PLAYS BY MSm-I J ^VTTT AND H W EAGAN COÏÏTENTS The coming man Cremation High Jack, the heeler The lost will The movement cure No pay no cure A remittance from heme Squire for a day The academy of stars Deaf as a post The Intelligence office Joe's visit The upper ten (thousand) Price, 15 Cents THE COMING MAN 112 THEBRATMIC PUBLDIMG COnMNY CHARIX^ n.^SERGEL, PREvSIDEOT Hagetnan's Make-Up Book By MAURICE HAGEMAN Pricef 25 cents The importance of an effective make-up is becoming more appar¬ ent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few ques¬ tions can be asked by professional or amateur that cannot be an¬ swered by this admirable hand-book. It is not only the best make¬ up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor. CONTENTS Chapter I. General Remarks. Chapter II. Grease-Paints, their origin, components and use. Chapter III. The Make-up Box. Grease-Paints, Mirrors, Fáce Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenaoáne, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before Making up; the Straight Make¬ up and how to remove it. Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. Chapter VI. Juveniles. Straight Juvenile Make-up. So^i' .y Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Tj-pe of Manhood, Lining Colors, Wrinlcles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef¬ fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. No.th American Indians, New England Farmers, Hoosiers, Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur¬ ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary. Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS THE COMING MAN. im ®tUiflirian ^feitch i» Sceneis. By A. J. LEAVITT. ÏIRgiT PBRFOKMED AT THE HOWARD ATUENEUM, BOSTON, OCT. 18TH, 1875. ARRANGED By CHARLES WHITE, The Celebrated Ethiopian Comedian, AUTHOR OF Mat ic Penny.Jolly Millers^^'' ^'"Yilikens and The Coopers^'''' ** Old lad'$ CabiHy"' Rival *^Sham Roctor,''* United Slates Mazeppa,'^ '•''Uncle Jeff,'''' ^'Mischievous Nigger,'''' Portrait Painter,''' *^Iilack Shoemaker,^^ "Äop of Fashion,^'' '•'•The "Wreck,^^ Mystic Spell,'"' '^'Black Statue,'''' " Quack Doctoi','"' " Couilshipf " Thieves at the Mintf ''• Black Chemist,"''' '•'■ Daguerreotypes,'""'''Stuffid Sein)ani,'''' ""Storming the Foil,'''' '•'• Guide to the Stagef " Going for the Cvpf '•'•Policy Player,"'"' *'The Ghost,""' '•^Damon and Pythiasf Malicious IVespass,'"' '■'Vegetable ManC "Fisherman"'s Luck,""' "Musical Chowder.'"' "The Draft,"'"' ^'Casket Finif "White's Bla^k Wit,"' "Burlesque Circus.'*'' ''Black Menageñe."'"' -, ' Skating CarnivolJ*" '•'Trip by Ra'ilf "Jealous Darkey." "^[lld^ i(lll. Blower and Dancer." " Bammef^s' liait," "Peep at Barnuni'sf' "Nigger Enc- ment," "Black Fhfd "William." "Dr. Possum's Lecture," "A Lucky Job," "Streets of New York," "The Recru'iting Office," etc., etc. TO WHICH ARE ADDED ▲ DESCRIPTION OF THE COSTUMES—CAST OF THE CHARACTERS—ENTRANCES AND EXITS—RELATIVE POSITIONS OP THE PERFORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. CHICAGO THE DRAMATIC PUBLISHING COMPANY CoPTPiOHT, 18/7, BY CLINTON Ï. DE WITT. 2 IHE COMINO MAN. OAST OF CHARACTERS. As originally produced at the Howard Atheneum, Boston, Oct. 187S. Joacamus Hardback, llie coming man Mr. Haeet Bloodgood Marc Anthony Mr. A. J. Leavitt Mr. Gates Mr. Harry Hunter Mrs. Gates Mr. N. D. Jones TIME OF REPRESENTATION-EIGHTEEN MINUTES. SCENERY. Scene i.—Fancy Chamber c. d. with Doors in e. and l. Flats. Scene II.—Anything to close in the Act. r. 3 e. Door. Door. / r. 2 e. h lin H \ / e. 1 e. / Tabic and Chairs. Situation at close. O O l. 3 e. \ l. 2 e. \ l. 1 e. O O \ Mrs. Gates. Mr. Gates. Hardback, Marc. • \ r. c. c. l. c. l. Orchestra. COSTUMES. Hardback.—Eccentric Negro style, rather seedy ; a duplicate Coat, badly torn, to double with. Marc Anthony.—Servant style of Darkey, rather tidy. Mr. Gates.—Genteel ; modern make up. Mrs. Gates.—Neat Chambermaid attire. PRQPERTIES. Covered Table ; Newspaper ; Books, etc. BeU on Table ; a good sized Black and Tan Dog ; a large Rope for Dog ; Tea Tray with Eatables on ; large Roll of Bills ; Carpet Bag ; a. Straw Band or Wreath for the head ; Patch for the Dog's Eye, with plenty of Rags to hind him vp. THE COMING MAN. Scene 1.— Centre door Gliaraher with doorin r. and h. flat. Elegantly fur¬ nished Parlor—table and two chairs l. Bell on table. Jn 3d grooves. Elter Gates, c. d., goes to table, rings bell. Enter Mark, l. 1 e. Gates. Has the new man come yet ? Mark. No, sir ; I hope he will, though. I'm glad you took me out of that je» and put me in as waiter. Gates. How is 3'our mistress this morning? Mark. She's getting no better very fast; she's pounded me till I'm all black and blue. The last spell she had she tore all my clothes off. This is the third suit I've had on this week. Gates. Never mind, Mark, money will heal everything. Her strange malady will soon pass away (so the doctor says) if she is properly cared for. If the new man should come during my absence tell him to wait till I return. [Exit Gates, 1 l. e. M.vuk. All right, sir ; no more crazy women for me. Enter joacamus Hardback, c. d., with carpet bag in hand. Jo. Does the Gates family reside here? Mark. This is the place. Oh, I see you are the new man that's coming to Jive with us, I believe. Jo. Yes: I received a letter to that effect. I believe I'm wanted here to take care of a lady that's a little gone here (pointing to his forehead). Now, how is she ? Is she any way dangerous ? You've been here some time ; maybe you can post me a little. Mark. I've had charge of her for some time. I'm no hog ; I've, got enough. Jo. What do you mean ? Mark. Master hired me to take charge of her and keep her from killing herself, but I've had all I could do to keep her from killing me; but the pay is good. jo. 'Yes, but what good is the pay after a man is dead ? M.iuk. Why, if you should happen to get killed master will see that you have a first class funeral. He's captain of the Kerosene Light Guards ; he'll have all the military turn out for you. Jo. I suppose I'll be kept on ice till the band plays. M.vrk. You'll get along very well here if you can only dodge good. Jo. What do you mean? Mark. You see this nose, don't you? Jo. Which nose ? Mark. This one ! When I first came here it was a beautiful cornet ; now it's all one sided. Jo. How did it happen ? Mark. There's where she hit me with a spittoon ; not long ago she cut one of mj' ears off with a razor ; now, this isn't real—it's a wax ear. Jo. I suppose I'll have one ear long? Mark. She's terrible when she get's these spells. The. other day she took me for Beecher, and she thumped the life out of me. 4 the cominö man, Jo. Why didn't you rig a purchase on her and tell her you was Tillon? Mark. I didn't have time ; but here comes master. Don't say that I said anything about tliis. Don't give me away. [^Exit Mark, u. Enter Gates, 1 i,. e. Gates. Are you the coming man ? Jo. {going). Ño ; I'm the going man. I guess I won't suit you ; your wife is a woman I've never been introduced to, and being strangers to each other, why Gates. I hope no one has been intimidating you by telling you an}- foolish stories ? Jo. Where is the best place to get a wax ear around liere? Are spit¬ toons plentiful in this neighborhood ? Gates. I am at a loss to know your meaning. Let mo explain. Your name is Jo. Joacamus Hardback. Gates (bringing two chairs to front). Mr. Hardback, be seated (they sit). About six months ago my poor wife, being thrown from her carriage, re¬ ceived sucli a shock that her reason has flown. I have had the best medical advice that money can procure, and they all agree that tlie only way to restore her lost reason is to humor lier in all her little caprices. Now, if she should take you for George Washington, you must say you are. Jo. Oh, then, this is a kind of a lunatic asylum on a half shell. Gates. Don't interrupt me. Lor instance, when she breaks or tears anything in my presence I do the same ; and when she beats you I beat you, too. Jo. (rising). I'll bet you two dollars and a half you don't. Gates (putting chairs hack). No, ne; I onl}- pretend to beat you, and she, poor thing, is too delicate to injure, you. Jo. About how much does she weigh? Gates. She has fallen away to about eighty pounds. Jo. Send hermp. Gates. Now, this is your room. You can arrange your toilet in tlie other room. Here you will find books, papers, etc., to amuse yourself with, and plenty of good segars ; your meals will bo brought to you, and 3'our wages will be five dollars a day until the good lady recovers. Jo. (I'tliiig a good .^izcd black and Um out of carpet bar/). You see I always carry my dog with me wherever I go, there's so many tramps around. Gates (taking dog under his arm and carpet hag in hand). I'll give him in charge of the cook, where he will be well taken eare of. [A.CÍÍ Gates, 1 l. e. Jo. (sitting in arm chair r. of table). Well, I'll try it a week, and if I don't like it I can quit. Enter Mrs. Gates, 1 r. e., a la Ophelia, with a straw hand around her waist, a straw wreath around her head; she walks three steps slowly towards Jo.; Jo. crawls under table, with his head looking out from under tahlccloth. Mrs. Gates. Wliat a dear little dog. Jo. She take^ne for a dog. I must humor her. (So. harks like a dogf Mrs. Gates, nere, Towser! Towser! (So. crawls towards her on all fours.) Now the dog has gone. (Jo. rwes.) You are Bessie Turner ! the co m in u man. 6 Jo. {cenes in Switzerland. Time in representation, one hour. 6 SIX MONTHS AGO. A Comedietta in. one act, by Felix Dale. Two male and one female cl^aracters. A really effective little piece, suited to amateurs. Costumes of the day. Scene, morning room in a country house. Easily producea. Time in representation, forty minutes. 7 MAUD'S PERIL. A Drama in four acts, by Watts Phillips. Five male and three female characters. Strong and sensational. Costume of English country life of the period. Scenery not elaborate. Time ill representation., two hours and a half. 8 HENRY DUNBAR; or, a Daughter's Trials. A Drama in four acts, by Tom Taylor. Ten male and three female characters. One of the best acting^plays of the day. Costumes of the period. Scenery modern English. Time in representation, three hours. 9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. A farcical interlude in one act. by Charles Sclby. Four male and one feinahi characters. A very laughable piece, easily produced ; certain to bring down the house. Costumes of the day. Scene, a genteelly furnished bed¬ room. TMme in representation, forty minutes. 10 THE SNAPPING TURTLES; or, Matrimonial Masque¬ rading. A duologue in one act, by John B. Buckst'^me. One male and one female character, who assume a second each. A very ludicrous farce ; has been eminently successful. Costumes of the day. Scene, a drawing room. Time in representación, one hour. 11 WOODCOCK'S LITTLE GAME. A Comedy Farce in two acts, by J. Muddison Morton. Four male and four female characters. A sparkling, lively composiiion, by one of the most humorous dramatic authors. Tlic part of Woodcock has been performed by Charles Mathews and Lester Wallack. Costumes of the period. Scenery, modern apartments, handsomely furni.shcd. Time in representation, one honr. 12 A WIDOW- HUNT. An origrinal Comedy in three acts, by J. Sterling C'«iync. Four male and four female characters. An inge¬ nious and well known alteration of the a 'thor's "Everybodj's Fiicncf,"" the part of Major Wellington do Boots liaving been rendered popular by Mr. 8. in Englaml emi- Ajneriea. costumes and scenery of the period. Time in representation, two hours and a half. 13 RUY BLAS. A romantic Drama in fonr acts, from the French of Victor Hugo. Twelve male and four female characters. This piece was eminently sncces.«ful in London when produced by Mr. Fechter. It contains numerous scenes, capable of being performed unconnected with the drama, by amateurs. Spanish costumes of lü92. Scenerv. Inills and apart¬ ments in the royal palace at Madrid. Time in representation, three horn's and a half. 14 NO THOROUGHFARE* A Dmmn in five acts, with a prologue, by Charles Dickens and Wilkio Collins, Thirteen male and si.x female characters. Very successiul as produced by Fechter in England ami by Florence in America. Costumes modern but often changed. Scenery complicated ; Engli.sh exferiors, Swiss interiors and Alpine passes. Time in representation, three hours and forty minutes. VJ' MII^KY WHITE. A domestic Drama m two acts hy H* T. Craven. Four male and two female cbnrncters. A good actinir, paíietic piece. Costumes English, of the present dav. Scenery, an exterior and iu- tenor. Time in representation, one hour and a half. DE WITTES ACTING PLAYS. No. 16 DEARER THAN LIFE. A serio-comic Drama in three acts, by Henry J. Byron. Six male and five female characters. An efTeclive piece, which could be readily performed by amateurs with success. Cos¬ tumes, Ihiglish of the cay. Scenery, two inienors, easily arranged. Time in representation, two Lours. 17 Kind to a fault. An original Comedy in two acts, By William Brough. Six male and four female characters. A well written composition with well drawn characters. Costumes of the pre'^ent day. Scenery, two elegantly furnished interiors. Time in representation, one hour and twenty minutes. 18 IF I HAD A THOUSAND A YEAR. A Farce in one acl, by John Maddisoii Morton. Four male and three female charac¬ ters. A splendid social sketch—the part of Green being excel eut for a good light comedian. Costumes of the present day; and scenery, a neatly fur¬ nished interior. Time iu representation, one hour and fifteen minutes. 19 H£*S A LUNATIC. A Farce in one act, hy Felia: Dale. Three male and two female characters. A sprightly, laughter-provoking production. Modern dn sses ; and scene, a drawing room. T^me in repre¬ sentation, forty minutes. 20 DADDY GRAY. A serio*comic Drama in three acts, by Andrew HaUiday. Eight male and four female characters. One of the author's most effective and natural compositions. Dresses of the present day. Sceriery, interior of a cottage, a lawyer's offlóe, street und archway, and cottage with landscape. Time in representation, two hours. 21 DREAMS ; or, My Iiady Clara. A Drama in five actSfhy T. W. Robertson. Six male and three female characters. Full of thrilling incidents, with several excellent parts for both male and Jamale. Was suc¬ cessfully brought out at the Boston Museum and New York Fifth Avenue Theatre. Costumes, modern German and English. Scenery, interiors and gardens, rather complicated, but effective. 22 DAVID GARRICK. A Comedy in three acts, by T. W. Robertson. Eight male and three female characters. Most effectively per¬ formed by Mr. Sothem in England and in America with decided snccess. (.'os- tumes, court dresses. Scenery, two interiors antiquely furnished. Time in representation, one hour and three quarters. 23 THE PETTICOAT PARLIAMENT. An Extravaganza in one act, by Mark Lemon. Fifteen male and twenty-four female charac¬ ters. A revision of the "House of Ladies." Performed with great success at Mitchell's Olympic in New York. The costumes are extremely fanciful .and exaffgerated. Scenery, modem English. Time in representation, one hour and five minutes. 24 CABMAN No. 93; or, Found in a Fonr Wheeler. A Farce in one act, by Thomas J. Williams. Two male and two female char¬ acters. A ludicrous piece, with a cabman for the first low comedian, and a stock broker as eccentric character part. Costumes of present day. Scene, a furnished room. Time in representation, forty miuntes. 25 THE BROKEN HEARTED CLUB. A Comedietta, by J. Sterling Coyne. Four male and eight female characters. A laughable satire on the Women's Rights movement. Costumes modern English. Scenery, a drawing room. Time in representation, thirty minutes. 26 SOCIETY. A Comedy in thr^e acts, by T. W. Robert¬ son. Sixteen male and five female characters. A play cxceedinorly popular, intended to exhibit the foibles of British Society and to ridicule the election -system. Costumes of the present day. Scenery elaborate. Time in repre¬ sentation, two hours and a half. 27 'TIME AND TIDE. A I>rama in three acts and a pro¬ logue, by Henry Leslie. Seven male anduve fera-ale characters. An effec¬ tive piece, with novel and striking incidents. Costumes English, present day. Scenery, London marine scenery. Time in representation; two hours. DE WITT'S ACTING PLAYS. No. £8 A HAPPY PAIR. A Comediotta in one act, by S. Theyro Smith. One male and one female character. A neat dramatic sketch of a conjugal misunderstanding. Modem dresses. Scene, a drawing room. Time in representation, twenty minutes. 29 TURNING THE TABLES. A Farco in one act, V Poole. Five male and three female characters. One of the haraiest efforts of the famous author of " Paul Pry." The part of Jeremiah Bumps is re¬ dolent with quaint humor. A standard acting piece. Dresses and scenery of the present day. Time in representation, sixty-five minutes. 30 THE GOOSE WITH THE GOLDEN EGGS. A Faroe in one act, by Augustus Mayhew and Sutherland Edwards. Five male and three female characters. Gay, rollicking, full of incessant action, having three of the most comical characters imaginable. Costumes of the present period. Scene, a lawyer's office. Time in representation, forty-five minutes. 31 TAMING A TIGER. A Farce in one act, altered from the French, l^ree male characters. In this a dashing light comedian and fiery, petulanfold man cannot fail to extort applause. Moaern dresses : and scene, a modern apartment. Time In representation, twenty five minutes. 32 THE LITTLE REBEL. A Farce in one act, by J. Ster¬ ling Coyne. Four male and three female characters. An excellent piece for a sprightly young actress. Dresses and scenery of the present day. Easy of production. Time in representation, about forty-five minutes. 33 ONE TOO MANY FOR HIM. A Farce in one act, by Thomas J. Williams. Two male and three female characters. Adapted from a popular French vaudeville. Costume of the time. Scene, parlor in country nonse. Time of representation, fifty minutes. 34 LARKIN'S LOVE LETTERS. A Farce in one act, by Thomas J. Williams. Three male and two female characters. The piece has excellent parts for first low comedy—first old man and a soubrette. Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 35 A SILENT WOMAN. A Faroe in one act, by Thomas Hailes Lacy. Two male and one female characters. One of the prettiest little pieces on the English stage. Dresses of the period. Scene, a drawing room. Time in representation, thirty-five minutes. 36 BLACK SHEEP, a Drama in three acts, from Edmnnd Yates' novel of the same name, and arranged for the stage by J. Palgrave Simpson and the author. Seven male and five female characters. Costumes of the present time. Scenery, an interior ; gardens at Homburg, and a handsome parlor. Time in playing, two and a naif hours. 37 A SILENT PROTECTOR. A Farce in one act hy Thom¬ as J. Williams. Three male and two female characters. An active, bust¬ ling piece of ingenuity, which affords abundant opportunities for the display of Qoicklldget's eccentricities. Costumes of the period. Scene, a drawing room. Time in representation, forty minutes. 38 THE RIGHTFUL HEIR. A Drama in five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters. A revision and improvement of the author's play of the "Sea Captain," originally produced under management of Mr. Macready. Costumes of the English Elizabethan period, armor, doublets, tights, &c. Scenery pictu¬ resque and elaborate. The play conUiins numerous scenes and passages, I which could be selected for declamation. Time in representation, two hours and forty-five minutes. 39 MASTER JONES' BIRTHDAY. A Farce in one act, by John Maddison Morton. Four male :ind two female characters. A very amnsing and effective composition, particularly suited to amateurs. Dresses of the .day ; and scene, a plain interior. Time of playing, thirty minutes. 40 ATGHI. A Comedietta in one act, by John Maddison Morton. Three male and two female characters. A gem in pleasantry whose conclusion is irresistibly comic. Costume of the day. Scene, a taste^ fully laid out garden. Time in representation, forty minutes. DE WITT'S ACTING PLAYS. No. 41 BEAUTIFUL FOREVER. A Farce in one aot^by i^ed- erick Hay. Two male and two female characters. A sprightly satirical re¬ buke to those that patronize advertised nostrums. Costumes of the day. Scene, a handsome interior. Time in representation, forty minutes. 42 TIME AND THE HOUR. A Drama in three acts, by J Palgrave Simpson and Felix Dale. Seven male and three female charac¬ ters. An excelient acting play, full of life and iucident, the parts of Medlicott aud Marian Beck being capable of impressive representation—all others good. Costumes of the present period. Scenery, gardens and ex¬ terior, cottage and garden, and an old oaken chamber. Time in representa¬ tion, two hours aud a half. 43 SISTERLY SERVICE. An original Comedietta in one act, by J. P. Wooler. Seven male and two female characters. An interest¬ ing piece. Costumes, rich dresses of the musketeers of Louis XIII. Scenes, an apartment of that period, and a corridor in the royal palace of France. Time in representation, forty minutes. 44 WAR TO THE KNIFE, a Comedy in three acts, by Henry J. Bmn. Five male and four female characters. A pleasing, enter¬ taining and morally instructive lesson as to extravagant living ; capitally adapted to the stage. Costumes of the present time. Scenes, three interiors. Time in representation, one hour and three quarters. 45 OUR DOMESTICS. A Comedy Farce in two acts, by Frederick Hay. Six male and six female characters. An irresistibly face¬ tious exposition of high life below stairs, and of tire way in which servants treat employers during their absence. Costumes of the day. Scenes, kitchen and dining room. Time in representation, one hour and a half. 46 MIRIAM'S CRIME. A Drama in three acts, by H. T. Craven. Five male and two female characters. One of the best acting plays, and easily pnt on the stage. Costumes modern. Scenery, modern Knglish interiors, two in number, lime in representation, two hours. 47 EASY SHAVING. A Farce in one act, by F. C. Bur- nand and M-ntagu Williams. Five male and two female characters. A neat and effective piece, with excellent parts for low comedian and singing chamber maid. Costumes of the days of Charles II of England. Scene, a barber's shop. Time in representation, twenty-ffve minutes. 48 LITTLE ANNIE'S BIRTHDAY. An original persona¬ tion Farce, by W. E. Suter. Two male and four female characters. A good farce, whose effectiveness depends upon a singing young lady, who could make the piece a sure success. Costumes modern. Scene, an apart¬ ment in an English country house. Time in representation, twenty-fivc minutes. 49 THE MIDNIGHT WATCH. A Drama in one act, by V J. Maddison Morton. Eight male and two female characters. A successful little play. Costumes of the time of the French Revolution of 1795. Scene, ' the platform of a fortress. Time in representation, one hour. 50 THE PORTER'S KNOT. A serio-comio Drama in two acts, by John Oxenford. Eight male and two female characters. Interest¬ ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of cottage and exterior of seaside hotel. Time in representiftlon, one hour and a quarter. 51 A MODEL OF A WIFE. A Farce in one act, by Alfred Wigan. Thre** male and two female characters. Most amusing in concep¬ tion and admirably carried out. Co«tunies of the day. Scene, u painter's studio. Time in representation, thirty-five minutes. 52 A CUP OF TEA. A Comedietta in one act. Translated from the French of Une Tasse de The, by Charles Nuttier and J. Derley. Three male and one female characters. An exquisite petty comedy, well adapted for amateur representation. Costumes modern. Scene, handsome drawing room. Time in representation, thirty minutes. DE WITT'S ACTING PLATS. No. 53 GERTRUDE'S MONEY BOX. A Farce in one act, by Harry Lemon. Four male and two female characters. A successful, well written piece; an incident in rural life. Costumes of the present time. Sceue, interior of a cottage. Time in representation, forty-five minutes. 54 THE YOUNG COLEEGIAN (Tho Cantal»). A Farce In one act, by T. W. Robertson. Three male and two female characters. A rattling piece, filled with ludicrous situations, which could be splendidly worked up by a gooil light comedian. Costumes inodenT; and scene, a handsome interior. Time in representation, fifty minutes. 55 CATHARINE HOWARD; or, tHe Throne, the Tomh and the Scaffold. An historical play in three acts [ from the celebrated play of that name, by Alexander Humàsl; adapted by AV. L). Siiter. T\>elve male and five female characters. A most sueecssfiil acting drama in both France and England. Costumes of the period of Henry VHI of England, artistic and rich. Scenery elaborate and historical. Time in representa¬ tion, two bours and a half. 58 TWO GAY DECEIVERS; or, Black, White and Gray. A Farco in one act by T.W.Robertson. Three male character". Adapted from the French of one of the most laughable vaudevilles on the Parisian stage. Costumes of present day. Scene, a cell in a police station. Time in representation, forty minutes. 51 NOEMIE. A Drama in two acts, translated and adapt¬ ed from the French of Hennery and Clement by T. A\'. Robertson. Four male and four female characters. Originally acted in Pari.s, this piece c routtd such a sensation that it was produced subsequently at all the leading theatres of London. Costumes modem. Scenery, a garden scene and a richly furnished interior. Time in representation, one hour and a half. Easily put on the stAge. 58 DEBORAH (LEAH); or,