Price, 25 cents PUBLISHED BY The* Diuvr-LATic Pubi^ishing Compant CHAP.LES H SEB.GEL. . PRESIDENT Practical Instructions for Private Theatricals ByW. D.EMERSON Author of "A Country Eomance," ''The Unknown Eival," ''Humble Pie," etc. Price, 25 cents Here is a practical hand-took, describing in detail all the accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in words, everything is clearly shown in the numerous pictures, more than one hundred being inserted in the book. No such usefvl book has ever been offered to the amateur players of an^v country. CONTENTS Chapter I. Introductory Eernarks. Chapter II. Stage, How to Make, etc. In drawing-roomd or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc. Chapter III. Arrangement of Scenery. How to hang it. Urapery, tormentors, wiugs, borders, drops. Chapter IV. Box Scenes. Center door pieces, plain wings, door wings, return pieces, etc. Chapter V. How to Light the Stage. Oil, gas and electric light. Footlights, Sidelights, Eeflectors. How to darken the stage, etc. Chapter VT. Stage Effects.: Wind, Eain, Thunder, Break- ing Glass, Falling Buildin^5, !Snow, Water, Waves, Cascades, Passing Trains, Lightning,, tITimes, Sound of Horses' Hoofs, Shots. Chapter VIT. Scene rr.inting. Chapter VIII. A Word to the Property Man. Chapter IX. To the Stage Manager. Chapter X. The Business Manager. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS MY MEXICAN ROSE A PLAYLET IN ONE ACT BY KATHERINE KAVANAUGH CHICAGO THE DRAMATIC PUBLISHING COMPANY CAST OF CHARACTEES Senorita Carlota Valquez. Guadalupe, Carlota's duena. Jack Nesbit, an American. Luis Pascual, Carlo ta's cousin. Copyright, 1912, by the Dramatic Publishing Company, Plays about twenty minutes. ©C1.D 3184'3 f MY MEXICAN ROSE Scene. — Patio of the house of Senorita Valquez. In center of stage a small flower garden. Two steps R. leading off between 2nd and 3rd wings. A tahle and chair r. Bench or scat L. Loiv wall running across in rear, ivith gate in center. Arrange lights to throw late afternoon sunlight effect on garden. Curtain music: A Spanish air. At rise of curtain Carlota is discovered at gate. She is a girl of twenty years, wears a simple hecoming gown of ivhite, icith red rose in her hair behind left ear. Guada- lupe, an old Spanish ivoman, seated at table R. knitting lace.] [Carlota slightly changes her position at gate and softly sighs. ~] Guadalupe. [Looking up.] Santa Maria, Carlota Mio, is it ever to be sighs and tears ? Where hast all thy bright- ness flown? Carlota. [Comes slowly toward bench l. as she speals.] Guadalupe, do you recall how many days remain to me of freedom? [/St^s.] Guadalupe. But one, my little Carlota. Don Luis comes tomorrow to claim you as his bride. Carlota. Tomorrow is the day, but he will come ahead of time, you see. Something tells me he will be here today. Guadalupe. It was your father^s will that he be your husband on your twentieth birthday — if you had not found another before that time. Carlota. [Dreamily.] If I had not found another ! Guadalupe, did you ever hear of anyone falling in love with a person she did not know? Guadalupe. Santa Maria, how could that be? Carlota. Every day for the past week a man has stopped out there [Points toicard gate.] to v\"ater his horse. Sometimes he sings a bit of song, sometimes he speaks 3 4 MY MEXICAN ROSE kindly to his horse, and — and — sometimes he gazes up at the windows of this house. I have seen him through the lattice every day. [Guadalupe starts in dismay.] Ah, but he has not seen me. Guadalupe, I think I love that man. Guadalupe. [Raising lier hands in horror.] Saints in Heaven, hear her ! Carlota. Today when he stops to water his horse, I am going to speak to him. Guadalupe. No, no, Senorita ; that is impossible. You must not do it. Carlota. But I will. My cousin Luis comes tomorrow to claim me for his wife, according to the will of my father. I hate my cousin Luis. I will never be his wife. Guadalupe. Then your entire fortune — even this house — will become the property of Luis Pascual. Carlota. I do not care. Let the prop'erty go. I can be happy without it, but I could never be happy as Luis' wife. Jack. [Heard singing outside the gate. He sings in a careless manner, as if his mijid were more on attending to his horse.] Oh, it's all r-right in the sum-mertime, In the summer-time, it's 1-lovely — Carlota. [Starts to her feet.] Listen, 'tis he, my Americano. My guitar quick. [Guadalupe takes up guitar from tahle, gives it to Carlota, who returns to bench, and accompanying herself on the guitar, sings a few lines from a Spanish love song.] Jack. [Appears at gate.] I beg your pardon — may I have a cup of water. Carlota. Si, senior. Guadalupe. [Guadalupe places her knitting on table, goes off by way of steps n., waving her hands, and shaking her head.] Carlota. [Crosses to r., lays her guitar on table.] Won't you come in, Senor, and rest? Jack. [Enters. He wears picturesque riding suit.] Thanks. [Comes doivn l. c] Do you know I've been try- ing to get in here for a week? Carlota. Indeed, Senor? And why? Jack. You see — I've passed here often — in fact — well, MY MEXICAN ROSE 5 to tell the truth I go several miles out of my way to pass here; you see — I — I admire the — the flowers so much. Carlota. And are there no other flowers in all Mexico, Sen or ? Jack. [Goes closer to lier.'] None like the ones that grow here. That's a pretty one you have in your hair. [Touching the rose.] So many Spanish girls wear a rose right there. Why? Carlota. Behind the left ear before they are engaged; behind the right ear afterward. Jack. Do you know, I think it would look much more effective behind the right ear. Let's change it. [Reaches for rose.] Carlota. [Drawing hacl\] Xo, no, Senor. I'm not engaged — yet. Jack. Please let me. 1 want to see how you'll look when you are engaged. Guadalupe. [Enters luith glass of tvater.] Your drink, Senor. Jack. Oh, yes; thanks. I forgot I was thirsty. [Takes glass and drinls, returns glass to Guadalupe. Exit Guada- lupe, R.] Carlota. I have observed you many times passing this way, Senor. Jack. Eeally? Well, I saw you for the first time a week ago, and I've been trying ever since to see you again. Carlota. But why, Senor ? Jack. [Close to her.] Don't you know? It was love at first sight with me, little girl. [Tries to take her hand.] Carlota. [Draws away.] Oh, no, Senor; I do not even know your name. Jack. It's Nesbit — Jack Xesbit, of Xew York. What's yours ? Carlota. Carlota Yalquez. Jack. That's a pretty name — but I think Carlota Xesbit sounds better. Carlota. I wonder if I dare to ask you one very great favor, Senor Xesbit? Jack. If you'll only call me Jack I'll be your slave for life. Carlota. You cannot mean that. 6 MY MEXICAN ROSE Jack. I do, so help me. Carlota. Then listen, Senor Jack. I am going to take you at your word. First, I must ask you — oh, it is so terri- ble — I^m confused — I cannot — I blush, Senor. [Turns from him in confusion.} Jack. Do it again. No, no, I mean — don't mind me — ask anything. Carlota. [Turns to him.] Are you married, Senor? Jack. [Astonished.] No, I don't think so — no, no, I know I'm not ; in fact, I feel quite sure of it. Carlota. Oh, I'm so glad. You can stay here and be my husband. Jack. What ! Hush — if it's a dream don't wake me. Carlota. [Begins to laugh.'] Oh, it's so funny. Jack. Is it? Carlota. You do not understand. I have not ex- plained. You are to be my husband, but not really. Jack. Oh, then, I ain't going to play. [Pretends to pout.] Carlota. [Goes up behind liim, touches his arm.] Just make believe, you understand? You do not even kiss me. Jack. [Ihirns and tal-es tier hand.] Oh, no, I'm not that kind of a husband. Carlota. Only take my hand perhaps, so that he, Luis, will think it is real. But come, sit beside me ; we have much to arrange before he arrives. [Crosses to L. and sits on bench.] Jack. [Sits beside her.] He? Who's he? Carlota. I will tell you, and when you know all you won't go away and leave me, will you? Jack. Seventeen thousand horses couldn't drag me away. Carlota. Tomorrow, Senor Jack, is my birthday — my twentieth. Jack. Eeally? You don't look it. Carlota. Be serious. When my father died he willed that I might marry some one of my own choosing before that day arrived. If not, I was to marry my cousin, Luis Pascual, whom I hate. Jack. So do I. MY MEXICAN ROSE 7 Carlota. If, being still unmarried, I refuse my cousin, he is to inherit all my property. I will be penniless. Jack. AVell, don't you care; I've got -plenty. [Kisses her hand.] Carlota. Be serious, Senor. Jack. Leave off that ''senor," and I will. Carlota. Jack, will you help me ? Jack. Only tell me what you want me to do? Carlota.. Today my cousin comes from Cortes. He will ask me to marry him. Oh, I have been beside myself all day, thinking of it. Jack. Now that I'm beside you, it's all right. Carlota. I knew — I hoped you would pass at this hour. When I heard your song, I answered. \our face, Senor, it is so good and honest. Jack. Is that the best you can say of it? Carlota. I thought that you would help me. Jack. Carlota, you are the most beautiful thing in the world when you look like that. I will do anything under the sun you ask of me. Carlota. When Luis comes, could we not pretend that we are married? Jack. Pretend nothing. We will be. W^here's the nearest Padre. [Is about to start off, reaches c. of stage. Carlota. [Rises, follows Jack to c, catches his hand. No, you must not leave me. He might come before you returned and that would spoil all. We will pretend until my cousin Luis has gone back to Cortes. Jack. All right, we'll pretend until he goes ; after that we'll look up the Padre. But don't forget to call me Jack. You had better start right away so you'll be in practice, don't you think so? Carlota. Yes, Jack. Jack. [Takes ring from his little finger.'] Here, we've got to have a ring. I never met a girl yet who would pre- tend aljout the ring. [Places ring on her finger, raises her hand and kisses it. Is about to draw her into his arms when Luis appears at gate.] Luis. [Calls in angry tone.] Carlota ! Carlota. Luis! [6'oes r. c] Jack. Oh, look who's here. [Goes l. c] 8 MY MEXICAN ROSE Luis. [Comes dotvn c] Carlota, what does this mean? Have you lost all sense of modesty; are you quite aban- doned? [Turns to Jack.] As for you, Senor Jack. Well, what have you got up your sleeve for me? Luis. You are an Americano. Jack. Well, that's nothing to be ashamed of. Luis. You are not one of our people ; you do not under- stand the customs of our country. Jack. What's that got to do with the situation? Luis. Senorita Yalquez is my betrothed. Jack. You're mistaken, my friend ; this lady is my wife. Luis. What ! Carlota, can this be true ? Carlota. Senor Nesbit speaks the truth, Luis. Luis. So you have tricked me. You have brought me here on a fool's errand. Jack. Well, like a nice little fool, you can go back again. Luis. You are a scheming villain, Senor; you not only rob me of the woman of my choice, but you deprive me of the lands and property that should rightfully be mine. Jack. Ah, there's where the shoe pinches, eh ? Carlota. You forget yourself, Luis. By my father's will I could marry whom I chose before my twentieth birth- day. Senor Nesbit is the man of my choice, and the only one in the world I would have for my husband. This is my house ; my husband is master here. It were best for all of us if you would return at once to Cortes. Luis. So I am ordered back to where I came from, eh? So be it. I go, but I leave behind me my curses — may you both be Jack. [Raises his liand.l Don't say it, Pascual ; never swear in the presence of a lady. And you needn't ]eave any curses behind you — they wouldn't have any effect — see, I've got my fingers crossed. [Holds up hand.] Luis. [Goes quicl-hj to gate, turns and spealcs angrily.'] Adois, Carlota ; you will never see me again. [Exit.] Jack. That's pleasant news. [To Carlota.] Have you any regrets, Carlota? [Holds out his arms to her.] Carlota. [Comes to him.] None, Senor. Jack. Then let us turn this pleasant make-believe into a reality. Carlota. But it was to be only for today, Senor. 3IY MEXICAN ROSE 9 Jack. It is to be for all time, Carlota. I knew it the first day I saw yon. Can't you learn to care for me ? Carlota, [Turns from him.'] I'm afraid not, Senor. Jack. I'm sorry. AYhat's the reason? Carlota. [Slyly.] Because one cannot learn what one already knows. I care now, Jack. Jack. [Tal-es her in his arms.] You little sinner. Carlota. But that is not a pretty pet name ; can't you find a better one? Jack. Yes, I'll call von '^My Mexican Eose." CUETAIN Diamonds and Hearts A Comedy Drama in Three Acts By EFFIE W. KERRIMAN Price, 25 cents This play has "become one of the most popular in America. The good plot, the strong "heart" haterest, and the abundant comedy all combine to make a most excellent drama. "Bub" Barnes is a fine character of the Josh Whitcomb type, and his sister is a worthy companion "bit." Sammy is an excruciatingly funny little darkey. The other characters are good. Fine opportunity for introducing specialties. The play has so many good points that it never fails to be a success. CAST OF CHARACTERS BEr.NTCE HALSTEAD, a young lady of eighteen, with an affec- tion of the heart, a love for fun and hatred of arithmetic AMY HALSTEAD, her sister, two years younger, fond of frolic , INEZ GRAY, a young lady visitor, willing to share in the fun MRS. HALSTEAD, a widow, and stepmother of the Halstead girls HANNAH MARY BARNES, or "Sis," a maiden lady who keeps house for her brother DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's son hy a former marriage DR. BURTON, a young physician SAMMY, the darkey bell-boy in the Halstead house ABRAHAM BARNES, or "Bub," a yankee farmer, still unniar- Tled at fortv— a diamond in the rough ATTORNEY; SHERIFF Time of playing, two hours. Two interior scenes. Modern costumes. SYNOPSIS OF INCIDENTS Act. 1. Parlor of the Halstead home. The young doctor. The three 'girls plot to make his acquaintance. An affection of the heart. "Easy to fool a young doctor," but not so easy after all. The step- mother and her son. The stolen diamonds. The missing will. Plot to win Bernice. "I would not marry Dwight Bradley for all the wealth the world contains." Driven from home. Act 2. Kitchen of the Barnes' farm house. Bub takes off his boots. The new school ma'am. "Supper's ready." "This is our Tiephew and he's a doctor." Recognition. A difficult problem in. arithmetic. The doctor to the rescue. "I'm just the happiest girl In the world." "I've come to pop the question, an' why don't 1 do it?" Brother and sister. "If it's a heifer, it's teh be mine." The sheriff. Arrested for stealing the diamonds. "Let me knock yer durned head off." The jewels found in Bernice's trunk. Act 3. Parlor of the Halstead home. "That was a lucky stroke — hiding those diamonds in her trunk." The schemer's plot miscar- ries. Abe and Sammy join hands. The lawyer. "Bully for her." Bradley tries to escape. "No, ye don't!" Arrested. "It means, dear, that you are to be persecuted no more." Wedding presents, and a war dance around them. "It is no trick at all to fool a young doctor." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Santiago OR For the Red, White and Blue A "War Drama in Fowir Acts By lOHN A. FRASER Price, 25 cents CHARACTERS Capt. Oscar Hutton, U. S. A. In love with Cora. .Leading Juvenile Lieut. Fisk, U. S. A. In love with his duty ..Juvenile bit Milton Merry, U. S. N. In love with Bess Light Comedy Lieut. Cristobal, S. A. In love with soldiering Straight Dr. Harrison, Red Cross H. S. In love with surgery Straight old man Elmer Walton, banker. In love with Spanish bonds Character old man Phillip Basset, his stepson. In love with Ysobel Juvenile Fernando Diaz, Walton's cashier, afterwards S. A. In love with Cora Heavy Beverly Brown, Walton's butler, afterwards Red Cross H. S. In love with chickens Negro Comedy Cornelius Dwyer, Walton's coachman, afterwards U. S. A. In love with "Naygurs" Irish Comedy Antonio Carlos, a Cuban planter. In love with Spain Character old man Cora Basset, Walton's stepdaughter. In love with Oscar. .Juvenile Bess Walton, Walton's daughter. In love with Milton Ingenue Ysobel Carlos, Antonio's daughter. In love with Phillip. ., .Juvenile American Soldiers, American Sailors, Spanish Soldiers, Guerillas, Actual time of playing, two hours. SYNOPSIS ACT L The ball at Walton's, Washington, D. C. Handsome In- terior. ACT II. The Red Cross Hospital. First day's battle of Santiago. Exterior. ACT III. Scene 1. — Interior Guerilla headquarters in the Sierra Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si' erra Cobra. Scene 3. — Fight in the mountain pass, second day's battle of Santiago. Exterior. ACT IV. Hotel Tacon, Santiago, on the night of the surrender. Interior. NOTE.— Walton, Dr. Harrison and Carlos may double easily, and the piece played with nine males, three females. The best Cuban war play ever written. Easy to produce, but very effective. Thrilling situations, fine comedy, intense climaxes. Comic Irishman and Negro. Three magnificent female jiarts. Pic- turesque Spanish villain and heroic juvenile lead. No special scen- ery is required, as every regular theatre, in its ordinary equip ment. has every set called for. Adapted to both professional ana amateur companies. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Dumont^s Minstrel Joke Book Price, 25 cents A Collection of jokes arranged for End-Men, both professional and amateur. Never before collected and published in a clear manner and with bright dialogue for End-Men and Interlocutor. They form a book of the newest, most humorous and quaintest matter ever arranged. Any reader may, with assured success, deliver them to any assemblages before whom he may appear. Mr. Dumont himself says: "This collection of jokes and dia- logues is the careful gathering of years — and only the best and •sure laugh' producers are incorporated in this book." PARTIAL CONTENTS Arithmetic of Love, "Ask a Policeman," All about Novels, At Nia- gara Falls, "A. P. A." and Bricks, Advantages of Education, All Sorts, Army and its Soldiers, Bad Case of Lying, Base Ball, Breach of Promise, Burglars, Boston's Correct Language, Bravery in Battle, Fishing, Funny Signs and Borrowed Pants, Fish makes Brains, Firing off the Cannon, Climatic Changes, Clancy as a Diver, "Couldn't find a Policeman." Colonel Pepper, "Curiosities for Mu- seums," Conundrums, Cruelty to Animals, Country and Don't Drink, Couldn't take the Job, Comic Recitations, Cork Leg. "Casablanca," "Dreams," Ducks and Indians, Dutchman's Bet, "Daniel," Eatirg Dumplings, Epitaphs. Editing a Newspaper, Eating by Weight, Ed- ucated Horse, The Mule Battery, "Making Both Ends Meet," The Mind Reader, Missed the Hearse, Mixf^d Breed of Chickens, Married into a me.^n Family, Makinga Pair of Shoes, Man's Ribs and Angel Cake, The New Poet, Never Happened, On the Battlefield, Off to the Seat of War. Our Brothers, Old Cider Barrel, Origin of Songs, Opinion on Man and Woman, Gratitude, Hotel Regulations, Hold your Head Up, How is Business, Plow Different Girls Kiss, Hash for the Navy, "Has not Caught Me Yet," Irish Monologue, It Runs in the Family, "If a River were between all Men and Women," Jumping Frog, Kissing, Kiss Sociable, Keep off the Grass, Kissing in the Tunnel, Lawyer and Doctor, Lost Umbrella, Liquor Assists Nature, Learning the Bike, Love and Matrimony, Law in Alaska, Shoemaker's Daughter, Singing at the Party, Storm at Sea, Spot- ted Dog, Swallowed an Egg, Second Time on Earth, Signs, Sorry he didn't Take it Cold. Progress, Parson's Sermon on Crap Shoot- ing, Poultry and Fruit, Power of Language. Perhaps I Will and Perhaps I Won't, Peculiarities of Speech, Pumpkin Pie, Patriotic Alphabet, Queer Advertisements. Ragged Jacket, Raising Grass- hoppers, Taught His Wife a Lesson, Thought it was a Boat-race, The Telephone, Thief with a Roman Nose. Taxes on Luxuries, Transfusion of Blood, Took the Dead Mans' Dollar, Two Good Liars, Three Realistic Dreams, Takes It just the same, "Twinkle, Twinkle Little Star," Very Good Tip, Very Large Punch Bowl, Very Mean Father, "We are Letters," "Went Home for his Pipe," "Why is a Ship called "She?" "What is Love?" "We are all Bottles," "Wish the Gun had gone ofE," Writing a Novel. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Joe Ruggles OR THE GIRL MINER A Comedy Drama in Fouf Acts By FRANK J. DEAN Pricct 25 cents Nine male, three female characters. A vigorous, stirring play, depicting- peculiar types of life in a large city and in the mining districts of the West. The parts of Joe Ruggles, the miner, Hanp Von Bush (Dutch dialect), and Richard Hamilton, the scheming villain, all afford opportunity for clever work; while the part of Madge (soubrette), who afterwards assumes the character of Mark J.ynch, is an excellent one for a bright young actress. Scenery — City street, showing R. R. Station; rocky pass, with eet cabins; a wood scene, ard two plain interiors. Costumes of the day. Time of playing, two and a half hours. SYNOPSIS OF EVENTS ACT I En" ranee to Railroad Station Looking for a victi.Ti — Joe Ruggles — "Them galoots is worse than g-iizziies" — "Morning papers" — Madge and Bess plying their trades — "Can't you sing Joe a song?" — Hamilton and his pal confer — Tom Howarth gains inportant information — "Don't you dare to lay hands on us!" — Hamilton tries to maintain his authority — "Who? Old Joe!" ACT II — Dootnsday^s Hotel, Dare-devil's Gu!ch, California The landlord secures a guest — Hans disappointed — "Dot is a mis- dake" — A ghost story — The "Kid and his sister" — "Did I hurt your highness?" — Hans and Doomsday have another talk — Kate Laurel meets the young miner — "Yah, dot vas vot I t'inks" — Madge's dis- guise penetrated — She recognizes an old enemy — "Now. George Smith, take your choice" — Joe Ruggles as a tramp — "Ef yer think yer can pick on me because I'm han'some ye'll find me ter hunri" — Hamilton appears — "Those two youngsters are mine" — The tramp takes a hand. ACT III -Wood Scene A lively ghost— Hamilton and Smith plan more villainy— Old Joe thinks of turning Detective— Kate Laurel again — "There is a secret connected with my life" — Kate's confession — "What do you mean, yir?" — Tom Howarth once more — "Vos you looking for a hotel?" — Planning an abduciion — Old Joe as an Irishman — "Phat does yez want wid me?" — Undertakes to be a detective — Takes a hand in the abduction — "Do it at your peril." ACT IV Hans hears, and tells, the latest news— "I nefer pelieved dot spook peesness" — Kate Laurel astonished — Hamilton attempts flight — "De poys haf got Mr. Hamilton, und dey vill gif him a necktie bartv" — Arrest of Smith — "Get out mit my vay, I vas de United States Mail"— Tom meets his old friend under new circum- stances — "Do you want me, Tom?"— Old Joe gives consent— A happy ending. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS The Outcast^s Daughter t ?r Lts By MARION EDDY PRICE, 25 CENTS Ten male, five female and one child characters. Plays two and one-half hours. Modern costumes. Three interior, one exterior scenes, all easily arranged where there is any scenery at hand. No stronger melodrama has been given the play-loving public. Full of the strongest appealing heart interest, intense, pathetic, real life, where joy and laughter are mingled with pathos and suffering, but all ending happily. A melodrama without a villain or the use of firearms. Amateurs may play it successfully, it plays itself, and it is adapted to strong repertoire companies. CAST OF CHARACTERS Carl Faber An ex-convict Howard Ross A manufacturer Dennis Hoejan Servant to Ross Abel Gardener to Ross Judge Havens Of the police court Recorder Of the police court Lettner Clerk of police court Second Court Clerk Clerk of police court Two policemen Little Hugo Agatha's child Agatha Steme Ross' bookkeeper Ida Rheinhold A retired singer Mrs. Wilmuth A washerwoman Xatie Factory girl Frances Factory girl SYNOPSIS OF SCENES Act 1. Ross' private office. "What has given me the honor of this visit?" "I will never sing again. My life has been a sad failure." "Good God! My mother!" "I have done wrong, I confess, but when a mother asks, a child must forgive. Oh, Mr. Ross, help me." "You, my rich and famous mother, to you I was nothing, and you — vou are nothing — nothing to me." "Agatha! Agatha! My child! My child!" Act 2. Agatha's attic. "My poor father. So young and strong. How I could have loved him." "Yes, Katie is right, I have nothing but bread for my sweet child." "Madam, I vould lie if I say she vas anything but a lady." "On the other side, towards the garden, there are a few rooms I have never used. If you will take them " "You do not look like a man who could commit mur- der. How was it?" "I was a weak man and many misfortunes made me desperate." "My picture! I must be mad." "You are good, child, but you shall not call me father." "Father! Father!" Act 3. Ross' Garden. "He is so good to me, but I cannot forget my poor unhappy father." "The picture was taken when I was young. He shall have it." "Stay here and be my wife." "That suspicious old man is in the garden." "For her I sacrificed every- thing." "Do you want to go to prison again?" "My father needs me to defend and comfort him." Act 4. A Police Court. "Do not ask me, your honor — I am an <^x-convict." "Your silence will not help you.'" "It vas dark und Mrs. Steme vas that scared she vas faint." "I hope, sor, yer honor believes in a future life, sor." "He wished to see his child; I am his child." "Grandfather, we love you." "I am his wife. Do not condenm him." Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. IUIMOI3 Tompldn^s Hired Man t ?""/ Acts By EFFIE W. MERRIMAN PRICE, 25 CENTS This is a strong play. No finer character than Dixoy, the hired man, has ever been created in American dramatic literature. He compels alternate laughter and tears, and possesses such quaint ways and so much of the milk of human kindness, as to make him a favorite with all audiences. The other male characters make good contrasts: Tompkins, the prosperous, straightforward farmer; Jerry, the country bumpkin, and Hemington, the manly young American. Mrs. Tompkins is a strong old woman part; Julia the spoiled daughter; Louise, the leading juvenile, and Ruth, the romp- ing soubrette, are all worthy of the best talent. This is a fine play of American life; the scene of the three acts being laid in the kitchen of Tompkin's farm house. The settings are quite elaborate, but easy to manage, as there is no change of scene. We strongly recommend '"Tompkin's Hired Man" as a sure success. CHARACTERS Asa Tompkins — A prosperous farmer who cannot tolerate deceit. Dixey — The hired man, and one -of nature's noblemen. John Remington — A manly young man in love with Louise. Jerry — A half-grown, awkward country lad. Mrs. Tompkins — A woman with a secret that embitters her. Julia — A spoiled child, the only daughter born to Mr. and Mrs. Tompkins. Louise— The daughter whom Mr. Tompkins believes to be his own. Ruth — Mr. Tompkin's niece^ and a great romp. Plays about tv/o hours. SYNOPSIS Act 1. Sewing carpet rags. "John and I are engaged." ""Well, you can disengage yourself, for you'll never be married." "Mrs. Clark, she's took worse." Who makes the cake? Julia declines to sew carpet rags. "It would ruin m,y hands for the piano or my painting." Dixey to the rescue. "You take the rags a minute, child, and I'll just give that fire a boost." Dixey's story. "It breaks his heart, but he gives her away, an' he premises never tch let her know as how he's her father." Enter Jerry. "Howdy." John gets a situation in the city. Farewell. "It's a dandy scheme, all the same. We'll have our party in spite of Aunt Sarah." "Oh, I'm so happy." The quartette. Curtain. Act 2. Chopping mince meat. The letter. Louise faints. "How dare you read a paper that does not concern you?" "You have robbed me of my father's love." The mother's story. Dinner. "I swan. I guess I set this table v.'ith a pitchfork." "Now, Lambkin, tell Dixey all 'bout it, can't yer?" "It looks zif they'd got teh be a change here purty darned quick, an' zif I'm the feller 'lected teh bring it 'bout." "None o' my biznoss, I know, but — I am her father:" "It's love the leetle one wants, not money." "If I'd been a man. I'd never given mv leetle gal away." "I'm dead sot on them two prop'sitions." Curtain. Act 3. Dixey builds the fire. "Things hain't so dangerous when everybodys' got his stummick full." The telegram. "It means that Louise is my promised wife." "By what right do you insinuate that there has been treachery under this roof?" "A miserable, dirty, little waif, picked up on the streets, and palmed off upon my father as his child!" "Oh, my wife, your attitude tells a story that breaks my heart." "Yeh druve her' to do what she did, an' yeh haint got no right teh blame her now." "Friend Tompkins, a third man ha.s taken our leetle gal an' we've both got teh larn teh git along without her. We kin all be happy in snito o' them two sentimental kids.'' Curtain. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Uncle Rube An Otiginal Homestead Play in Font Acts By CHARLES T0^37NSEND The Finest Rural Drama Ever Published Price, 25 cents CHARACTERS RUBEN RODNEY (Uncle Rube), Justice of the Peace, School Trustee, and a master hand at "swappin' hosses" Character lead SIMON SMARLEY, a smooth and cunning old villain Character heavy MARK, his son, a promising young rascal Straight heavy GORDON GRAY, a popular young artist Juvenile lead UPSON ASTERBILT, an up-to-date New York dude Character comedy IKE, the hired man. "I want ter know:" Eccentric BUB GREEN, a comical young rustic Low comedy BILL TAPPAN, a country constable Comedy MILLICENT LEE. "the pretty school teacher" Juvenile lady MRS. MARTHA BUNN, a. charming widow Character comedy TAGGS, a waif from New York Soubrette Time— Mid Autumn. Place — Vermont. Time of playing— Two hours and a quarter. SYNOPSIS ACT L The Old Homestead. Uncle Rube arrives. ACT II. The Constable's oflice. The plot to ruin Uncle Rube. ACT III. Evening at the old farm. LTncle Rube is arrested, ACT IV. The Constable's office again. The old farmer wins! This play was v/ritten by one of the most popular of American dramatists, whose works have sold by the hundreds of thousands. One of the best plays of its class ever written. Splendid characters. Powerful climaxes. Bright wit. Merry humor. Very easy to pro- duce. Requires only three scenes. No shifts of scenery during any act. Costumes all modern. No difficult properties required. THE AUTHOR^S OPINIONJ MR. TOWNSEND says of this drama: "I consider that 'Uncle Rube' is far superior to any play depicting country life that I have yet written." This is the play for everj^body — ^amateurs as well as professionals. It can be produced on any stage, and pleases all classes, from the most critical city audiences to those of the smallest country towns. Printed directly from the author's acting copy, with all the original stage directions. Address Orders to THE DRAMATIC PUBLISHING COMPANY ailCAGO. ILLINOIS Hageman's Make-Up Book By MAURICE HAGEMAN Price, 25 cents The importance of an effective make-up is becoming- more appar* ent to the professional actor every year, but hitlierto 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 novr been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-kiiown 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 likelj' to be superseded ky 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 IVIake-up Box. Grease-Paints. Mirrors, Face Powder and Puff, Exora Cream, Rouge. Liquid Color, Grenadine, Blue for the. Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro. Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Coid Cream, Cocoa Butter, Recipes for Cold Cream. Chapter IV. Preliminaries before IVIaking up; the Straight iVlake* 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, Society Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc. Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy Old Age, Ruddy Complexions. Chapter VIII. Comedy and Character Make-ups. Comedy Ef- fects, Wigs. Beards, Eyebrows. Noses, Lips, Pallor of Death. Chapter IX. The Human Features. The Mouth and Lips, the Eyes and Eyelids, the Nose, the Cliin. the Ear, the Teeth. Chapter X. Other Exposed Parts of the Human Anatomy. Chapter XI. Wigs, Bearas, Moustaches, and Eyebrows. Choosing a Wig, Powdering the Hair, Dimensions for Wigs, AVig Bands, Bald Wigs. Ladies' Wigs, Beavds on V*^ire. on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows. Chapter XII. Distinctive and Traditional Characteristics. North American Indians, New England Farmers, Hoosiers. Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons. Negroes. Soldiers during War, Soldiers dur- ing Peace, Scouts, Pathfinders, Puritans. PJarly Dutch Settlers, Englishm.en, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders. Hungarians. Gipsies. Russians, Turks, Arabs, Moors. Caffirs, Abya- sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS PLAYS And Entertainment Books. ^HJEING the largest theatrical booksellers in ^^ the United States, we keep in stock the most complete and best assorted lines of plays and en- tertainment books to be found anywhere. We can supply any play or book pub- lished. We have issued a catalogue of the best plays and entertainment books published in America and England. It contains a full description of each play, giving number of char- acters, time of playing, scenery, costumes, etc. This catalogue will be sent free on application. The plays described are suitable for ama- teurs and professionals, and nearly all of them may be played free of royalty. Persons inter- ested in dramatic books should examine our cat- alogue before ordering elsewhere. We also carry a full line of grease paints, face powders, hair goods, and other "make-up" materials. The Dramatic Publishing Company CHICAGO