Tea-Garden Party, automobile searchlights, thrown upon this plat- form, give sufficient light for the rendering of the program. THE NEWSPAPEE IDEA In this plan for unifying the evening, each number on the program represents a department or feature of a newspaper, preferably a popular local paper, whose Departments are well known to all in the audience. The printed programs may be miniature newspapers, with the various num- SINGLE IDEAS THAT UNIFY A PROGRAM 139 bers described in true newspaper style. All kinds of advertisements may appear. "Newsboys" at the door of the Hall call "Extra" and distribute these programs from newspaper bags. The ushers may be girls who wear white dresses with caps and large collars made from newspapers. Paper fringe and tassels are easily made and are very effective as trimming. The ushers may also carry wands — ^long, thin rolls of newspaper with paper tassels at one end. For the captions upon the program, use a local paper. The Range of Possibilities. The following are suggestive of the way in which various numbers may fit into this conception. "Musical Notes": Orchestra Prelude. Any special musical selection. "Editorial": "Do a good deed daily" (page 78). Any special message from the Club President or a speech from the Mayor (or other locally prominent person) may be the Editorial. "Extra I News!!": A meeting of a "Conven- tion" of any kind, worked out in minstrel show style (chapter VI). "Society Notes": A Dancing Exhibition (fancy or social dancing), a man-and-girl song number. 140 PRODUCING AMATEUR ENTERTAINMENTS "The Pictorial Supplement." "The picture tells the story. Pictures taken by our official photographer. Special to this paper. Char- acteristic attitudes of Club enthusiasts." Lantern slide number (pages 171-173) or tableaux. "Advice to the Lovelorn": A popular song number; a feature number such as "Cu- pid's Little Dart" (page 72) or a "talky- talk" number, "Weather Forecast": "Bright and Fair": a summer-girl number (page 66). "Unset- tled": "My girl in all kinds of weather" (page 82). "Colder" (page 82). See also "Dance of the Seasons" (page 247). "The Funny Page" : Any Stunt or Melodrama. "Of Interest to Women": "Moods of the Mode" (page 81). "The Colyumist": See page 20. "Advertisements": Tableaux of well-known advertisements. ' ' Finale " : " The Editor 's Dream " or " Making up the Paper. ' ' All the various ' ' sections ' ' of the paper appear and join in the Chorus together. The throwing of paper streamers and confetti out into the audience is very appropriate. Any local editor, reporter, or department writer will quickly grasp the significance of this idea and SINGLE IDEAS THAT UNIFY A PROGRAM 141 may be called upon to cooperate in writing up the program as well as in giving valuable suggestions. OTHEE UNIFYING IDEAS •*A Feast of Fun and Frolic. Prepared and Served by the Community Club, Miss Smith, Chef." In this idea, the program as a whole represents a menu, each number being a course on that menu. The ushers may be dressed as wait- resses and waiters, with a magnificent Head Waiter in charge. The printed program may be printed in the best restaurant style. The follow- ing are suggestive for the various numbers : 1. First Course: An Appetizer — ^Any number full of action. 2. Second Course: "In the Soup" — ^A Stunt, 3. Third Course: From the Depths of the Sea — Mermaid Dance (see page 123). 4. Fourth Course : A Meet — ^Athletic exhibition. 5. Fifth Course: Caper Sauce (It goes with the Meet!) A song and dance number. 6. An Entree: A Talky-Talk number — Mono- logue. 7. Sixth Course: Salad. A driU or dance in green costumes. 8. Seventh Course : Dessert (usually cold) See Ice-Cream Cone Number, page 79. 9. Finale : The Dinner Guest's Dream. All the courses appear and frolic. 142 PRODUCING AMATEUR ENTERTAINMENTS "Booking for Vaudeville" has long been used and variously written up. The scene is in the Booking Office of a Vaudeville Circuit. The vari- ous performers appear and apply for work. The manager and the performers should be individual- ized; the artistic temper (ament) may be featured; all types of number may be used. Edna Geister in "Ice Breakers" has suggested this type of pro- gram as "Booking for the Chautauqua Circuit." It has also been described by dramatic pub- lishers. Amateur Night. "Every performer will be given every opportunity to show his own unique talents. Come one. Come all. Handsome prizes will be awarded." This program is modelled upon "Amateur Night" in vaudeville shows. The "Manager" appears upon the stage and an- nounces the rules and regulations governing the performers: Each is to be allowed a certain amount of time; no prompting is permitted; no mistakes wUl be tolerated. The performers may be scattered throughout the audience, rising upon definite cues and coming forward. Much amuse- ment may be aroused if various members of the audience have been coached to volubly express great enthusiasm or disdain for certain of the numbers. This may even end in an altercation, whereupon a Policeman or the Head Usher de- 3 « X SINGLE IDEAS THAT UNIFY A PROGRAM 143 scends upon the disturbers and muffles them with large black silk handkerchiefs ! This general idea is excellent for a Stunt Party. If prizes are to be awarded, the Jury should sit in state either upon the stage or near it. A Baby Show. All numbers presented as on a children's program. Audience may come dressed as children, babies, parents, and nursemaids. Children's games may follow the program. When- ever the audience come dressed in special costume, be sure to introduce a "Dress Parade" when the entire company parade across the stage. This gives all a special opportunity to see clever cos- tumes, which otherwise might be "lost in the crowd." Picturesque and Suggestive Conceptions. Mardi Gras: In Latin countries, as well as in New Orleans, a street carnival held the day before Lent opens. Fete Champetre: an outdoor festival combining picnic and fair features. Kermess; a European outdoor festival characterized by feast- ing, dancing, and general merriment. Jamboree (a favorite Boy Scout term) : an eveijing of fun- making. Gymkhana: a celebration of sports and games. Barbecue: a Mexican festival, usually in the open-air. Durbar: g, regal Fete of India, in honor of a native prince. Street Fair. Spring Festival. Society Circus. Masquerade Stunt Party. 144 PRODUCING AMATEUR ENTERTAINMENTS ANNOUNCING THE PEOGEAM A definite plan for announcing each nuDober gives unity to the whole. Where no special idea unites the program, the changing of cards on an easel at the side of the stage is commonly used (as in the professional vaudeville theater). A variation of this idea is to use two small pages of the same height, dressed in some special costume, carrjdng cards upon which are printed the title of the numbers. When a number is ready for entrance, pages walk from either side of stage, back; meet center stage, back; walk to stage front; turn toward either side and exit. This announces the number to the audience and is also a cue to the orchestra director that the number is ready for entrance. Even without the general idea of a "Circus" or similar plan, it is possible to have an "An- nouncer" who is, in effect, a "Barker." Before each number, he appears upon the stage and elo- quently announces what is about to appear. Much can be made of this role. CONNECTING THE PEOGEAM WITH AN DSTFOEMAL PLOT The step is short from a well-arranged, unified variety program to the one in which the various numbers are connected by an informal plot, as in SINGLE IDEAS THAT UNIFY A PROGRAM 145 musical comedies. One large Club, whose mem- bers were employed in a store, presented such a program, late in November, with the title, "Do Your Shopping Early" or "A Shopper's Dream." The Shopper (a woman) was the principal char- acter. The plot was simple. In an effort to do her Christmas shopping early, she stayed in the store too long and got locked in. The printed program announced the scene as the Store waiting room; the time as that very evening. A "Prologue" spoke the following: This is the store, where all the day You buy your goods and then you pay. Yet far from here you go at night And leave the store — ^which is quite right. But here, at night, within the store Strange things occur behind closed door, Strange spirits roam at will around And magic revels then abound. Perhaps you've heard of it before — Perhaps you know all this and more. And yet to-night we'll show to you The wonders that these elves can do. "We hope you'll laugh when laughter's meant Or else be grave with stern intent. We hope you'll have a pleasant time And say our play is simply fine. The curtain rose upon the shopper, weary and despairing because she could find no one to let her 146 PRODUCING AMATEUR ENTERTAINMENTS out. Sitting down for a moment's rest in a com- fortable chair, she fell asleep. "Courtesy" (a leading character) appeared to her and offered to bring to life all the things on her entire shopping list as she had planned it. The various specialty- numbers of this act were : 1. A dance of the Night Hours (as the Shopper fell asleep). Costumes of black sprinkled with stars, 2. The articles de- sired: Christmas ties for the men of the famOy (a wail. See page 94) ; kitchen aprons for the girls and women on the list (see page 84) ; two books for the children (Elsie and Little Rollo — ^see page 57). The Shopper was horrified by her poor selection. She knew that no one would care for those presents! "Courtesy" then offered to help her with suggestions, whereupon a Hat and Gown chorus entered and the Shopper was given her choice of the season's styles! This was the first step in the cheering-up process. Act 11 represented the new shopping list, as planned by "Courtesy." The special features were: 1. The son's present: gymnasium appa- ratus, exhibited by a gymnasium class. 2. Beau- tiful pictures for grandmother — ^tableaux. 3. For the daughter; a toilet set "come to life" — a pow- der puff, etc.; for the other daughter, boxes of candy (see "Happiness in Every Box," page 84). SINGLE roEAS THAT UNIFY A PROGRAM 147 4. A novelty musical number: Christmas Holly and Ribbon dance (holly and ribbon costumes) representing the Christmas decorations so neces- sary to all pretty packages. The spoken parts in this informal play were the Shopper, Courtesy, the Spirit of Christmas, the Manager, the Night Watchman. This idea of a "dream" is one that has been universally used, as especially adapted to evolving an informal plot about many kinds of numbers. A Vassar College variety program was once unified by the following plot, capable of great variation. "Aqua Mater or the New V Sea" was the title of the entertainment. The scene was announced as "The Bottom of the Sea"; the time, "The Present." The plot disclosed the adventures of a Vassar Junior, who had strayed into Nep- tune's Garden. A curtain of green mosquito net- ting across the front of the stage gave a "sea" effect. The Junior, upon learning that they had schools of fish, but no colleges, at once started to organize a college. Dances and stunts were intro- duced in the following connections : The organiz- ing of athletics (with fish balls) ; a drill; dramat- ics ; humorous recitations ; a Junior Prom ; dance of the Mermaids; a Faculty "Sharks" chorus; a chorus of Prominent Students: "Star Fish" 148 PRODUCING AMATEUR ENTERTAINMENTS (take-offs), etc. Many jokes of local college sig- nificance were introduced in the liaes of this informal play. Necessary steps. Necessary steps in the con- struction of such informal plots are : a considera- tion of the various types of numbers which the program is to include; a plot conception into which these numbers may be introduced in a fairly plausible manner; an arrangement of the plot in which the necessary elements of variety, contrast and climax occur. As with all original and creative work, there is here no stated manner of procedure. The plot, once conceived, may lead to ideas for special num- bers not thought of before; the numbers desired may suggest a certaia development of the plot. Time and thought put upon this phase of program planning "will often reveal unexpected possibil- ities. CHAPTER VIII FEATURING ORGANIZATION ACTIVITIES: IN PLAYS, SYMBOLIC NUMBERS, DEMONSTRATIONS, LANTERN SLIDE NUMBERS METHODS OF PRESENTATION MAKING THE POINT CLEAR SHORT PLAYS WRITING ORIGINAL PLAYS ^IDEAS FOR PLOTS SYMBOLIC NUMBERS FROM GIRL RESERVES, CAMP FIRE, WOODCRAFT LEAGUE BOY SCOUT DEMONSTRATIONS LANTERN SLIDE NUMBERS MONOLOGUES DIALOGUES. PRESEN- TATION OP GIFTS. Activities. Most organizations in giving enter- tainments have two purposes : they wish to amuse and delight their friends, and to give those friends an adequate idea of the extent and real signifi- cance of all organization activities. Songs, drills dances, and the like reaciily adapt themselves to st^^e presentation, Buj;, wha|i of: nijilinery and' cooking; classes, of hikes, of camping, of Day Nur- sery work? In most instances, it would not be in accord with the spirit of the evening merely t9 T„ea<|, as re]gort of these activities. 150 PRODUCING AMATEUR ENTERTAINMENTS Some other way must be found. And so the problem, simply stated, is this: to give these activities a place in the program, presenting them in an interesting way, compelling attention.^ Methods of Presentation. Organization activi- ties may be presented in many ways: in short plays, tableaux, pantomime, lantern slide num- bers, stunts, exhibits, and songs. Just which method will be most forceful in each situation depends upon the nature of the activities and the other numbers to be given upon the program. Make the Point Clear. Whatever the special nature of the number, make its point clear. Con- cerning this "The A B C of Exhibit Planning" (Eussell Sage Foundation) says: "In exhibitions whose subject is recreation or education many activities may be demonstrated by groups of chil- dren, such as woodwork, cooking, or table-setting ; home occupations for little children and evening home games for the family; setting up camp and first-aid demonstrations by Boy Scouts or Camp Fire Girls — all these and many others make attractive and sometimes useful exhibits. The word 'sometimes' is employed because their teach- ing value depends on the extent to which their significance is brought out by good interpreta- tion." FEATURING ORGANIZATION ACTIVITIES 151 SHORT PLAYS Play-writing Contests. There is, perhaps, no more valuable means of presenting organization activities than short plays. This value is increased if the organization members themselves write the play. This plan has been very successfully car- ried out by the ChUd Health Organization of America. In. 1920 a contest in play-writing and producing was held in the public schools of Man- hattan, N. Y. C, as part of a "Milk and Child- Health Campaign."* The school children and the teachers wrote the plays that were given. As a preliminary, the following suggestions were sent out to the teachers in the Public Schools : Forms of Presentation Milk facts may be presented in any of the following forms : Talks by children Songs Rhymes Informal plays Drills Posters To provide the teachers with a scientific basis on which to build the plays, a leaflet was also •The plays and exercises resulting from this contest have been published by the Child Health Organization of America. 152 PRODUCING AMATEUR ENTERTAINMENTS generally circulated, entitled, "A Message to Boys and Girls. Milk, the Master Carpenter." The pupils and the teachers in the various schools then wrote the little plays. In each school, the best was selected for presentation at the final con- test. The following summarizes one of these plays, "The Wizardry of Milk," by Rae Abraham, per- formed by a group whose average age was seven years. The properties were a huge cardboard milk bottle in the center of the stage. The Wizard of Milk entered and said, "I am the Wizard of Milk and I am going to show you something wonderful. When I clap my hands, watch the Milk Bottle!" Then, from each side of the bottle, came bounding out acrobats, who did -slever stunts; girls who sang songs; dancers yfho danced. Of each group, the Wizard asked, "Aren't you tired?" "Oh, no." "Why?" "Because we drink a quart of milk each day!" Next, the Wizard said, "Now I am going to show you what you can be when you are big, if you drink at least a pint of milk a day when you are little." Enter : a Sailor, a Doctor, a Nurse, a Fireman, a Farmer and Farmerette, a Mother with her baby, an old couple. All sang the praises of milk. And, as a finale, the Wizard summoned forth children carryii^g Health posters, which they themselye^ hgyd, iJip-lS^. iflt; tjieir ^rawing Class., FEATURING ORGANIZATION ACTIVITIES 153 Booklets may be obtained from the ChOd Health Organization of America ("Cho-Cho and the Health Fairy," "Rosy Cheeks and Strong Heart," "The Child Health Alphabet," "Rhymes of Cho-Cho's Grandma,") of use in arranging informal dramatics on health subjects. (See Bib- liography, I-E.) Writing the Play. In writing a play of this kind: 1. Think of the activities you wish to pre- sent. 2. Work out a plot that will introduce these various phases of the work. 3. Make the dialogue light and natural. Avoid statistics and long speeches. 4. Your purpose will often be best served by giving a humorous twist to the plot. 5. Keep in mind the audience which is to see it. An audience of educated parents and friends will appreciate one type of play, from which an audi- ence of imtrained minds would get nothing. No general rules can be given. The immediate situa- tion must be the deciding factor. (See Bibliog- raphy, II-Gr.) PLOT SUGGESTIONS The following plot summaries are suggestive of the way in which informal plays may bring out desired points. A Social Worker's Playlet. A group of social 154 PRODUCING AMATEUR ENTERTAINMENTS workers once gave the following amusing playlet. The curtain rose upon a room and a family in great disorder. One by one, representatives of each City Organization called upon the family. To each the Mother told her story, and from each she obtained promise of two weeks' vacation in the country (free of charge!). By the time all had called, she could look forward to three months' vacation ! The curtain fell upon the family pack- ing up and loudly rejoicing. A "Mournful Moral" then appeared before the curtain bewail- ing the fact that "centralization" had been miss- ing. Shouts from the "family," behind the Scenes: "We don't car el We don't care!" "Her First Vote." A Civic Club once gave an entertaining sketch called "Her First Vote." The scene was laid in a precinct voting station. The characters were: three registrars, a policeman, Miss Fluffy Ruffles, and her escort. * ' Fluffy ' ' had a most difficult time with the questions, and was at last able to enter the voting booth only because her escort and the policeman helped her in I "Courtesy to Every Customer." A class in Salesmanship presented a most successful play called "Courtesy to Every Customer." It is described in "Girls' Clubs" (By the author of this FEATURING ORGANIZATION ACTIVITIES 155 book) as follows: "The scene was in a department store coat section; the characters — a salesgirl, an aisleman and the customers who came to buy ; the 'just looking' customer, the 'sample fierid,' the man shopping for his wife, the mother and daugh- ter who disagreed." "Which One?" This little play was arranged for a Club interested in the ways and means of applying for "a job." Various types of young people appeared in an Employment Office. The Employment Manager interviewed each. At the close of the play, each member of the audience was asked to vote for the person he would have em- ployed had he been the Employment Manager. A Business Meeting. A short "Model Business Meeting" may be given, or one far from "model." In the latter the "motions" made should be ridiculous — "I move the clock be stopped"; and the various amendments should become utterly tangled. The only clear motion of the evening ia "I move we adjourn." In this, make the chief discussion of the evening center about some def- inite activity concerning which you wish the audience to be informed. For example, a Summer Camp. Shall we go? Where shall we go? What, oh, what about expenses? 156 PRODUCING AMATEUR ENTERTAINMENTS Presenting Class Work. The following informal plot was first worked out and presented by a large Girls' Club who wished: L To present class work upon the stage ; 2, To include in the number mem- bers who wished to be in the entertainment, but who refused to appear in any way that would make them individually conspicuous. Because of the large number of performers, it was used as a Finale. The Cast: the Secretary; the Visitors; ten representatives from each of the following classes: Millinery, Dressmaking, Cooking, Crochet and Knitting, Art Embroidery, Stenography, French, Business English, English Literature, Current Events, First Aid. The curtain rose upon a scene of great activity. All representatives were upon the stage, grouped in classes; some sitting; some standing; each group engaged in its special work. The millinery class were trimming hat^ ; the cooks (in uniform) were stirring in large bowls; the stenographers had typewriters ; the First Aid girls were bandag- ing each other, etc. The relative positions of the groups had been carefully considered from the point of view of stage-effect. The Club Secretary then entered and told the FEATURING ORGANIZATION ACTIVITIES 157 Club girls that a delegation of "girls from other lands" was outside (an English girl, a French girl, and an Italian girl, in this instance). Various Club girls cried, "Invite them in. Show them what we do!" The stenographers then wrote (iapon their machines) invitations to the visitors. The Secretary left and at once returned with the vis- itors, whereupon songs of welcome were sung, including the "Marseillaise" (in French) by the French Class. A "Guide" then stepped forward, taking the visitors to each class-group, in turn. "Here is our Dressmaking class. Miss Instructor, how many dresses have you made this year? ". . . dresses, besides — ^waists, skirts, etc. " Class member : " I made over a last year 's dress, at a cost of $1.85. Look at it!" (She rose, and twirled about.) Each class thus displayed its work to the expressed delight of the English girl. The French and the Italian girls managed to con- vey their wish to "learn English and stay in this club." The Business English Class then gave a "stunt" to show what could be learned in- their class. This stunt illustrates how even "Parts of Speech" can contribute to an evening's fun. The Instructor and nine girls advanced to the front of 158 PRODUCING AMATEUR ENTERTAINMENTS the stage, and the instructor introduced them as follows :* Our Class in Business English (We want you all to note it) Has learned to speak our Mother-Tongue As well as Shakespeare wrote it! In time, we may do better still — (It pays to persevere) We like our work. We know you will. Come! Join our Class next year! Each girl was seen to be wearing a sign hung around her neck, large enough to be plainly legible from the audience. On the front of each card, exposed at first, was the name of one of the parts of speech: Interjection, Conjunction, Pronoun, Preposition, Article, Noun, Verb, Adverb, Ad- jective. On the reverse sides of the cards — ^which were turned over by their wearers when the time came — ^were the words exemplifying the nine Parts of Speech : Oh — ^but — everybody — ^in — ^the — Club — is — so — Chappy. Then the girls recited the following "poem," one line to each girl across the row, each turning over her card at the end of her line, so as to place her word in the sentence gradually forming. "Verses by Elizabeth 0. Moore. FEATURING ORGANIZATION ACTIVITIES 159 The Parts of Speech An INTERJECTION indicates emo- tion or surprise — OH A CONJUNCTION links together, and forms the best of ties — BUT The PRONOUNS serve instead of nouns — as they, someone, or he — EVERY- BODY A PREPOSITION'S tiny, but as use- ful as can be — IN The ARTICLES are A and An, like- wise our old friend — THE A NOUN is either common, or as proper as you wish — CLUB A VERB shows state or action — as, to be, to dance, to fish — IS An ADVERB'S what we use to make our language sound more snappy — SO The ADJECTIVE tells you what we are — so everyone is — HAPPY And every woman in the audience wished that she might join this Club! SYMBOLIC NUMBEE8 Short sjrmbolie numbers, of poetic conception, may be written by organization members or adapted from available pageants. The following symbolic episode has been adapted from the Girl Reserve (Y. "W» C. A.) pageant, "Friendly- Kingdom" by Tracy D. Mygatt (The Womans Press). 160 PRODUCING AMATEUR ENTERTAINMENTS The Episode. Groups of immigrant girls and foreign girls are seen upon the stage, taUdng together. They are longing for the beautiful and happy things of life. But Despair-in-Loneliness answers them, "a sombre figure in tattered, ash- colored raiment," dancing about them so weirdly that even the bravest of the girls are cowed. The girls cry, "Oh, someone — someone who loves girls ! Come quickly ! ' ' At their call comes the Spirit of the Girl Ee- serves, tall, graceful, and strong. She drives away Despair and holds out her hands in welcome to the Lonely Girls. Eagerly they crowd about her, ask- ing many questions about the Girl Reserves. The Spirit of the Girl Reserves tells them of her many plans for girls, at last summoning the Americai girls. "Girls! American girls! Bright and eager and strong! If you want me, I call you ! Come and share in our song! A song of courageous life. Of wisdom and spirit and health, Of service and comradeship — A life far richer than wealth!" A Camp Fire Pageant Number. The following number called "The Gift" is based on the Fire- FEATURING ORGANIZATION ACTIVITIES 161 Maker's Desire of the Camp Fire Girls, inter- preted through the Prometheus Legend. The Fire-Maker's Desire is : "As fuel is brought to the fire So I purpose to bring My strength, My ambition, My heart's desire, My joy, And my sorrow To the fire Of humiaiikind. For I will tend As my fathers have tended, And my fathers' fathers. Since time began The fire that is called The love of man for man — The love of man for God." The Gift Scene: a dark waste. Seven dark figures are huddled together, stage left. The figures should wear hooded cloaks of the same color as the hangings. From far off right comes the sound of faint flute music. As the music grows more distinct, a light glows off stage, and then, suddenly, as the music grows louder, Prometheus enters in a blaze of light. 162 PRODUCING AMATEUR ENTERTAINMENTS He is stately, god-like, 'dressed in a Greek chiton, bordered with, purple and gold. He lifts a lighted torch aloft. He speaks. "Awake, ye mortals, lift your heads, Behold the light of the world, The flame of life, the spark of the Gods divine I It is my gift to you, snatched from divine fires. Kindle a fire with it that ye may have homes, Light your lamps by it that ye may see into dark places. And find out where truth is hidden. Place a spark in your hearts, let it glow there That ye may have sympathy and faith and love. Behold my gift to you, mortals, It is the gift of Light and Warmth and Love." As he finishes speaking, the music grows loud, but is drowned by oncoming thunder. There is a roar of angry voices off stage ; the light vanishes; the stage is left in darkness. Yet where Prometheus stood is a tiny glow, a spark left from his torch. Slowly the figures rise and stretch out their hands toward the little light. The First Figure speaks : Kindle a fire with it, said the Great One. I shall bring my strength to it. (He gathers branches lying about and places them near the light.) FEATURING ORGANIZATION ACTIVITIES 163 Second Figure : And I shall bring my ambition, my heart's desire. (He bends down and blows upon the fire.) The Third Figure (rising) : And I my sorrow. (He throws dead leaves upon heap.) The Fourth Figure : Let the fire of the Gods, the fire of Prome- theus, enter our hearts and warm our numbed fingers. (He takes the tiny light and ignites the material they have gathered.) As the flames leap up, the voice of Prome- theus is heard off stage : "The Fire that is called The love of man for man, The love of man for God." As the fire bums, the mantles of the seven figures fall off and they are revealed in beau- tiful, bright-colored dresses, representing the colors of the seven Camp Fire Crafts. Happy, joyful music starts, and troops of young girls and children in gay colors come in bearing garlands of flowers and waving bright rib- bons. (These may be cut from crepe paper.) They dance about the fire. 164 PRODUCING AMATEUR ENTERTAINMENTS The music and dancing cease, and the First Figure says: "His gift of Love and Light, — Then flowers grow, And many a bird in rapture sings, And up and down the weary world, The laughter of the children rings." A Woodcraft League Number for Boys. Some boys of the Woodcraft League have worked out an original plot having to do with "The Making of a Chief," the story of which runs as follows: A group of Indians are seated around the fire. One of the members rises, and by pantomime shows that their Chief is dead, and that they need a new Chief. He then poiats to a boy (previously selected) and indicates that this one should be the new Chief. By pantomime he shows Tn'm to be a good hunter, strong in carrying a canoe, a good paddler, knowing how to cut up the fish. The group one by one indicates approval, only one member showing doubt He finally agrees, and the leader lays his hand on the new Chief's shoul- der, looks him in the eye, and shakes him by the hand : and then in turn each man greets him. When the Chief takes his place, they pass the pipe, and each smokes it in turn. There then ^5 5 s z H FEATURING ORGANIZATION ACTIVITIES 165 appears outside the circle, on the opposite side, the figure of a small old man, with a long grey beard — a Spirit. He points to the Chief, and asks him a question in sign language. Doing the hop- step of hunger around the circle, he taps himself on the chest and asks the Chief whether he can endure this. Then he again goes around the circle and dramatizes fear, fatigue, and cold ; after each asking the same question. The Chief evidently believes that he can endure. The Chief then calls the group and leads them on to the hunt. They first circle around the fire in the hop-step, in a show-off to the village. Then for a circle or two, they follow the trail through the woods, where they sight an enemy. They attack, and in the fight the Chief is wounded and is about to drop, but is caught in the arms of his men. As he dies, he sings the death song (found in the Book of Woodcraft), His dead body is then carried off by his men. DEMONSTRATIONS The "A B C of Exhibit Planning" says, "A variation of the playlet is the sketch that is no more than the acting out of some every-day ex- perience of the visiting nurse or probation officer, 166 PRODUCING AMATEUR ENTERTAINMENTS for instance, or the meeting of a committee, where the daily stories are rehearsed and advice given." Similarly, demonstrations of various activities, as they occur in the organizations, may be pre- sented. The following Camp Fire Girl demonstration, given in Minneapolis before a State Teachers* Convention, illustrates this possibility. For the first number, one group in "Minute Girl" cos- tumes illustrated "Hold on to Health" by singing the Walking Song with motions. The girls had actually practised this, out of doors, so that it meant something to them. Then at one side of the stage, one girl made up a bed in which was a patient, while a group in the center played with a real baby, who was adorable. She actually took two steps upon the stage. Then the girls sang their little motion song to her and she waved her arms in response. A Roumanian dance followed, danced by Roumanian girls, and given to illustrate the Americanization work. Story-telling. A Club's Story-telling hour may be introduced into a number in which the Story- teller is seen in the midst of children or Club mem- bers. The story used for this number should be short and colorful. The eager, enthusiastic chil- dren will also hold the interest of the audience. FEATURING OEGANIZATION ACTIVITIES 167 The Story-teller in costume, who goes into streets crowded with children, may be featured. The curtain may rise upon a street scene, in which children of all ages are playing various games. The Story-teller appears, and amid shrieks of delight from the children she sits d6wn to tell the story. Folk dances and songs may also be intro- duced into this number. A Boy Scout Demonstration. The majority of Boy Scout entertainments (frequently called "Jamborees") consist of Scout activities, often in the historical setting which recalls the Indian origin of many phases of Scouting. The subse- quent development of the various program num- bers may lead through the scout and pioneer days up to those of the road-builder and engineer. An Opening Scene. This may be in an Indian Camp, with several tepees. There may be cere- monial dances, an exhibition of basket weaving, moccasin making, or archery. The Indians hear someone approaching, and quickly pack up. As they move away several men in buckskin appear. A skirmish with the Indians may follow. The men in buckskin are left in possession of the site. The finale of this episode may be a massing of Scouts, carrying flags of all nations, thus showing the "melting pot" origin of American Boyhood. 168 PRODUCING AMATEUR ENTERTAINMENTS A flag ceremony, with the pledge of allegiance to the American flag, may conclude the number. A Day in a Boy Scout Camp. This may follow the above or it may be used as a single number in any program. It may also be adapted to the activities of any kind of Camp. Scene: A modern Boys' Camp, at dawn. The bugle sounds first call and reveille. The boys ^H3rawl sleepily from their tents. A leader takes charge and conducts physical exercises. Then follow various Camp incidents, presented in pan- tomime : sawing and splitting of wood, arranging it in fires, the mixing of pancake batter, pouring it into pans, cooking and flipping the pancakes. Other Camp incidents which may be given are : a boat race ; a swim ; resuscitation of a boy who is supposed to be drowned. A "Flivver" Party. Scene: a picnic party, a family consisting of several children, and father and mother. While they are enjoying themselves and strewing papers, empty cans, and boxes about, the small boy of the party discovers a snake and tries to kill it. Two Scouts, hiking by, hear the commotion, approach, and rescue the snake. They explain that the snake is harmless and destroys untold numbers of injurious insects. The boy registers wistfulness as the Scouts leave and asks FEATURING ORGANIZATION ACTIVITIES 169 Ms mother and father whether he cannot join the Boy Scouts. The Flivver party departs, leaving behind them their debris. A Boy Scout Patrol comes along, decides that the spot is ideal for a camp site, but resents the desecration of such a beautiful place by the picnickers. They especially resent the fire, left burning, as such a thing often starts a serious forest fire. The Patrol then sets to work, cleaning up the camp site ; making its own orderly camp ; pitching tents; laying their blankets. The boy from the Flivver party steals back, fascinated by the Scouts. The Patrol conducts a little initiation ceremony in which this tenderfoot is shown the ideals of the Scout movement in regard to wood- craft, forest conservation, a clean trail, and an appreciation of the mysteries of Nature. Meanwhile, the lights are dimmed, for night sets in. The boys gather about the Camp Fire. The scoutmaster concludes the evening with a talk about the spirit of the Eed Man, whose spirit is in the woods. As the moon rises behind the tents, it silhouettes an owl perched on a bit of a dead tree. The boys retire to their tents and Taps is sounded softly. A Scene at Troop Headquarters. Banners, troop flags, rope, staves, and any other available 170 PRODUCING AMATEUR ENTERTAINMENTS troop properties are in the room. As the curtain rises, several of the boys are seen putting the room in order. The members of the troop gather, by twos and threes. The troop meeting then starts. A patrol leader takes charge and any or all of the following may be done : 1. The boys build an 8-foot bridge, 4 feet wide, using rustic poles and rope, observing the imaginary stream over which they are building. 2. Staff drill according to Scout Manual. 3. Making fire by friction or by flint and steel. If the flint and steel fire is made, a beauti- ful effect is obtainable by darkening the stage and allowing the sparks and, later, the flame, to show against the darkness. 4. At the close of the meeting the troop is formed, facing the audience, the Scout Oath and Laws recited, the flag ceremoni- ally lowered while the Scouts stand at attention. A Processional. If a bridge has been built in any number, a colorful processional of all per- formers may be given at the close of the Scout numbers. The lighting must be planned so that the performers may pass over the bridge sil- houetted against the light. Appropriate music may be played as the processional crosses the FEATURING ORGANIZATION ACTIVITIES 171 bridge, then away, into the darkness. First, the Indians; then the early adventurers; and so on, to the Boy Scouts. The effect must be given without footlights, with the light coming from behind the bridge. LANTERN SLIDE NUMBERS If a stereopticon equipment is available, lantern slides may be made from snapshot films or from special photographs taken during the year at club parties or entertainments. In such a number, the slides may be arranged in definite order, as the various episodes in "A Story of the Year" or "The Camp Trip." Or it may be that a story is worked out, as "The Boy who did NOT whistle (but who does, to-day)" — or "The Little Lonely Girl (who now smiles)." Special snap-shots may then be taken to illustrate the development of this story. All the various Club activities, as shown in the slides, help in bringing about this happy change. Accompanying the pictures may be orchestra music only; or a Club representative may stand beside the screen, a pointer in hand, telling the story of each slide and pointing out details of special significance. The "talk" may be in verse 172 PRODUCING AMATEUB, ENTERTAINMENTS form, with an appropriate verse for each picture, as, When Antunin comes, with crisp, cool air, Our lunch we take and forth we fare, We walk for miles and miles, and then — We cook our meal and home again ! Screen Captions. With the various pictures there may also appear upon the screen explana- tory captions. The photographer will make these for you. Have them concise and colorful: "What makes her cheeks so red, her smile so fair? Camp- ing! July 15-22." "A Close-up. Our Popular President." "When our Batting Average is high. Bacon Bats galore!" A few interesting statistics may also be thrown upon the screen. "About Expenses. We have raised $ this year. We have done it our- selves!" "Can we can? Indeed we can! Can- ning — cans of fruit is our Season's Canning Eecord." Songs. Club songs are also an excellent accom- paniment for the pictures. Have an appropriate song for each, such as a marching song for a hike picture; a serenade for "our president"; the round "Come to dinner" (see page 73) for a picnic meal, etc. Tableaux with the Pictures. The idea of FEATURING ORGANIZATION ACTIVITIES 173 tableaux with the pictures is possible only when auditorium equipment includes a spot-light. This idea is to throw a Club picture upon the screen and simultaneously, beside the screen, arrange a tableau of the Club members in the same pose as that which they took in the picture. The spotlight reveals the tableau but does not interfere with the screen pictures. Thus the audience literally sees the "pictures come to life." This may be made very amusing. SPECIALTY ACTS The Child Health Organization of America has successfully employed professional performers for forty-five minute performances, in its work of raising the "Health Standard of the American School Child." "The Health Fairy," "Cho- Cho," and the "Jolly Jester" are among their performers. The Health Fairy has a house which is the basis of her act. She explains how a child can build a house for a fairy by keeping the Health Rules. "Every time a child eats the right food, etc. a brick or a shingle is added to the fairy house" (sjTnbolical of the child's own body). Cho-Cho is a clown. "Because he is a clown — a real clown — ^he has the undivided attention of 174 PRODUCING AMATEUR ENTERTAINMENTS every child, as with charming nonsense and droll antics he teaches the simple facts of health and hygiene." "The Jolly Jester" is a ventriloquist who makes milk and vegetables and horses and hens and cows and his faithful "Harry" (a doll) speak. MONOLOGUES AND DIALOGUES If, in view of the other numbers upon the pro- gram, an extensive presentation of activities seems undesirable, much can be given in a well- written monologue or dialogue. The monologist may be in character ; for example. Rip Van Winkle is visiting the town and relating his adventures in finding the happiest boys and girls there. He rejoices in the Club and wishes there had been one for him, when he was a boy "two or three hundred years ago." Or the monologist may be a New Girl or Boy, relating how she (or he) was so lonely on first coming to town. Then the newcomer joined the Club, and, little by little, in taking part ia the various activities, all the loneliness left. The speaker then bids farewell to the audience, going out to hunt for other Lonely Girls and Boys to tell them about the Club. Dialogues of similar character may be written : FEATURING ORGANIZATION ACTIVITIES 175 A Club member meeting the New Girl or Boy ; or the Club member meeting Rip Van Winkle. PRESENTATION OF GIFTS If an organization is planning to make some gift or to render some special service to the Com- munity, a public presentation or announcement in the entertainment program is most effective. Let a chosen representative of the organization make the presentation to the mayor, the school princi- pal, the church pastor, or the playground director, who should also be present upon the stage. The presentation may be of a tangible gift, such as a school flag; or it may be in the nature of a pledge on the part of the group to assist in public gardens or in Clean-up Day, etc. The pledge, publicly made, and accepted by the mayor on behalf of the city, will create a definite impression upon the audience. CHAPTER IX FEATURING OUaANIZATION ACTIVITIES: IN TABLEAUX, PANTOMIMES, AND STUNTS TABLEAUX — NATIONAL L.BAGUB OF GIELS' CLUBS ITUM- BEB — ^A GIBL SCOUT NUMBEE — ^A PANTOMIME OE CLASS WOEK — WOODCBAPT LEAGUE MOVIES — ^AN 0E6ANIZATI0N STUNT — ^A SIGHT-SEEING TOUB — EXHIBITS. Tableaux, pantomimes, and stunts may also convey an idea of the organization's activities. Tableaux. The "Album" idea is very useful in this connection. (See page 56.) The number may be called "Snap-Shots of our Club" (or our Camp or Community House). At the side of the stage, two people may be looking at a "Snap- shot" book. These people may be two Club mem- bers, or a Club leader and one of the members, or a mother and a Club member who has just re- turned from Camp, etc. Many variations are possible. As each tableau appears, the one showing the snap-shots makes a characteristic comment, "We 176 FEATURING ORGANIZATION ACTIVITIES 177 took this picture the day of our ten-mile hike. My, that bacon tasted good!" Much amusement will accompany such remarks as, "Hasn't Mary Jones a lovely smile!" Mary's smile (in the tableau) will doubtless develop into a laugh, to the delight of the audience. "The Good Club Member," The following tableaux-series of seven pictures has been success- fully presented by the National League of Girls' Clubs. Each tableau is simple in conception and therefore easily staged. 1. The Good Club Member attends meetings. (Girl studying large calendar, with the date of the Club meeting night marked with a red- ink "box.") 2. Abides by the will of the majority. (Group of girls, a half dozen or more, sitting in chairs placed in three rows. All except one have hands up as if voting for a motion. One girl has hands in lap, but smiles upon the others.) 3. Pays her Club dues promptly. ( Girl depositing coin in box marked ' ' Dues. ' ' ) 4. Serves on Committees. (Girl decorating hall with greens.) 5. Welcomes newcomers to her Club. (Two girls. First girl has hand extended in greeting to the other girl, who is very timid and plainly a stranger.) 178 PRODUCING AMATEUR ENTERTAINMENTS 6. Never misses a party. (Crowd of laughing girls having a good time, one girl in center especially noticeable for her enjoyment of the occasion.) 7. Keeps her Club and her town in active co- operation. (Girl stands between two symbolic figures bearing respectively the banner of the Club and that of the city. Girl joins hands of city and Club.) A Girl Scout Number. The following Girl Scout poem is good for tableaux and pantomimes. Girl Scout Week Monday's Scout is at the tub, Her Sunday clothes to rinse and rub. Tuesday's Scout will roast and stew And cook fresh pancakes just for you. Wednesday's Scout is bent on Thrift, To patch the hole and darn the rift. Thursday is Scout Service Day, For helping your neighbor in many a way. Friday's Scout is rosy and strong — She camps and "hikes" the whole day long. Saturday's Scout is happy and gay, For this is Baby-Caring Day. While Sunday's Scout presents to you Her Mwuniformed back in the family pew! As each verse is recited, the following tableaux and pantomime are suggested : FEATURING ORGANIZATION ACTIVITIES 179 Monday: Scouts may give in pantomime the washing and rinsing of clothes and the patrol leader may have the inspection drill afterward, signal and exit. Tuesday: Scouts bring griddle. If possible, mix the batter and bake pancakes; if not, pantomime. Wednesday: Pantomime dance may be given. The taUor's dance from Elizabeth Burchenal's book is suggested for Junior Scouts (see Bib- liography). At the end, if desired, feature darning, etc. Thursday: Semaphore the Scout slogan. Have children represent patients in bed. Have several Scouts bring flowers to them. Have at least one Scout play games with patient, etc. Friday: Pantomime some Camp scenes. Scouts may go through the motions o^ building a fire, chopping the wood, etc. Also putting up a small tent (a "pup" tent), carrying water. There may also be an exhibition of knot-tying. Saturday: Brownie Scouts (small girls) may be used here. The older Scouts should be shown teaching the Brownies how to bathe their dolls, dress and care for them in every way. This should be done well, as it represents the care of children. Sunday: Girls march out with books and go into Church singing. songs. For a finale, all may re-enter and sing Scout IffS. 180 PRODUCING AMATEUR ENTERTAINMENTS A Pantomime of Class Work. The following is an illustration of a humorous pantomime arranged about the central idea of the benefits of class work. It has been successfully used under the title, "How Sister Susie found her Beau." It is to be accompanied by the verse and soft music. Cast in order of appearance : Daughter, Mother, Enthusi- astic Club Member, any desired number of repre- sentatives from each class, and finally, the young man ("Sister Susie's Beau")- The stage may be simply set, with a chair for the daughter and a small table nearby. The curtain rises upon the Daughter, weeping. Mother enters. One gathers that she is irate. The Verse : Mother — angry. Daughter — sad. Doesn't know much. Calls her "bad," Daughter — ^weeping. Knows it's true. No beaux coming. "Don't want you." Mother — ^weary. Leaves the place. Daughter — stupid. Such disgrace. (Exit Mother) Enter the Enthusiastic Club Member. She com- forts the Daughter, wiping her eyes. Verse : Club girl — smiling. Says, "Come, too." Ways beguiling. "Class for you." FEATURING ORGANIZATION ACTIVITIES 181 Work and study. Laugh and play. Mother happy, all the day. Daughter slowly lifts her head. / "Yes, I'U join it. Go ahead." Daughter stands. Club member goes to entrance and beckons. Enter the millinery representatives carrying hat boxes. They form semicircle around girl. Boxes placed on floor and opened. One girl has a hat, one girl a ribbon, one a rose, etc. They trim hat and place it on Daughter's head. One girl holds a mirror before her, etc. The Verse : MiUinery lessons. Trims a hat. Saves her money. Pleased at that. Ribbon. Velvet. Rose or two. Stylish bonnet. Yes, 'twill do 1 Note: As each class finishes its work, the group may remain upon the stage, going to one side or stage back, and leaving room by the Daughter for the next group. Each class may give the Daughter a character- istic gift. Dressmaking group (with pincushions, tape measure, scissors, etc.) may have a dress to pin upon Daughter, over her own white dress. This may be prepared in the following separate units : skirt, open up the back; waist ; collar, sash. isa' PRODUCING AMATEUR ENTERTAINMENTS Thus in pinning it upon Daughter, they show the "fitting" of a dress. The Art Embroidery group may give a center- piece for the table ; Cooking, a cake with birthday candles; English, books for the table; Current Events, newspapers and magazines. The Verses : Old dress — shabby. Worn out, too. Must have new one. This won't do. Buys some cloth — ^A pattern fine. Joins the class. Gets right in hne. See how stylish! See how swell! Makes her dresses. Fit so well. Now our Daughter learns to cook. See her cakel And frosting — look I Dainty menus — ^Yes, she can Please the most particular man ! Grymnasimn dancing — ^oh, what fun! See her jump. And see her rim. Cheeks so pale, soon like a rose, Latest steps, away she goes. Sewing, playing, dancing, too, 'Tis not enough. 'Twill never do. Out Avith people — ^white as chalk — Quite self-conscious — Cannot talk! Comes to "English." Looks so sad. "Ain't got no" is very bad! Soon she changes. Talks so well Many pleasant things to tell. FEATURING ORGANIZATION ACTIVITIES 183 At the close of the number, many girls are on the stage. Daughter is smiling. Enter Mother, re- joicing, bringing the Young Man 1 Mother happy. Daughter glad. Club has taught her. No more sad. Sewing, coolong. Dancing, too. Not a thing she cannot do. Young man sees her — oh, you know! Sister Susie finds her Beau ! The young man puts a ring on Daughter's hand. All sing Club songs. Curtain. Woodcraft League "Movies." These as devel- oped in the Council Eing of this organization, are in accord with their conception of dramatic work. The Woodcraft League lays particular emphasis on the development of the imagination. Its main approach is through the outdoors and the use of simple, natural things, without the addition of properties. The Woodcraft Council Eing is a group of persons seated in a circle, and much of the dramatic work is done within this circle, creat- ing an informal atmosphere and a sympathetic feeling between performers and those in the circle. In the Woodcraft Movies, only one person at a time is acting, each interpreting his or her own idea of the theme to be presented. There must, of course, be a scenario, such as the story of Eed 184 PRODUCING AMATEUR ENTERTAINMENTS Biding Hood, with adaptations ; or a boy strolling through the woods, finding a rattlesnake, killing it ; or Eobinson Crusoe discovering the footprint ; or Little Miss Muffet; or on the comic side, the story of a man starting a Ford car, etc. All these give opportunity for dramatic expression. There must be no talking and no properties. Through imaginative pantomime only, the boys and girls, or the men and women, must tell their stories effectively. Such emotions as fear, hunger, cold, fatigue, may be acted out by some of the members, each walking slowly around the outside of the Coimcil Eing, the idea being to see which can do the best portrayal in one rounding of the circle. An Organization Stunt. The following stxmt was first given extemporaneously by the Secre- taries of the National League of Girls' Clubs on Stunt Night, at the Bryn Mawr Convention. Around the Clock with a League Secretary Or, Nothing to Do Till To-morrow A Burlesque on A Busy Life — ^in a Series of Vaudeville Sketches Properties: A large clock face painted on a sheet. Movable hands roughly constructed. A "barker" supplies comments on the scenes, FEATURING ORGANIZATION ACTIVITIES 185 announcing each, event and moving the hands of the clock, with exaggerated solemnity. 6 A.M. Secretary wakes up. Is stretched out across two chairs. Brief-case for pillow. Jumps up, fully dressed, including goloshes. Takes off curlers, puts on horn-rimmed spectacles, grabs clothes, stuffs them into suitcase and runs. 7 a.m:. Catches train, dropping brief-case and spilling everything over platform. Registers intense agony. Fiaally falls into last car (cars represented by chairs humorously la- beled). 8 a.m; Opens mail, seated at desk piled with huge letters. Reads funny letters aloud and is continually answering telephone. 9 A.M. Stimulates a community. Frantic speech with hits on local needs. 10 A.M. Interviews applicants for other secre- tarial positions, all of these being absolutely impossible, showing remarkable ignorance as to qualifications. 11 A.M. Attends meeting of Advisory Board. 12 M. Eats luncheon (which, is brought in from outside to her desk). Desperate hurry. Talks through telephone, at the same time writing on typewriter. 1 P.M. Coaches a play. Soothes stars, arranges scenery, supplements orchestra, improvises properties, etc. 186 PRODUCING AMATEUR ENTERTAINMENTS 2 P.M. Returns to office. Remembers need of constant effort toward good publicity. Ex- amines bundle of newspapers; calls up news- paper office and complains that the Editor has given two lines to-day to the Republican Con- vention instead of devoting the entire issue to Girls' Club news. Apparently receives apology. 3 P.M. Cooperates with all other organizations. Walks about, shaking hands with many peo- ple, radiating good will. 4 P.M. Gives a talk before a parlor audience on "Efficiency through Poise and Repose." 5 P.M. Leads Community Singing. 6 P.M. Attends a Club Supper. 7 P.M. Helps prepare for a Club dance. Trouble with the Orchestra. 8 P.M. Chaperones the Dance. Fixed smile. Difficulties in getting people introduced. A SIGHT-SEEING TOUE The Tour Idea. The idea of a tour is to arrange some special exhibits or side-shows, displaying various organization activities, particularly those which are not especially adapted to stage presen- tation. The members of the audience may be con- ducted past these displays, in Sight-Seeing Tour fashion. Select several members of your organ- ' ization (of genial disposition and clear voice). FEATURING ORGANIZATION ACTIVITIES 187 They are to act as the leaders of the Sight-Seeing expedition. Coach them in definite speeches to be delivered at each booth, as "Here you see our boys engaged in setting up Camp. They can set it up — and they can upset it ! Notice their skill in putting up the tent," etc. These leaders may be dressed in distinctive costume, each equipped with a small megaphone and a stool. On the night of the entertainment, as the guests enter, they hear "Party now forming. Right this way. Join the Sight-Seeing Tour through the wonderful exhibit ! ' ' Each leader gathers a group of guests (of any desired number), and sets forth with his party. At the various points of interest, the leader may put down his stool, ascend it, and speak. This plan adds merriment to the seeing of the exhibit and also gives the leaders an oppor- tunity to emphasize the educational aspect of it all. Much depends, of course, upon the selection of the right kind of Tour leaders and upon the speeches which they deliver. Much can be made of the role of leader. If the organization budget permits, each guest may be "tagged" upon the completion of the tour. The tag may be a small cardboard square, with a bit of string in one corner, to be pinned on each guest by the leader. Have some * ' catch ' ' wording, 188 PRODUCING AMATEUR ENTERTAINMENTS as, on one side, "I vote," and on the other, "For the Club!" At the door of the anditorium or by the last booth, the leader bids farewell to the guests as they go into the entertainment proper. "I hope you enjoy the program," or, "Watch for me on the stage," etc. The Displays Themselves. Plan for displays which will be in keeping with the general char- acter of your entertainment. If you are arrang- ing for a County Fair, the exhibit booths may represent the "Exposition Building" in which are displayed the products of the members' skill. If the entertainment plan does not include the exhibit idea, humorous tableaux may be arranged in booths, before which the Tour Conductors may wax eloquent. The Exhibit. If such is planned, ask yourself the following questions: Where shall we place it? What shall we display? In what order shall the guests see it? What shall explain it? Posters, Tour Conductors? Taking stock of the activities to be represented is an excellent way to begia. In general, there are four ways of presenting activities: displays of articles made; demonstrations of a process; models ; tableaux. FEATURING ORGANIZATION ACTIVITIES 189 Separate Booths. Eacli activity should have a separate booth or space. This is easily arranged by the use of burlap screens and ribbon ropings. Adjustable music stands (such as are used by an orchestra) are invaluable. For the background of the booth, the screens; for the sides and front, . ribbon ropings tied at the front corners to music stands. Use the stands also to fasten posters on, screwed to the right height, and placed wherever they will be most effective, inside the booth or out. Exhibits of Articles. Spend time upon the arrangement of these articles. Department store windows and merchandise eases in the best stores are full of suggestion for effective displays. If possible, secure the help of a store decorator. He is an expert in creating an artistic arrangement of all kinds of merchandise. Ask the cooperation of local merchants in this. They will not only send a store decorator to you, but may lend you such useful articles as hat stands, dress forms, art- embroidery stands, or other accessories. Feature the quality of the articles. Badges of merit may be awarded to the best articles and the latter may be prominently displayed with a sign announcing their special excellence. Demonstrations. Everyone knows how eagerly people crowd about a store window or counter 190 PRODUCING AMATEUR ENTERTAINMENTS when an article is being demonstrated by someone. Apply this principle to yonr Exhibit booths. Arrange to have club members in the booths engaged in typical club activities. The "ABC of Exhibit Planning" says in this connection: "Exhibiting a process, such as basket- weaving or fruit-canning, by having it done, is naturally a more graphic method than describing the process through printed words and pictures. It is possible to demonstrate bathing the baby, dressing him, preparing his food, and making his bed, using a life-size doll. All sorts of household activities can be demonstrated by showing part of the process and by explaining the rest." Models. Small dolls, dressed in appropriate costume, can be shown, engaged in aU kinds of activities from camping to caring for small chil- dren. Costume dolls are an excellent part of any organization's equipment, as they can be used for store-window displays during a general publicity campaign. They are always costumed and ready for an appearance. The Publicity DepartmeiS, Y. W. C. A,, 600 Lexington Ave., N. Y. C, has an exhibit of dolls which is sent to aU parts of the country. This department will be pleased to reply to any inquiries regarding doll exhibits. FEATURING ORGANIZATION ACTIVITIES 191 "LoUypops" may be dressed in paper cos- tumes, used in the Exhibit, and later sold or auctioned off. Dennison Company (see Bibliog- raphy) will send complete pattern directions for an exhibit of this kind. Exhibit Space. The question of where to place the exhibit is important. Every guest should see it, and see it comfortably. Small rooms, quickly crowded, are not advantageous. A large room such as a gymnasium is excellent (carrying out the "Exposition Building" idea). A certain line of march should be planned and aU the guests should proceed in the same direction. This is made simple, if Tour Conductors are on hand. One side of a wide hallway may be partitioned off. BOOTHS RAILINQ PASSAGEWAY 192 PRODUCING AMATEUR ENTERTAINMENTS The order in which the guests "will see the various exhibits is important. It is well to sep- arate two exhibits of articles by a booth showing a demonstration, etc. Explain Each Exhibit. Each guest should re- ceive a clear idea of just what each exhibit is. The Tour Conductor is excellent for this. Posters at each booth help. An "Explainer" may also be stationed at each, to reply to any questions the guests may ask. For the posters, simple printed cards, original drawings and verse, magazine covers, and en- larged snap-shots may all be used. A contest between organization members may help in secur- ing the desired posters. Plan such a contest weeks in advance of the entertainment date. Have a clear understanding with each person concerning the activity which is to be presented in his poster and the facts that are to be given in the poster captions. If the resources of your town include an Art School, a Public School Art Depart- ment, or business concerns employing commercial artists, seek cooperation from these in making the posters. Humorous Tableaux. These may convey an idea of the organization activities as effectively as will the displays ; yet, if cleverly planned, will be FEATURING ORGANIZATION ACTIVITIES 193 entirely in keeping -witH a "Circus," for example, or a Pop Concert. The following illustrate vari- ous possibilities. For a CooMng Class : A breakfast scene. Table daintily set. Seated at table, a young man and woman. The poster: Thbib First Beeakpast Dainty Well Cooked Why? She Leaened HOW in Our COOKING CLASS For a Millinery Class: A scene in a Millinery Shop. A salesgirl is busy with a customer. She tries on many hats. Looks at herself in the mir- ror. The poster : Beauty GtUabantebd Watch This Customeb SMILE EvBBYONE Smiles IN The Hats We Make 194 PRODUCING AMATEUR ENTERTAINMENTS For a Stenography Class: A speed contest, at typewriting machines. The speed of the typists and the noise of the machines are quite unbeliev- able ! The poster : Watch This ! Count the Words I We Challenge ALL COMEES TO CONTEST OxTB Cooks Cooking ! The cooks are seen busily working in a kitchen. They are stirring in bowls ; beating eggs., etc. Exhibit dresses on forms. A num- ber of girls are busy sewing : one at a sewing machine. Others are engaged in fitting and hang- ing dresses on each other. The H. C. of L. has no teeeoes fob xts! WHY? Because we can make ouB OWN Clothes FEATURING ORGANIZATION ACTIVITIES 195 WHEN YOU FAINT Call Us Wb know what to do (And what NOT to do!) Girls in First Aid costume are busy rolling ban- dages. Small boy is being thoroughly bandaged as to arms, legs and head. At one or more manicuring tables girls are busily showing their skill. The "customers" (in street dress) seem well pleased. FIEST AID TO BEAUTY Daintiness is possible fob all OuB Class Teaches Us HOW CHAPTER X PUBLICITY THE NEED FOE IT — ^PEKSONAIj PUBLICITY — ^PBINTED PUBLICITY NEWSPAPEE COOPEBATION WHAT IS NEWSPAPEE COPY? PAID ADVEETISBMENTS ^PEB- PAEIliTG THE POSTEES — PUBLICITY STUNTS — WEITING UP THE PBINTED PBOGEAM — ^PAID ADVEE- TISEMENTS IN THE PBOGEAM. The Need for it. Wlien a large audience is desired, the importance of publicity cannot be overestimated. At the outset of the work upon the entertainment, a definite plan for publicity should be outlined and the various channels selected through which it is to be carried on. In selecting these channels, conference with a local publicity expert is invaluable. The methods that are excellent in one community or with one group, may be inadvisable in another. Moreover, in the case of an organization, the entertainment is but one part of the year's work and the methods of publicity for it must be m harmony with the 196 PUBLICITY 197 general plan and not so startling that they may alienate people whose friendship the organization needs. In general, entertainment publicity may be divided into Personal and Printed. Personal Publicity. By this is meant arousing the personal interest of as many people as pos- sible so that they •will not only come to the enter- tainment themselves but will urge their friends to attend. This may include: 1. Giving as many people as possible an active place upon the pro- gram. The greater the number appearing, the greater the number of friends interested. 2. Arousing the interest of all organization members in selling the tickets. 3. Sending Club represent- atives to make personal announcements to other gatherings in the Community: Women's Clubs, Men's Clubs, Churches, Schools, etc. 4. Inviting prominent members of the community to act as Patrons and Patronesses or Guests of Honor. Such invitations are best extended personally. This gives the Club President or representative an opportunity to inform each Patron of the extent and significance of the Organization as well as to arouse his interest in this particular enter- tainment. 4. Inviting a limited number of guests to Dress Rehearsal. (See page 234.) 198 PRODUCING AMATEUR ENTERTAINMENTS Printed PubUcity. In "The A B C of ExHbit Planning" by M. S. and E. G. Eoutzahn (Russell Sage Foundation), the following suggestions are among those listed for possible use in a publicity plan: I News items in the daily papers; editorials; interviews; feature articles; cartoons; photo- graphs of leaders of the project ; illustrations of the entertainment; mention or appropriate use of organization material in special departments such as a society column, humorous column, woman's page, and events of the week; brief letters to editor from people interested in the purpose of the entertainment; and through the "Question Box" conducted by the newspaper. Material in periodicals other than the daily press, — ^publications issued by employees, and the house organs of firms and of public and semi-public agencies. Paid advertisements in newspapers. II Billboard and window posters; street car cards ; bulletin boards ; street banners ; stream- ers; electrical signs. Pennants, posters, placards for display on automobiles, wagons, trucks, and bicycles. Ill Other publicity methods: Window exhibits; use of window fronts in vacant stores ; commer- cial window displays by merchants. Exhibit of school-made posters; messages to parents PUBLICITY 199 through school children (or organization mem- bers) ; display of posters or window cards in unusual places; sandwich men; town-criers; house to house visiting; parades and proces- sions. Contests, using jingles, limericks, songs, etc. Publicity Pointers. From the possible publicity channels select those which will be effective for you. Next, make out a Publicity Calendar: 1. Posters to be distributed : date of distribution. 2. First newspaper announcement: date. 3. Special Publicity "Stunts." A wise method is to begin gradually, making an announcement of the date and general plans in the newspapers ; distributing and displaying the post- ers. As the performance date approaches, increase the amount of publicity. For the week immedi- ately preceding the entertainment, use every pos- sible channel. Newspaper Cooperation. The necessity for newspaper cooperation has been emphasized. How can this be secured? Study the local newspaper situation. In smaller commimities, the problem is not difficult of solution. The Editor may be per- sonally acquainted with the Committee. In cities, a Publicity chairman must plan carefully. 1. What are the papers ? 2. Which editor is the one to see? 3, Wb^tt kiiid of news does he wish? One 200 PRODUCING AMATEUR, ENTERTAINMENTS City Editor may specialize on "personalities." He will be interested in the personnel of the east, conunittee, patrons. Another may be interested in the Organization, its Community relationships, etc. Establish a definite connection with a definite man on each paper. In sending news in, let the same member handle it every time. Newspaper men are busy people. They appreciate business- like procedure. And they must also be certain that news sent to them is official. It is often advantageous to get acquainted with the "space" or "special feature" writers. They are looking for material for good articles and will welcome information and photographs that they can use. It is necessary to remember that Special Feature articles are prepared at least ten days or two weeks in advance of the date on which they are to be published. Allow ample time for the preparation of the article. Do not see the Editor on Friday and expect to see the article in the issue of the following Sunday. In selecting photographs (or in having them taken), select those in which there is action: Club members "setting up camp" — ^not merely in an attitude of "getting their pic- ture taken"; dancers dancing; etc. Photographs in which there is action are especially acceptable for special articles. PUBLICITY 201 What is Newspaper Copy? Many newspaper men complain of the fact that organization mem- bers have little "publicity sense." A mere state- ment that an entertainment is to take place is only an announcement and cannot be featured indef- initely as "news." "Live news includes interest- ing news, interesting facts, and interesting things done in unusual ways." With this in mind, study the possibilities for "news" in your own situation. The following questions suggest methods of analyzing that situa- tion from the publicity point of view. The Cast. The Committee. Who are they? Why chosen? What else have they done in the way of public appearance? Other Community work? Any interesting personal items? The Directors. Who are they? Why are they proficient? Their own training and experience? Their place in the Community? The Program Itself. Why is it unique? Special features? Any numbers originated by local people? Any special contests, as in writing plays? Why is this entertainment a step in advance of those of former years? (Be sure that it is!) Interesting incidents in connection with the preparations, such as the visit of a prominent citizen at a rehearsal and what he said. The Organization presenting the Program. Who is giving the program? Why? For any special fund such as a Camp Fund? What else has the organization done? Is it a National 202 PRODUCING AMATEUR ENTERTAINMENTS Organization? If so, its standing? What does it mean to your Community? (Activities of general interest and importance.) Newspaper Reporting on the Final Performance. Arrange to have newspaper reporters "cover" your entertainment. Send tickets to city editors, stating that "Mr. Jones" or "Miss Smith" will be at the door to receive reporters. On the night of the program, Miss Smith must then be at the door, with plenty of printed programs for the reporters. It is also well to have for each a type- written statement of what your organization is, what it has done, any interesting plans, any in- teresting facts about the performers. Paid Advertisements in Newspapers. Buying newspaper space in which to advertise the enter- tainment is often advantageous. In employing this method, plan for a series of such advertise- ments in the same paper. It is not mere announce- ment but repetition that counts. Consult some expert advertising "copy" writer for the word- ing. Present your facts in an original way. Fea- ture a slogan — "Everybody's coming!" "If you don't come, you'll never see it!" "Meet me at the door!" "Happiness in Every Box and Seat!" Preparing the Posters. Make the posters more than a mere announcement of the fact that an entertainment is to be given. Have a " head " that PUBLICITY will make people "stop, look, and read." If a picture or a drawing is to be used, select one with meaning, that will attract the attention of the passer-by. The advertising artists in our large stores, advertising agencies, or other business organizations, will have many valuable sugges- tions to make. Poster contests (as suggested on page 192) are also useful for general publicity. A few headings successfully used for this pur- pose are: "Stop! Look!! Listen!!!" "Why not Laugh With Us at " "This means Fun!" "Extra! Extra! We're doing it AGAIN!" "Friday the 13th Will be a Lucky Day For You If you come to " Bring out, by means of contrasting type, the colorful items of interest, "catchy" titles. Do not omit essential information : 1. Who is giving the entertainment. 2. Place. 3. Date, 4. Doors open at . 5. Also include any special "drawing points," such as, "Followed by Dancing." 204 PRODUCING AMATEUR ENTERTAINMENTS Publicity Stunts. On the day or days just pre- ceding the final performance, special publicity stunts arouse last-moment interest and enthusi- asm. Automobiles, hang with huge signs an- nouncing the great event, may be run up and down the streets. Occupants of the cars may be in special costume, tooting horns. Merchants will often cooperate in this, placing the signs upon their delivery cars. The following stunt was successfully used by the Girls' City Club of Providence, Rhode Island, (National League of Girls' Clubs), as part of the publicity for the play, ' ' Oh, Oh, Cindy ! " It illus- trates splendidly planned community cooperation and was worked out by the Women's Advertising Club of Providence. The stunt was started a week before the date of performance by a display advertisement in the city newspapers, headed "Personal." This ad- vertisement announced that "Stephen Craig" would meet "Cindy" at the Journal Building at twelve-thirty the following day. At the appointed time, a taxi drove up to the steps of the Journal Building and out stepped a young man in a "cut- away," tall silk hat, rose in buttonhole. Curious crowds gathered. The young man, who was a student from Brown University, went about among the people, courteously yet anxiously in- <1 -S PUBLICITY 205 quiring, "Have you seen Cindy?" "I beg your pardon, but are you Cindy?" She was not there. The next day, a similar search was conducted by Stephen Craig, at another strategic point in the city. This was done each day. Cindy proved most elusive. Meanwhile, popular interest in Cindy in- creased. Drug stores sold Cindy Sundaes. Hand- bills were distributed, heralding the certain arrival of Cindy. At last, on the day of the performance, Cindy was found in the erowd, and Stephen proudly drove with her through the streets of Providence. The result of this stunt was a widespread and popular interest in "Oh, Oh, Cindy 1" Writing up the Printed Program. The printed program should be in harmony with the character of the entertainment and the spirit of the evening. Even mimeographed programs may be so color- fully written that they add to the effectiveness of the stage presentation. Moreover, do not forget that many people keep programs as souvenirs, taking them home and showing them to their friends. In this sense, the printed program is publicity. For the printed programs of unified entertain- ments, suggestions are to be found in Chapter VH. For printed programs in general, the following suggestions may be helpful : 1. Paper and ink of 306 PRODUCING AMATEUR ENTERTAINMENTS contrasting colors — either artistic or frankly gaudy or striking, depending on the character of the entertainment. 2. Carefully prepared copy, characterizing the performers by such well-known phrases as : Comedian, Comedienne; Tragedian, Tragedienne ; Ingenue ; Trio ; Quintette ; Sextette ; etc. If two sisters are to present a number : ' ' The Smith Sisters" ; if a young woman whose name is, for example, Susan Smith: "Miss Susan"; a number of acrobats — ^make them a family; select a "father": "Jim Jones and the Jones Family, Large and Small," etc. 3. Special titles for the various numbers, as suggested in Chapter IV. 4. Do not hesitate to make definite claims for the talent of the performers: "Appearing by special permission of his Broadway Manager," "Her grace defies imitation," etc. 4. When original words have been written for the program songs, printing the words in full on the program often helps the audience to get the full significance of them. It also pleases the author — ^and by no means forget to mention him! The following is a program as written for one of Minneapolis 's "Harvest Nights." The short descriptions convey the Community spirit of friendliness as well as the significance of each number. PUBLICITY 207 FARMER GOODHEART IS HOST* Typical of the Eleven Programs Presented During the Month of October, 1920, to Tovm Tea-Kettle Sub- scribers in Minneapolis. Setting : A harvest-time field, with pumpkins, vines, and corn stalks. Mr. Goodheart, the host, introduces to the gathering of good folks 1. Our blind neighbor, Harry Woodworth, who will play a number on his old violin. 2. Friend Helen Osborne, of the Young Women's Christian Association, who will give a reading, "The Kettle Sings." 3. Miss Mabel Samson, from the Northeast Neighborhood House, in an interpreta- tive dance. 4. Neighbor Ludvig Dale, chief Scout Exec- utive in our village, who will present the crack bridge-and-tower-building team from among his group of 2,500 boys who are lovers of the out-of-doors. 5. Miss Maude Moore and the Barry-Moore players of Margaret Barry Settlement House in a play, "The Man from Bran- don." 6. Our funniest neighbor, Cho-Cho, the Health Clown, on pumpkin pies, sweet corn and other things the good folks eat. 7. Faith, Hope and Charity in moving pic- tures. •Eeprinted in The Survey, November 20, 1920. 208 PRODUCING AMATEUR ENTERTAINMENTS Paid Advertisements ia the Program. The ad- visability of selling advertising space ia the printed program depends upon the local situation and also upon the way in which the plan is carried out. By no means arouse the ire of local business men by your methods of soliciting the advertise- ments or by your rates. It is better not to sell advertising space at all than to have the business men whom you see feel that they are being im- posed upon. On the other hand, if the rates are reasonable and if special service is offered, business men may be rather more pleased than otherwise in buying space. By "special service" is meant some such plan as the following. Offer to write the adver- tising copy yourselves, thus relieving the mer- chants of all responsibility in that regard. Plan to have all advertisements written in an original way, in keeping with the idea of the entertainment. The advertisements in "John Martin's Book," a children's magazine, illustrate this idea: in it all advertisements are written with direct regard for the child-readers. Another plan is to have inside the front cover and inside the back cover, a running story that mentions all the firms advertising, in special type. Such a story often attracts more readers than the PUBLICITY 209 separate advertisement. Each business man pays for the mention of his firm in the story. Almost any plot that involves a "search" will be excellent for this, such as "Young Mrs. Newlywed Goes Shopping for Her Husband's Birthday Present." CHAPTER XI PUTTING THE PROGEAM ON AND OVER STEPS IN PEEPAEATION — COMMITTEE OEGANIZATION — COMMITTEE POINTEBS — THE WOBKSHOP IDEA: COMMUNITY OOOPEEATION — SELECTION OF PEB- POKMEBS — ^SCHEDULING BEHEAESALS — ^PLANNING THE MUSIC — ^PLANNING THE COSTUMES — THE DBESS PABADE — STAGE SETTING — LIGHTING CUE- TAIN-EAISING — SOENB-SHIFTING — MAKE-UP. Much has been written on the general subject of committee organization, rehearsals, costuming, and staging (see Bibliography). In this chapter, therefore, are given such suggestions as are related to the varied program, together with a compilation of especially significant and ap- plicable principles from the work of specialists in the field of amateur dramatics. The following is a list of various steps which must be taken in the preparation of the varied program : 1. Organizing the committee. 2. Selecting directors and securing commmiity cooperation. 210 PUTTING THE PROGRAM ON AND OVER 211 3. Selecting performers. Trials. 4. Scheduling rehearsals. 5. Planning the music. 6. Planning and making the costumes. 7. Planning the stage-setting, lighting, curtain raising, scene-shifting, make-up. 8. Dress rehearsal. 9. Organization behind scenes on entertain- ment night. COMMITTEE ORGANIZATION In order to secure effectiveness and avoid con- fusion in putting the "variety program" on careful organization of forces is necessary. 1. Have a General Chairman or Director in charge of the program as a whole. The selection of this person is of utmost importance: ability to work with people being a prime consideration, as well as knowledge of what is to be done. 2. Divide the work among special committees. Assign each division of the work to one committee, appointing a chairman who understands clearly just what his members must do. It is important for each worker to recognize the importance of his special task in the producing. The excellence of a final program is made possible only through team-worh. If, during the entire work of preparation, special emphasis be laid upon this fact, much amateur jealousy wiU be avoided. 212 PRODUCING AMATEUR ENTERTAINMENTS Just what the divisions of the work shall be depends npon the local situation, the simple or elaborate nature of the program. The following are suggestive : Duties General executive. Organizes committee. Supervises all work. Has charge of obtaining stage- setting properties. Arranges for scene shifts, orchestra cues, curtain men, light man. Has charge of obtaining cos- tumes, personal properties, Make-up. Has charge of music. Arranges for orchestra, music for rehear- sals. Has charge of all business. Ar- ranges to get hall, printing and distribution of tickets, publicity. Pays aU biUs. Ushers. Recep- tion Committee. Each has charge of planning de- tails and directing rehearsals of his specialty: Dances, Songs, the Play. Committee Pointers. Careful organization of details is essential. Work is greatly facilitated if the General Director uses a loose-leaf notebook. In this, a separate page or section may be given to Personnel 1. Director- Chairman 2. Stage Director Costume Director Musical Director Business Manager 6. Special Directors PUTTING THE PROGRAM ON AND OVER 213 each number. The record for each number may contain, using a Flower Dance, for example : FLOWER DANCE Costume: (Give details). White dresses (own). White slippers and stockings (own). Paper hats (will make). Paper collars. Performers Address Telephone KEHEABSAL SCHEDULE Regular Days : ' Hour : Place : Keeping such a notebook means that one person has a complete record. Similarly, the director of each division should keep a record. This is in- valuable during the preparation and forms the basis of a useful permanent record. For after the final performance, the entire committee may meet and gather together their experience in some form for the Club files. Such a permanent record may show: 1. When work on program started. 2. When rehearsals started. 3. Number of rehearsals held. 4. Names and addresses of reliable firms em- ployed: costumers, printers, etc. 5. Names of people in community who cooper- ated and what they did. 214 PRODUCING AMATEUR ENTERTAINMENTS A detailed business statement of production is most essential. The following statement as assem- bled by a large organization after an actual per- formance is suggestive. Expenditures Auditorium Eental of Stage Hands Electrician Costumes Material for Rental of Expressage on Expenses of Producer Fee Transportation of Board and Lodging of Publicity and Printing Newspaper advertising Tickets Tags Posters Program printing Photographs Mailing Music for rehearsals For final performance Royalty Miscellaneous Drayage Incidentals PUTTING THE PROGRAM ON AND OVER 215 Scrap-books. In addition to note-book records, an entertainment scrap-book is valuable. In this, paste every newspaper notice, giving date and paper in whicli it appeared. Also paste copies of the program, the tickets, the posters. Under each, write the salient facts, as for the tickets : Number printed Sold Date circulated: Cost of printing Criticism: Whether circulated too late or too soon. Whether too many or too few were printed. Whether all essential facts ap- peared on ticket: nature of entertainment ; by whom given ; date ; address of hall, doors open at A costume scrap-book is also useful, including pictures of the various costumes as used, together with any helpful descriptions. All such records form an excellent foundation for future producing. THE WOEKSHOP IDEA Community Cooperation. The Workshop idea has been developed especially through the Drama League and the Little Theater movement in Amer- ica. Simply stated it is this: Using, to the fullest measure, the ability of the organization members 216 PRODUCING AMATEUR ENTERTAINMENTS giving the entertainment : in the program numbers themselves; in designing and making the cos- tumes; the stage setting and properties, etc. In other words, learning hy doing. In most organizations, however, this difficulty soon presents itself : the members are willing and eager to work, but in many instances they need expert direction. Hence the advisability of using Special Directors: for the dances, the songs, the pld,ys. But there are other problems arising in the other phases of producing. In these, valuable assistance is to be found Dutside the organization, in the Community. Mr. Barrett Clark says, "Ex- periment, but never hesitate to ask the advice of those who know the basic principles of color, line, and form, as well as those who have technical knowledge of every branch of the art and craft of the theater." The keynote for using Conununity resources may be said to be: Whenever a definite problem arises and outside help seems advisable, seek the assistance of one who is fundamentally proficient in that special line. The following list is suggestive : 1. Costumes: Designs: Local librarian. Local artists (especially for the color-scheme). Dress- buyers of local stores. Designers, PUTTING THE PROGRAM ON AND OVER 217 Making: Mothers who are interested. Dressmakers who will assist and super- vise the making; will give advice on materials. Hiring: Where necessary, canvass various firms. Learn where to rent most advan- tageously. 2. Stage-setting and Properties : Designs and color: Artists, Interior Dec- orators. Properties : Local Merchants. Do not for- get the Store Decorators. These men are often most ingenious. Their Prop- erty Rooms are filled with materials which might be borrowed or rented. Lighting effects : An artist, an electrician. Construction : A carpenter. 3. Business Management: Business men who will advise on: business system; amount to be charged for tickets ; methods of dis- tribution. 4. Publicity and Advertising : Publicity, adver- tising experts. Newspaper men. Will ad- vise on methods of publicity; publicity copy. Selection of Performers. From the first, all members of the organization should clearly under- stand that those most proficient in any number will he selected for that number. If a short play 218 PRODUCING AMATEUR ENTERTAINMENTS is to be given, trials for parts may be held before the coach, with the various aspirants reading designated selections, and final choice made on the basis of dramatic excellence. Similarly, the dancing director may select dancers ; the musical director, the soloists, etc. In each number, as the performers develop, a Director Understudy may be selected. His duties ■will be to conduct rehearsal if the Director is late or absent on account of illness. This plan gives splendid opportunity for the development of lead- ership. SCHEDULING EEHEAESALS A varied program has this one great advan- tage over other types in rehearsing: each unit may (in fact should) rehearse separately: the dance number by itself, the stunt number by itself, etc. The rehearsals necessary for each depend so en- tirely upon the local situation that it is impossible here to estimate a definite number which will gen- erally apply. In a program of this type, the fol- lowing rehearsal considerations are vital: 1. Do not schedule rehearsals too frequently at the beginning of the work. 2. Have regular rehearsal days. Extra re- hearsals can be scheduled as needed. PUTTING THE PROGRAM ON AND OVER 219 3. Have a clear understanding with perform- ers concerning time, length, place of rehearsal, All must be prompt, 4. In the varied program, some nimibers will need more rehearsing than others. Watch this carefully. Lighten the rehearsal schedule of those especially proficient, make the delinquents meet oftener. 5. Be on guard against over-rehearsing. 6. Do not make the mistake of thinking that those in the stunts and other humorous numbers can rely upon the inspiration of the performance moment and therefore need no rehearsing. A stunt on an entertainment program must be pre- sented with despatch and pointed humor. It must not drag. Rehearsing is the means by which any dawdling is eliminated and the truly humorous is strengthened. 7. Make the rehearsals as enjoyable as pos- sible. Concentrate on the work at hand. (The use of a whistle is excellent in maintaining order.) But if at all possible, end each session with some fun ; dancing, singing, a game or two. This fun may be of but few minutes' duration, yet it sends the performers home smilingly for- getful of the difficulties and irritations of the rehearsal, and gives them a glimpse of the larger spirit that should pervade the work. Where to Rehearse. Use the stage as much as possible. Performers then become thoroughly familiar with entrances, stage position, exits. If the stage is not accessible for this (as in a rented 220 PRODUCING AMATEUR ENTERTAINMENTS hall), reproduce stage conditions as accurately as possible. One experienced director outlines with black paint upon his gymnasium floor a stage of the exact dimensions as that in the auditorium, with entrance and exits clearly indicated. In this way, his performers know the amount of space to be covered in the various numbers. PLANNING THE MUSIC The Director of Music must, at the very start, plan in detail the numbers requiring music, whether the latter is to be furnished by a profes- sional or amateur orchestra. Consult the Orches- tra Leader. Check each number in regard to: 1. Entrance cue. 2. Vamps. 3. Any stage action requiring special orchestra interpretation, such as "holds," etc. 4. Exit cues. 5. Encores. This seems obvious, yet failure to make clear to the Orchestra every detail has been the stumbling block to many an amateur success. Make definite plans for rehearsing orchestra and performers together. With a professional orchestra. Dress Eehearsal may be sufficient. In this case, the orchestra leader and the pianist may attend earlier rehearsals, in order to understand the program thoroughly. With an amateur or^ PUTTING THE PROGBAM ON AND OVER 221 chestra a greater number of joint rehearsals may need to be scheduled. The Orchestra Director should thoroughly un- derstand the signals by which he is to conduct the program. 1. If there is an "Orchestra Buzzer," signaling for the start of any number is simple. The Stage Director presses the "buzzer" for the start of the music. 2. If there is no buzzer, the appearance of pages with cards of announcement, or the changing of announcement cards at the side of the stage, may be the signal to the Orchestra Leader that the next mnnber is ready for entrance. Be sure to have the musicians ready with musical selections to fill in any unexpected gaps between numbers. Have a definite plan for encores. An under- standing may be made at Dress Rehearsal that each number is to give one encore. This under- standing eliminates partiality and consequent jealousy among the performers. In case of un- usual enthusiasm on the part of the audience, the Orchestra Leader may use his best judgment and, with his music, signal the performers to appear once more. 222 PRODUCING AMATEUR ENTERTAINMENTS THE QUESTION OF COSTUMES Working up the Designs. The costume design for each individual or chorus should be worked out in detail as early as possible. In this way, will be seen what can be made by the organization mem- bers ; what it will be necessary to hire. In some instances, hiring the costmne is advisable. Many books are available which may be con- sulted for costume designs. Concerning this point, Miss Constance D'Arcy Mackay says (in "Cos- tumes and Scenery for Amateurs," Holt), Study the best costume books, and histories and fairy tales illustrated by well-known artists. (See Bibliography.) Materials. Concerning the materials to be used in costumes, Miss Mackay says, "For materials, the simplest weaves will do as well as the most ornate. Use cheese cloth for thin materials such as fairy dresses and Greek robes. Use cambric and silesia to simulate satin, cotton crepon or silk crepon where a softer and heavier material than cheesecloth is needed. Use burlap for rough peasant suits or tunics, hop sacking for others." Paper may be effectively used. (See Bibliog- raphy.) Trunks in our attics are also often full of materials that may be made over into costumes. PUTTING THE PROGRAM ON AND OVER Making the Costumes. The making of costumes may be valuable practice to Club members if the work is done under the direction of an expert. For this, one large Club has found it valuable to employ a sewing woman by the day, with various groups working at stated times each day, under her direction. Often mothers of Club or school members will be pleased to assist in this work. One mother or older woman may be assigned to each number and held responsible for the costume- making of that number. Before starting upon her work, she should understand clearly just what the costume is to be. Costume Pointers. Consider all costumes from the point of view of stage effect. Try all color effects by artificial light. Consider each number as a whole; i.e., making a harmonious color-com- bination in those costumes which will appear to- gether. When a chorus is to be costumed similarly, as in a dance or song number, consider the following: 1. The lower edges of all skirts must be the same height from the floor. 2. All footwear should be similar ; all wearing slippers or all wearing shoes ; all to be of one color, unless some definite contrasting color scheme is worked out. 224 PRODUCING AMATEUR ENTERTAINMENTS 3. All slippers should be firmly fastened. As a rule, it is well to lace on the slippers with nar- row ribbon of the same color as the stockings or pleasingly contrasting with them. 4. All stockings should be of the same ma- terial. If in the same chorus some of the stock- ings are cotton, and others silk, the difference is plainly visible. 5. All girls should wear bloomers. 6. If dresses or other costumes of various colors are desired, work out a definite color- scheme. 7. When an entire chorus is costumed simi- larly, work out the small detaUs carefully; for men, such items as similar hats, gloves, spats, canes, flowers in coat lapels; for girls, sashes tied in the same manner, hats with similar trim- ming, baskets of flowers, etc. Such careful working-out of details gives a finish and com- pleteness to any number. The Dress Parade. The "Dress Parade" is a rehearsal entirely given over to donning costumes and appearing on the stage in them. Plan this Dress Parade several days before Dress Re- hearsal. Have each number appear separately upon the stage with lighting as it will be on per- formance night. All discrepancies in costuming may be noted at this time and subsequently rem- edied. Pictures may also be taken at Dress Parade. PUTTING THE PROGRAM ON AND OVER 225 If desired, the performers may wear their cos- tumes several times before Dress Rehearsal, thus feeling increasingly at ease in them. PLANNING THE STAGE SETTING Lighting. In these phases of production, you advance into fields that eminent artists to-day are experimenting in. If yours is a stage where varia- tion in the setting and lighting is possible, con- sult the work of these artists. (See Bibliography.) Such variation may not, however, be possible. Yours may be the situation described by Mr. Bar- rett Clark, "It is likely that by far the greater mmiber of amateur plays will be performed on a stage which is already built and equipped. In such cases, all the stage manager can do is to use his own scenery and have a voice in the matter of the lighting." Since the lighting equipment of stages varies so greatly, it is not possible to go into the subject briefly, yet in detail. This general suggestion may, however, be given: Consult with an elec- trician concerning the various lighting possibili- ties of your stage. Learn from him every variation possible; then experiment, trying the various effects upon the performers when on the stage. Mr. Mitchell says, "A safe rule for the amateur is to err on the side of using too little 226 PRODUCING AMATEUR ENTERTAINMENTS light rather than too much. Low light covers a multitude of scenic and sartorial sins." (See chapter on Lighting, "Shakespeare for Commun- ity Players.") In "Practical Stage Directing for Amateurs," Mr. Emerson Taylor urges the use of amber footlights to offset the too garish effect of white lights only; the careful use of the spot- light to "produce delicate effects of color and warmth, by giving the actor or the bit of action a necessary momentary prominence," and careful experimenting with other avaOable lights. Background. The varied program is most effect- ively given against a simple background, the same throughout, before which the various costumes appear pleasingly. Hanging the stage with cur- tains is easily accomplished in most instances, and also effective, provided the curtains are of the right color and material. Concerning this. Miss MacKay says : "A stage with the background and sides hung with curtains is what is meant by draped scenery. These curtains, unless a special effect is desired, should all be of one color. . . . These curtains when parted should show a wall draped in the same color, so that when characters enter there will be no ugly gaps. The material, too, should be the same. There should, as a rule, be an entrance at the back and one at each side of the stage. The color PUTTING THE PROGRAM ON AND OVER 227 of curtain scenery should be chosen by artificial light and with reference to the costumes that are to be used against it. Dark forest-green hangings are absolutely invaluable. If only one set of hangings can be afforded, have them of this color." Concerning this, Mr. Eoy Mitchell (in "Shake- speare for Community Players" — ^Dutton) says: "Denim gathered or pleated is too stiff to fall weU. ... It falls well if hung flat and overlapping, and gives a beautiful surface, especially the kind which is shot with a second color, or bloom. Cheap ratine in a fuU color — avoid pastel shades — Changs well and gives a fine surface. Cotton challis, which is very cheap and in good color, especially the tan, russet-brown, and grey, folds handsomely and falls well. It needs, however, to be well weighted below. The regular house-hangings, casement cloth and monk's cloth, rep and velours, are out of the range of the ordinary purse, but give such splendid results that the purchase of a set may well be one of the aims of the director." Special stage-sets (as for short plays) may be worked out, using the curtain background. (See Bibliography.) Curtain-Raising. In most halls are to be found attendants who thoroughly understand the stage curtains. It is advisable to use these men, going 228 PRODUCING AMATEUR ENTERTAINMENTS over the program with them, and arranging for any necessary signals to be used on the night of the performance. Scene-Shifting. Scene-shifting is not something that can be successfully accomplished on the spur of the moment during the final performance. Scene-shifters should know exactly what to do and when to do it. This is accomplished by having them attend several rehearsals (among them, Dress Rehearsal without fail) and by actually doing the shifting. It is not weU to have too many scene-shifters. Better to have one or two, working in an orderly manner, than five or six, getting in each other's way. It is helpful in obtaining quiet scene- shifting if the shifters wear rubber-soled shoes. If you have no curtain, all lights may be turned out for scene-shifts. Miss Mackay also says, "For those who find themselves in a cur- tain predicament, the following is suggested. Have six scenery pages, boys or girls as nearly of a height as possible. Let them wear a dark color or colors, and be sure their shoes and stockings are black. Have couch covers portieres, or strips of cloth fastened to cur- tain rods. Let the pages pass quickly to the front of the stage as soon as the scene closes, holding these improvised screens between PUTTING THE PROGRAM ON AND OVER 229 changing scene and audience till the scenery is moved." Another method (which can be made very humorous) is to have the scene-shifters appear in full sight of the audience, lights up. They then proceed to make the shift, characterizing their work with extreme activity, concern and muscular effort. This may be called "Chinese fashion" scene-shifting. AEBANGING FOE MAKE-UP Most of the make-up needed for the actors in a varied program is what is called "straight make-up." That is, make-up which is applied to offset the glare of the lights. It is not difficult to apply straight make-up. In many organizations or communities persons adept in this will volun- teer their services. If there are no such persons in your organiza- tion, and if you are planning for frequent dra- matic productions, it may be wise to have some member take a few lessons in making-up. In many localities, there are professional make-up specialists who will give such lessons. In this way, you will have in your own organization a per- manent Director of Make-uj) who,, iii, tiirji, c,^ii. traiiLatliejs,. 230 PRODUCING AMATEUR ENTERTAESTMENTS However, in some instances, employing one or more "professionals" may be wisest. When the number of performers is large and the volunteers available for the work are comparatively inex- perienced, the presence of professionals wiU save the Committee much anxiety. Whichever plan is to be followed (i.e., using the services of volunteers or of professionals) the necessary arrangements should be made well in advance of the performance date. Definite points to be considered are: 1. Amount and Mnd of make-up to be purchased. 2. Length of time neces- sary for making-up to performance night. Make-up materials may be purchased at local stores or through dramatic publishing houses (see Bibliography). In addition to the rouge, face powder, lip and eye-brow sticks, have on hand plenty of cold cream, cheesecloth, cotton ; scissors ; hand mirrors; large aprons or sheets to throw over the performers' shoulders while they aro being made up ; wash stands, soap, and towels. In most instances, it is advisable to arrange for one room where the make-up is to be done. There the equipment can be laid out. There dressing tables can be placed or large mirrors hung. CHAPTER XII THE DBESS BEHEABSAL AND THE FINAL FEBFOBMANCE DATE FOB DBESS EEHEAESAL — ^PBEPAEINQ FOE DBESS EEHEAESAL— DBESSING FOB THE BEHEABSAL — WAITING FOB STAGE CALL OEDEB OF EEHEAESAL — DBESS EEHEAESAL POINTEES — PEBFOBMANCE OBGANIZATION — ^BEHIND SCENES — ^AT DOOB — WITH AUDIENCE ^THB PBOGBAM ITSELF ^AFTEE THE PEOGBAM. Stuart Walker has said, "An audience is con- cerned only with the result, not with the means of producing that result." In order to hide from an audience aU "means of producing," careful or- ganization is necessary behind scenes, on the night of the performance. This organizing of forces should be carefully planned before Dress Rehearsal, so as to make the latter as nearly as possible identical in order and time with the final performance. Date for Dress Rehearsal. Scheduling the Dress Rehearsal for the day before the final perform- 231 232 PRODUCING AMATEUR ENTERTAINMENTS ance seems to be the most universally favored plan. This reduces to a minimum the length of time for worry and last-moment stage-fright. The best hour to set depends upon the local situation. If necessary to schedule it for evening, by all means avoid late and too strenuous rehearsing. Fatigue induces nervousness. Preparing for Dress Rehearsal. The following points are suggestive: 1. Assign a definite dressing-room (or rooms) to each number. 2. In each dressing-room, place one or more laundry baskets. All personal properties for the number can be placed in the basket, also such costumes as wiU not muss. Other costumes may be hung up. 3. Appoint a monitor for each number. Monitors are to distribute costumes, maintain quiet, line up performers for entrance, and see that costumes are collected in the baskets at the close of the number. Not all the monitors will prove reliable, but the majority will, and the plan helps to eliminate confusion behind scenes. 4. See that each monitor has pins, tape, etc., for her number. Let all monitors understand that they must report any last-moment troubles to the Costume Director. Dressing for the Rehearsal. If possible, each performer should be assigned to thft dressing- DRESS REHEARSAL— FINAL PERFORMANCE 23S room that he is to use on the final night. If this is done each will know exactly where to go behind scenes on performance night. Waiting the Dress Rehearsal Call. After per- formers are dressed, they may wait their call be- hind scenes or in the auditorium. Waiting in the auditorium gives each performer an opportunity to witness those numbers in which he does not ap- pear. If this is done, seat the performers of the various numbers as separate units: the "stunt" performers together, the song-and-dance perform- ers together, etc. Then, when a mmiber is called, all can go quietly behind scenes together. Main- tain strict order. Order of Dress Rehearsal. The most generally satisfactory order for Dress Eehearsal is to run it off exactly as the Final Program is to be given. This plan rehearses not only the performers but the orchestra, the Stage Director, the "CaU Boy," the prompter, the scene-shifters, the curtain men, the electrician. If there is to be a Finale which includes the entire cast, all performers must remain through- out the evening so as to rehearse the Finale. Each performer should be given a clear andl definite understanding concerning: 1. Time tO' report on night of performance. 2. Entrance to- 234 PRODUCING AMATEUR ENTERTAINMENTS use. 3. Where to dress. 4. Where to wait for make-up. 5. Where to wait for stage call. 6. Where to wait for Finale. In addition to making all announcements con- cerning the above, it may be advisable to distrib- ute to each person a slip containing typewritten directions, as: "Report at 7 p.m. Use stage entrance. Report personally to your monitor. Silence behind scenes. Silence! Do not talk or move about. Everything you do can be heard in front!" If such slips are distributed as the performers leave for home, additional emphasis is given to the instructions. Dress Rehearsal Pointers. Shall outside guests be invited to attend Dress Rehearsal? Acting before a small audience often gives the perform- ers just the incentive they need to do their best. Realizing this, many Directors follow the plan of giving to each performer one ticket which will admit one guest to Dress RehearsaL In this way, a small but sympathetic audience is assured for the Rehearsal. This is also excellent publicity, as the specially invited ones feel honored, and are DRESS REHEARSAL— FINAL PERFORMANCE 235 almost certain, next day, to tell their friends, "The Community Club is giving a fine entertain- ment to-night. Better go." Visitors who are volubly critical can easily dis- concert amateurs. If guests are invited, they may be requested to express criticisms to the General^ Director only. ^ Send the performers home in good spirits. No matter how discouraged a Director may be, let him show his performers that he has every confidence in their ability to rise to the final occasion. And it is a fact that the thrill of the audience and the music have often snatched victory from defeat. Performance Organissation. The following or- ganization outline is suggestive of the various posts of duty for the final evening. BEHIND SCENES General Director : In general charge : the Abso- lute Dictator 1 "Let there be order and discipline." In Dressing Rooms: Assistant Stage Director : Executive. Make-up Director : In charge of make-up. Monitors : Each in charge of his special num- ber. Costume Director: General supervision of dressing. 236 PRODUCING AMATEUR ENTERTAINMENTS In the Wings: Stage Director : Executive. Curtain men. Prompter. Electrician. Scene shifters. Carpenter. WITH THE AUDIENCE At Older Boon: Chairman : Eeception Committee. Ticket takers. Ticket sellers. Special person to see reporters. • At Cloak Boom (If wraps are checked) : Girls or men to check guests' wraps. At Auditorium: Head usher : in charge. Ushers with programs. At Orchestra: Orchestra Director: in charge. Behind Scenes Organization. Details of behind- scenes organization vary with each situation. A general rule which can be applied as a guide is: Imagine yourself one of the performers, entering, reporting, dressing, being made up, and so on through the evening. The following cheek-list may be helpful in covering necessary details. 1. Performers Report. To Assistant Stage Director, stationed in some prominent place. DRESS REHEARSAL— FINAL PERFORMANCE 237 The monitor of each number reports to him as soon as all in that number have arrived. Indi- vidual performers report directly. Assistant Stage Director checks each off; from his com- plete list of performers, arranged by numbers. 2. Other Duties of Assistant Stage Director. He has an emergency kit containing a bottle of aromatic spirits of ammonia, extra safety pins, needles, thread, scissors. He has arranged for fresh drinking water to be available , for all. He has arranged for chairs, behind scenes, so that performers can await calls in comfort. He sees that each per- former receives a copy of the program. Every- one wiU wish to "see his name in print"! He is general executive behind scenes; re- ports to Stage Director when all are ready to start ; acts as Call-boy, during the performance, notifying each number when it is time to line up for entrance. 3. At Performers' Entrance: A monitor sta- tioned to see that no one, enters hut the perform- ers and officials. Hold fast to this rule. This monitor also prevents costumed performers from wandering out to see friends, before the program (especially necessary in the Qase of children and very young people). 4. In the Make-up Room: One person should be assigned to the task of seeing that the per- formers are made up, bringing them to the room in as orderly succession as possible. Any pre- arranged schedule for making up may be upset, because of the tardiness of certain performers. The make-up people should be kept busy. 238 DRESS REHEABSAL— FINAL PERFORMANCE It is well to try out the make-up with the stage lighting, especially with character parts. For this, allow ample time before the doors are open to the audience. The Program Itself. When the program starts, the Stage Director, scene-shifters, prompter, elec- trician, curtain men, are all in assigned places. Each has a copy of the program, with any special directions written upon it. Each knows what is coming next. Each knows just what he is to do. If "pages" are used to take out cards an- nouncing each number, they may be stationed, with their cards, by Stage Director or prompter. Calling the Numbers. The Assistant Stage Di- rector may have charge of this. It is an excellent plan to caU number two as soon as number one goes on, and so forth. Keep all necessary exits clear for number on stage. Each number should understand where to wait for encores, and how to enter for them. Waiting for the Finale. After their exit, each number should return at once to their dressing room, to wait for the Finale call. There they should sit quietly, understanding that this quiet and order is one further contribution which they can make to the success of the evening. DRESS REHEARSAL— FINAL PERFORMANCE 239 After the Program. Joyousness may reign at the close of the program. It is a very real part of every performance and the amateur's reward for his labors. If the monitors do their work well, the costumes and properties behind scenes will be gathered up and neatly packed together. Special care should be given to borrowed articles. If an organization gains a reputation for excellent care of such articles and for prompt returning of them, work in collecting necessary properties for succeeding entertainments will become increasingly easy. When each article is returned, make certain that a personal acknowledgment of his kindness in lend- ing it is made to the owner. Reunions. An excellent plan followed in many organizations is to have an Entertaimnent Ee- union Supper, a week or so after the performance. This is especially desirable if further entertain- ments are planned. Make the most of such a reunion, discussing informally such questions as, What was most successful? What have our friends said about it all? What can we do better, next time? SOUECES OF HELP AND INFORMATION I. Institutions and Organizations When writing for assistance, be definite : length of time performance will continue, number taking part, type of program, stage facilities (including scenery available, lighting, etc). In giving a play, operetta, or selection from a musical comedy ascertain the royalty which must be paid for its use. (A) Organisations maintaining Departments of Drama and Pageantry. 1. Community Service, 1 Madison Ave., N. Y. City. Bureau of Educational Dramatics. Consult this Bureau concerning plays, pageants, special holiday suggestions for festivals and programs. Special lists com- piled and issued by this Bureau are : (a) For High Schools: List of full even- ing plays: Broadway successes 241 242 PRODUCING AMATEUR ENTERTAINMENTS now released; Old Favorites ; Cos- tume plays. (fe) American Legion list (useful for aU Men's Clubs) : Broadway suc- cesses ; one-act plays for men ; one- act plays for mixed casts. (c) Little Theater list. (d) Graded list for Girls' and Women's Clubs: Long and short plays. (e) Pantomime list. 2. The Drama Lea^e of America. 59 E. Van Buren St., Chicago, 111. Will reply to ia- quiries concerning local branches of the Drama League and will extend help in Amateur Dramatics. Issues special lists as "Plays for Amateurs; a Bibliography" by H. M. Clapp. Magazine ; The Drama. 3. The Little Theatre Membership of the New York Drama League, 29 West 47th Street, N. Y. C. Those interested in developing amateur work will find definite and con- tinuous help in the service rendered through this membership. It has been established for all types of group: High School, Club, Little Theatre, etc. For ten dollars a year the following is given : (a) The Play List (10 issues yearly) a report of plays possible for ama- SOURCES OF HELP AND INFORMATION 243 teur production, description of, royalty, etc. (6) Little Theatre Supplement (8 issues yearly) a news, information and discussion bulletin for amateur producing groups. '(c) Drama Calendar (30 issues yearly) a weekly "look-in" on New York dramatic happenings. (<^) Theatre Arts Magazine, a quarterly with a special appeal to those in- terested in stage art. (e) The Drama Book Shop, "The Shop of a Thousand Plays" is main- tained at the N. Y. Drama League headquarters. Information and advice as to reading and study of the Drama, as well as any book published in English, may be ob- tained from this shop. 4. y. W. C. A. National Headquarters, 600 Lex- ington Ave., N. Y. C, Bureau of Pageantry and the Drama. From this Bureau may be obtained "A List of Plays and Pageants." In this list, the section on "Operettas, Entertainments and Suggestions for Im- promptu Programs" is especially useful for the varied program. The Womans Press publishes saleable dramatic material, among which the fol- 244 PRODUCING AMATEUR ENTERTAINMENTS lowing are excellent for the varied pro- gram: (a) A Circus by Helen Durham. De- tailed suggestions. Indispensable for planning a Circus. (6) Fashion Revue down Petticoat Lane. A unique and well-planned Fash- ion Show. Contains excellent list of "American Girls" of various periods, 1620-1920, with sugges- tions for costumes. (c) Cat Fear. A Japanese Pantomime by M. and H. Gleason. (d) Scenes and songs of Home. A Pan- tomime by M. Gleason. (e) Six Recreational Parties by H. Dur- ham. Contains many excellent suggestions for special dances, adaptable for entertainment use. 5. Recreation Training School of Chicago (Hull House), 800 South Halsted Street, Chicago, 111. 6. State Universities and other Colleges. Many State Universities are establishing Depart- ments of the Drama to "stage plays, pageants, and festivals of real worth; to make a serious study of the drama; to assist various high schools of the State in SOURCES OF HELP AND INFORMATION 245 their play problems. ' ' Write to your near- est University. Ascertain the assistance which they stand ready to extend to you. Obtain from them any special lists they issue. (B) Dramatic Publishing Houses. Publishing Companies who specialize in mate- rial for amateur programs will send free catalogues. Among these companies are: 1. Samuel French, 28 West 38th Street, N. Y. C. 2. Walter H. Baker, 5 Hamilton Place, Boston, 3. T. S. Denison Co., 154 West Randolph Street, Chicago, 111. (C) Entertainment and Pattern Departments in Magazines. The following magazines maintain Entertain- ment and Pattern Departihents. Watch the monthly suggestion pages. Inquiries will be answered by these Departments. 1. The Delineator, Spring Street, N. Y. City. 2. Good Housekeeping, 119 West 40th Street, N. Y. C. 3. The Ladies * Home Journal, Philadelphia, Pa. See inexpensive pamphlets: "Masquerade Costumes" (Illustrations and Sugges- tions) ; "Book of Fair Booths." 4. The Pictorial Eeview, 222 West 39th Street, N. Y. C. 5i The Woman's Home Companion, 381 Fourth Ave., N. Y. C. 246 PRODUCING AMATEUB, ENTERTAINMENTS (Z>) Specialised Assistance. 1. Paper Accessories, Costumes, Properties, Decorations. Dennison Manufacturing Co., 5th Ave. and 26th Street, N. Y. C. Write to their Service Bureau for suggestions, sketches and com- plete directions for maMng paper costumes (free). Ask for description of their "slip- on" costume. Publications : Dennison's Costume Book, Dennison's Party Book, Patriotic Decorations and Suggestions, Art and Decoration in Crepe and Tissue Paper. 2. Make up. Write for advice to'Samuel French or Walter Baker Co. 3. Musical Numbers, Operattas, etc. Witmark Music Library, 144 West 37th Street, N, Y, C, will give advice on choice of Operettas, Operas, etc., with conditions of rental and royalties charged. Bureau of Community Music, Community ser- vice, 1 Madison Ave., N, Y. C. Publications: Handbook of Community Music. Inexpensive leaflets of song words. Stunt Songs. 4. Music Publishers. Mail Order Departments will send catalogues and special sugges- tions (free) : Oliver Ditson Co., 178 Tremont St., Boston, G. Schirmer, 3 East 43d Street, N. Y. C. M. Witmark and Sons, 144 West 37th Street, N. Y. C. Send for Minstrel Catalogue. SOURCES OF HELP AND INFORMATION «47 5. Instruments for Informal Orchestras. Kazoos. Oliver Ditson Co. Song-o-phone Band Instruments. M. Wit- mark and Sons. See circular. Vocophones. Wm. Smith Co., 56 East 34th Street, N. Y. C. Zonophones. Similar to Vocophones in brass — more durable. Zonophone Co., 37 South 9th St., Brooklyn, N. Y. 6. Dances. The American Folk Dance Society, Elizabeth Burchenal, Chmn., Organization Com., 2790 Broadway, N. Y. C. "A source of authentic information in regard to folk dancing; issues helpful bulletins on the subject; answers requests for informa- tion." The Chalif Normal School of Dancing, 163 West 57th Street, N. Y. C. Send for cata- log of Dances, Books, Shoes, and Com- modities. 7. Stereopticon Equipment. Information re- garding the Stereopticon and its equip- ment : United Theater Equipment Corpora- tion. Branches in large cities. Stereopticon slides for Sings: Standard Slide Corporation, 208-13 West 48th Street, N. Y. C. Send for list of slides: folk songs; patriotic; popular; as well as humorous slides — "Little G-irl afraid of her Voice," etc. 8. Motion Pictures. If a Motion Picture is to be included in the program, send for the 248 PRODUCING AMATEUR ENTERTAINMENTS E'ussell Sage foundation pamphlet, (130 East 22d Street, N. Y. C), "Motion Pic- tures for Schools, Churches, Clubs, and Communities. ' ' Contains names, addresses, and plans of operation of some of the agen- cies furnishing non-theatrical picture ser- vice. Consider special motion pictures made by Y. W. C. A., Girl Scouts, Camp Fire Girls, Boy Scouts, or various Government films, such as that of the "Women's Bureau, Dept. of Labor, Washington, D. C. A short, educational film is often desirable. 9. Local Clearing House on Amateur Entertain- ments. A local publication or committee may gather news of all kinds of local Amateur work. Ascertain whether there is such a Central Bureau in your Com- munity. In New York City, a small paper, "Better Times" (70 Fifth Ave.) reports news of community dramatics and other amateur entertainments given in the city. All persons addressing inquiries to "Better Times" are put in touch with specialists who can be of service. {E) National Organisations extending coopera- tion to groups: The manuals, magazines, and other publications of these organiza- tions contain much material readily adapt- able for dramatic use. 1. American Red Cross. Various branches are taking up the dramatic presentation of Public Health work. The New York County SOURCES OF HELP AND INFORMATION 249 Chapter, 119 West 40th Street, N. Y. C, is prepared to give lists of health plays, tableaux, etc. 2. The Boy Scouts of America, 200 Fifth Ave., N. Y. G. Publications: "Boys' Life" (Monthly Magazine for Boys). "Scout- ing" (For Leaders). Catalogue (contain- ing section on Entertainment Material). 3. The Camp Fire Girls, 31 East 17th Street, N. Y. C. Publication: "Every girl's Mag- azine," Monthly. 4. The Child Health Organization of America, 370 Seventh Ave., N. Y. C. Publications: "Cho-Cho and the HeaUh Fairy," "Rosy Cheeks and Strong Heart," "The Child Health Alphabet," "Rhymes of Gho-Cho's Grandma," Child Health Plays. 5. The Girl Reserves of the Y. W. C. A., 600 Lexington Ave., N. Y. C. Publications: "Friendly-Kingdom," a Pageant by T. Mygatt. Also issues special material for Grirls' work. 6. The Girl Scouts. Publications: "The Ameri- can Girl," Monthly. 7. The National League of Girls' Clubs, 130 East 59th Street, N. Y. C. Publications: "The Club Worker," Monthly. 8. Playground and Recreation Association of America, 1 Madison Ave., N. Y. C. Publi- cations: "Playground/' Monthly. See list of publications. 250 PRODUCING AMATEUR ENTERTAINMENTS 9. The Woodcraft League for Boys and Girls, 3 West 27th Street, N. Y. C. 10. The Y. M. 0. A, National Headquarters, 347 Madison Ave., N. Y. C. Publications : "The American Youth," Monthly. Catalog : The Association Press. Contains list of ma- terial for boys. 11. A Small, Useful Library Any organization interested in dramatics should own books on the subject. The following make an excellent nucleus : {A) General. 1. Costumes and Scenery for Amateurs. Con- stance D'Arcy Mackay (Holt). Contains splendid suggestions for costumes, stage- setting, lighting, etc. Many illustrations. 2. How to Produce Amateur Plays. Barrett H. Clark (Little, Brown & Co.) Contains detailed directions on such topics as, "Choosing the Play," "Rehearsing," ' ' Lighting, " " Scenery and Costumes, ' ' etc. 3. Shakespeare for Community Players. Roy Mitchell (E. P. Dutton). Contains many excellent suggestions which can be used for all types of production on stage setting, make-up, lighting, costuming, etc. Very definite and detailed. 4. Practical Stage Directing for Amateurs. Emerson Taylor. (E. P. Dutton). Con- SOURCES OF HELP AND INFORMATION 251 tains suggestions on the use of the voice; stage action; rehearsing; make-up; scen- ery; lighting, etc. Stage terms explained and a stage chart included. 5. Have on file for reference lists published by Departments of the Drama (See Bib- liography). Also "Sources of Informa- tion on Play and Eecreation," H. R. Knight and M. P. Williams (Russell Sage Foundation), a complete and invaluable reference list. (B) A Ready Reference List. (Suggestive, not comprehensive) 1. For Drills and Folk Dances. Dances, Drills, and Story Plays. Nina B. Lamkin (T. S. Denison). Folk dances, Dances of the Seasons, Flower dances, Drills, as Hoop drill, Parasol drill, etc. Folk Dancing as Social Eecreation for Adults. Elizabeth Burchenal (Playground and Eecreation Association of America). Contains detailed directions as well as a splendid bibliography. An inexpensive leaflet. Dances of the people. Elizabeth Burchenal (G. Schirmer). Dances and singing games of many countries. Folk Dance Music. Elizabeth Burchenal and C. Ward Crampton (G. Schirmer). Second Folk Dance Book. C. Ward Cramp- ton (A. S. Barnes). 252 PRODUCING AMATEUR ENTERTAINMENTS American Country Dances. Elizabeth Bur- chenal (G. Schirmer). Folk Games and Gymnastic Play, by Dagny Pedersen and Neva L. Boyd. (Saul Brothers.) 2. For Stunts and Feats of Skill: Games for the Playground, Home, School, and Gymnasium. Jessie Bancroft (Mac- millan). Contains detailed descriptions of games, many of which are adapted to stage presentation. Ice Breakers. Edna Geister (Womans Press). Contains many stunts and in- formal numbers suitable for the varied program. Social Activities for Men and Boys. Albert M. Chesley (Association Press). Contains many detailed descriptions for stunts, en- tertainments, such as the Circus and County Fair, and other program features. 3. Costume Books. National Costumes of the Slavic People, com- piled by Margaret Swain Pratt (Womans Press). Accurate and minute directions. Drawings of all costumes. Color chart to guide in the selection of materials. Costume in England. F. W. Fairholt (G. Bell). A history of Dress to the end of the 18th Century. Over 700 engravings illustrating various modes of dress. SOURCES OF HELP AND INFORMATION 253 Modes and Manners of the Nineteenth Cen- tury, Edwardes (E. P. Button). An excellent reference book with detailed descriptions. Dress Design. Talbot Hughes (Pitman). A survey of modes of dress from earliest times through the 19th Century. Excellent for making costumes, as it considers cos- tuming from the point of view of the dress- maker. Historic Dress in America. Elizabeth McClelland (Jacobs). Contains many illustrations. Considers American dress, including that of the earliest settlers. 4. Song Collections, containing old favorites, tunes suitable for topical songs, etc. ' The Book of a Thousand Songs. World Syn- dicate Co. Songs the Whole World Sings. D. Appleton. American Home Music Album. D. Appleton. Family Music Book. Gt. Schirmer. Folk Songs of Many Peoples. Florence Hud- son Botsford (Womans Press). Native words and music. Also English transla- tions by such poets as Edwin Markham, Padraic Colum, Edna St. Vincent Millay, etc. 5. For Publicity, Exhibits, etc. The A B C of Exhibit Planning, by Evart G. and Mary Swain Routzahn (Russell Sage Foundation). 254 PRODUCING AMATEUR ENTERTAINMENTS 6. On Entertainments. Money Making Entertainments for Church and Charity. Mary Dawson (David Mc- Kay). Contains detailed descriptions of such features as Fair and Exhibit booths ; Mother Goose wax works; Advertisement Tableaux, etc. Fairs and' Fetes. CaroHne French Benton (Dana Estes). Especially useful for Booths and Exhibits. Contains excellent descriptions for unique features as Gypsy Encampment, Seven Ages of Women Booths, etc. Neighborhood Entertainments. Eenee B. Stern (Sturgis, Walton & Co.) Con- tains detailed descriptions of varied enter- tainments. 7. On various phases of production. How to Produce Children's Plays. Constance D'Arcy Mackay (Holt). Practical sugges- tions written by a specialist. Amateur and Educational Dramatics. E. Hilliard, T. McCormick, K. Oglebay (Mac- millan). One section on dramatizing well- known stories especially useful in working out original plays. On Building a Theater. Irving Pichel (Thea- tre Arts). For those who are building or reconstructing a stage. The chapter on "Stage Lighting" is useful in work with the stage electrician. SOURCES OF HELP AND INFORMATION 255 in. A List of Short Plays for the Varied Program When a short play is to be included, careful consideration should be given to its type and its relation to the rest of the program. The follow- ing list is suggestive of the type of play that will be acceptable on many varied programs. Com- piled by Mrs. Austin Latting Hobbs, Department of Educational Dramatics, Community Service. Plays fob Mixed Cast The Dear Departed by Stanley Houghton. Comedy of the dead returning to life in time to decide the division of the property. Three male and 3 female characters. Time 30 minutes. One interior setting. Obtained from Samuel French, price 30fi. Eoyalty. A Dear Little Wife by Gerald Dunn. A com- edy of Japanese life. Two males, 1 female. One interior scene. Obtained from Samuel French, price 30fS. Royalty. A Pair of Lunatics by W. E. Walkes. A sketch in one scene. One male and 1 female character. A clever and amusing little piece concerning two visitors at an insane asylum. No scenery required. Time 20 minutes. Ob- tained from Walter Baker, price 25?S. Spreading the News by Lady Gregory. Com- edy of village gossip. Seven male and 3 female characters. Outskirts of country fair. Obtained from Samuel French, price $2.00. Royalty. 256 PRODUCING AMATEUR ENTERTAINMENTS Found in volume "Seven Short Plays," which contains six other very good plays. Turtle Doves by Mellis Twelve. A farce of newly-weds. Two male and 3 female characters. Interior setting. Obtained from Samuel French, price 30j>. Royalty. Plays fob Wombu Mechanical Jane by M. E. Barber. A comedy in 1 act. Interior setting. Easy to produce. Simple but amusing. Time 25 minutes. Three characters. Two speaking parts, one part played by mechanical servant. Obtained from Samuel French, price 30^. Eoyalty. Mrs. Oakley's Telephone by Eulora Jennings. One act with 1 interior. Four characters. Complications over the telephone and a climax of surprise. Time 45 minutes. German and Irish dialect. Obtained from Samuel French, price 30^. No royalty. Six Cups of Chocolate by Edith Mathews. A comedy in 1 act with interior setting. Time 45 minutes. Six characters. Very clever and always successful. Obtained from Samuel French, price 25(<. No royalty. To Meet Mr. Thompson by Clara J. Denton. One act and 1 interior. Eight parts. Time 20 minutes. Sure to amuse, easy to produce. Ob- tained from Walter Baker, price 15