.E8 M8 Copy 1 £^ COPYRIGHT, 1889, BY HAROLD ROORBACH l>00liiar!)S full lJCSCn;]tibc CataloQUC of Dramas. Comedies, Comediettas, Farces, Tableaux-vivants, Guide-books, Novel Entertainments for Church, School and Parlor Exhibitions, etc., containing complete and explicit information, will be sent to any address on receipt of a stamp far return postage. Address as above. ROORBACH'S AMERICAN EDITION PRICE, 15 CENTS EACH. This series embraces the best of plays, suited to the present time. The reprints have been rigidly compared with the original acting copies, so that absolute purity of text and stage business is warranted. Each play is furnished with an introduction of the greatest value to the stage manager, containing the argument or synopsis of incidents, complete lists of properties and costumes, diagrams of the stage settings and practicable scene-plots, with the fullest stage directions. They are hand- somely printed from new electrotype plates, in readable type, on fine paper. Their complete introductions, textual accuracy, and mechanical excellence render these books far superior in every respect to aU editions of acting plays hitherto published. :. ALL THAT GLITTERS IS NOT GOLD, A comic drama in two acts. Six male, three female characters. Time, two hours. 2. A SCRAP OF PAPER. A comic drama in three acts. Six male, six female characters. Time, two hours. 3. MY LORD IN LIVERY. A farce in one act. Five male, three female charac- ters. Time, fifty minutes. 4. CABMAN No. 93. A farce in one act. Two male, two female characters. Time, forty minuces. 5. MILKY WHITE. A domestic drama in two acts. Four male, two female char- acters. Time, one hour and three quarters. 6. PARTNERS FOR LIFE. A comedy in three acts. Seven male, four female characters. Time, two hours. 7. WOODCOCK'S LITTLE GAME. A comedy-farce in two acts. Four male, four female characters. Time, one hour. 8. HOW TO TAME YOUR MOTHER-IN-LAW. A farce in one act. Four male, two female characters. Time, thirty-five minutes. 9. LADY AUDLEY'S SECRET. A drama in two acts. Four male, three female characters. Time, one hour and a quarter. 10. NOT SO BAD AFTER ALL. A comedy in three acts. Six male, five female characters. Time, one hour and forty minutes. 11. WHICH IS WHICH ? A comedietta in one act. Three male, three female characters. Time, fifty minutes. 12. ICI ON PARLE FRAN^AIS. A fare- in one act. Three male, four female characters. Time, forty-five minutes. 13. DAISY FARM. A drama in four acts. Ten male, four female characters. Time, two hours and twenty minutes. 14. MARRIED LIFE. A comedy in thre<» acts. Five male, five female characters. Time, two hours. 15. A PRETTY PIECE OF BUSINESS.. A ccmedietta in one act. Two male, three female characters. Time, fifty miniites- i5. LEND ME FIVE SHILLINGS. A farce in one act. Five male, two female characters. Time, one hour. 17. UNCLE TOM'S CABIN.— Original Version. A drama in six acts. Fifteen male, seven female characters. Time, three hours. 18. UNCLE TOM'S CABIN.— New Version. A diama in five acts. Seven male, five femate characters. Time, two hours and a quarter. 19. LONDON ASSURANCE. A comedy in five acts. Tea male, three female characters. Time, two hours and three quarters. 20. ATCHI ! A comedietta in one act. Three male, two female characters. Time, forty minutes. *^" yf.y^^ ^^ WHO ? A farce in one act. Three male, twc female characters. Time, forty minutes. 22. THE WOVEN WEB. A drama in four acts. Seven male, three female char- acters. Time, two hours and twenty minutes. ^^^Any of the above will be sent by mail, ^ost-paid, to any address, on receipt €>/ the price. HAROLD R00R3ACH, Publisher, 9 Murray St., New York. MURDER WILL OUT A FARCE IN ONE ACT FOR SIX FEMALE CHARACTERS BY / LIZZIE MAY ELWYN Author's Edition, with the Cast of the Characters, Time OF Representation, Scene and Property Plots, Diagram of the Stage Setting, Explana- tion OF the Stage Directions, etc. ^ Copyright, 1890, by Harold Roorbach. NEW YORK HAROLD ROORBACH PUBLISHER MURDER WILL OUT CAST OF CHARACTERS. Grandma Stiles An old Yankee Woman. Lena Stiles .... Her Granddaughter. May Taylor 1 / . zr • . Minnie Sprague | ^^'^^ -^ ^''^^'^^•^• Dinah The Colored Cook. Bridget O' Flaherty Looking for a Situation. Time of Representation — Thirty Minutes. COSTUMES— Modern and Appropriate. PROPERTIES. Table ; dressing-case and mirror ; wardrobe ; rocker ; two or three chairs ; articles common to a girl's room scattered about ; gun for Dinah ; lighted candles on table and dressing-case, and for Grandma Stiles to enter with; masks for the girls; black domino for Minnie; old-fashioned dress, gay colored shawl and very large old-fashioned bonnet for May. SCENE. CorrldoT Backmg ''Window ' .^^ Wardrobe m\ Chair Dressing Case Boar ^^^ Door JH ^RockinfT Chair Table • Cbuir 4 MURDER WILL OUT. Scene. — A plain chamber. Doors R. and L. Window c. Table r., with rocker L. of it. Dressing-case l., with wardrobe L. of it. Chairs R. and L. N, B. A set scene is not necessary to the action, and may be dispensed with, if preferred. STAGE DIRECTIONS. In observing, the player is supposed to face the audience. R. means right; L., left; c, centre; r. c, right of centre; L. c, left of centre. Up STAGE, towards the back ; down stage, towards the footlights. R. R. e. C. L. C. L. MURDER^ILL OUT. Scene. — Lena Stiles' chamber; doors R. andi..-, window C; table, R., with rocker I., of it. Dressijig-case l., with wardrobe l, of it. Chairs R. and L. Articles common to a girC s bedroom scattered about. Lena at glass arranging her hair. Lena. Why in the world doesn't grandmother go to bed? Here it is nearly nine o'clock, and every night before, since I can remember, she has retired at half-past eight. The girls will not dare to come in till they see a light from her window. I wonder if I have forgotten that new waltz, [begins to waltz before the glass) Enter, Grandma Stiles, l. Grandma. Lena Stiles, what on airth air you doin' ? Lena. Nothing but the latest waltz step, grandma, [continues waltzing about) Grandma, [dropping into a chair) Waltz step ! Set right down, child. Your father left you in my care, an' I'm goin' to see that your morals ain't corrupted whilst he is away. Ain't you ashamed of yourself? And your father a minister of the gospel, too ! Lena, [sitting R.) Well, I'm not a minister, and papa isn't waltz- ing ; so where is the harm ? Grandma. The harm! I never caught yourfather acuttingsich capers, in my life. It's time you was abed too, letting nature rest. Lena. Yes, grandmother, and aren't you sitting up late ? Grandma. Yes, an' I must go right to bed. Sha'n't I bring you a soapstone, afore I go ? Lena. No, thank you. Grandma. Won't you want another blanket ? Lena. Oh, no indeed ! 1 shall want nothing. Grandma, [nodding) Well, I'll stay till you git to bed [nods) so I can tuck you in. Lena, [aside) Oh, horror! Shall I never get rid of the dear old soul? [aloud) Never mind me, grandma, I must brush my hair before I retire ; so you had better go. you are so sleepy. Grandma, [nods two or three times) I guess I will. Law, I can't but jest keep my eyes open. Exit, L. Lena. Thank goodness ! I feared that she meant to stay. 6' MURDER WILL OUT. Grandma, [putting her head in at l.) Leny, you ain't afeared to stay alone, be you? 'Cause if you be, I'll stay with you. Lena. Afraid! Of what, grandmother? 1 do not want any- body, and if I do, I will call Dinah. Grandma, [coming in) Well. I thought you might feel a bit afeard seeing that your ma and pa air both gone, an' no men folks left in the house. You have acted narvous and fidgety-like all day. Siia'n't I make you a little catnip tea? Lena. Grandmoiher Stiles, you are enough to drive me wild ! I want nothing, but to be let alone, and 1 will be glad if you will give me a chance to retire. Grandma. Law, child, don't be cross I I don't believe you feel well. Does your head ache ? Let me brush your hair. Lena. No, my head does not ache. I feel perfectly well and able to wait upon myself. Now good-night, grandma, and pleasant dreams, [gently helps Grandma out, l.) There,— (Grandma /«/5 her head in L. ) Goodness ! Grandma. Be sure and go right to bed, Leny. Exit, L. Lena. I wonder if that is the last of her for to-night ? Poor, dear old soul ! She means well, but sometimes her affectionate solicitude is very annoying. Enter, Dinah, l. Dinah. Does yer want ole Dinah, chile ? De ole missus say dat Ise ter see does yer want anything. Lena. Has grandmother gone to her room ? Dinah. She am dar by dis time, sartin. Lena. Then, Dinah, you may go down and attend the door ; admit whoever rings and bring them to my room. Dinah. Dis time ob de night? Lena. Now, Dinah, do be a dear good old soul, and not make a fuss. I mean to go to the masquerade ball to-night. Dinah. De wich? Lena. The ball. And I expect some friends to go with me. Now papa and mamma are gone to quarterly meeting and grand- mother has gone to bed. So, unless you tell, nobody will know anything about it. You w^«'/ tell, will you? Promise that you won't, there's a dear good Dinah, [puts her arms around Dinah's neck) Dinah. Dar, dar ! I ain't gwine ter tell nuffin. Dough if itebber gits foun' out, I spec ole Dinah done cotch it. When am yer gwine ter git home ? Lena. Probably it will be late, but you need not sit up for me ; I will take the key and let myself in. Dinah. Oh, de recklesomness ob dat gal! Chile, youse gwine ter yer obstruction, an' poo' ole Dinah am po'ful ter sabe ye. Jess MURDER WILL OUT. J ha'ar dese pra'ars an stay ter hum. You're gwine ter brung ole Dinah's gray hars in sorrer ter de grabe. Le.ia. Better wait, auntie, till you get the gray hairs, [tioise at window) Dinah. What am dat ? Lena, [looking out) It is the girls throwing gravel against the window, [looking) I can see but one, run and show her up, Dinah, and be as quiet as you can, or you will arouse grandma. Dinah. It am bad luclc youse gwine ter brung on yerself, suah fo' sartin ! Exit, L. Lena. I'll have a good time to-night, [looks in wardrobe) My costume is all right — I wonder if that was May, or Minnie 1 Enter, MiNNiE a7id May, l. Minnie. It's both of us, my dear, and such an endless wait as Fve had ! May. Yes; Minnie has been waiting for me more than half an hour, I thought aunt Abigail would never x^iwQ. Lena. Did your father go to quarterly meeting? May. Yes. And he will stay two nights. Isn't that lovely ? Minnie. Won't it give us a glorious chance? To-night the ball and to-morrow night the play. Oh, won't we have some fun! Lena. But if we should fail ! May. Fail! Do you not know that " in the bright lexicon of youth, there's no such word as fail ? " Lena. But I feel frightened when 1 think of to-morrow night. I never took a part in a drama and I know, if anybody looks at me, I shall forget my lines. Minnie. No you won't. When you get on the stage all of that fright will leave you. Lena. The stage fright may, but the fear of detection will not leave me. If papa knows that to-night I go to the ball and to- morrow night I act on the stage, he will be terribly angry. May. Well, are you going to give it up? Lena. Give it up? No indeed! I mean to have a good time to-night any way. I have my costume here in the wardrobe, and I have provided one for you. It is up in the garret — some of grandma's clotliing, but she will never know. Minnie. Well, let's be dressing. I have my costume. It is a domino. Come, May, it is getting late and the coach will be at the corner of the street at a quarter past nine, sharp ! Lena. Come, I will show you where to find your costume and then come back and finish my toilet. Exeunt, R. Enter, Dinah and Bridget, l. Dinah. Dar! Yer kin sot yersef doun dar, an' wait till young Miss comes, an' Ise jess agwine ter stay too. If Miss Leny tinks 8 MURDER WILL OUT. she am gwine ter 'sociate long of sich no-count trash, an' dat Ise gwine ter behold she in it, she am 'staken, dat's all. It am bad nough, dis trampin' off ter mastication balls, but wen it comes ter gwine long ob Irisher pot-washers I ain't agwine ter stan' it. Bridget. Howly St. Pathrick ! Shure an' what is it ails ther nagur? Oirish pot-washers indade ! An' it's yersilf thart I'd be afther axin' an' who is it yez afther callin' names ? Dinah. Yer jess better mend yer manners an' 'member dat youse talkin' ter a lady. If yer gits ter bein' too sassy I'll jess box yer ears, dat I will. Bridget. Howly murther ! A leddy is it? An' it's a moighty dhark complexion yez have, shure ! Now dry oop that bla'guard- ing ould black moog, an' call the misthress ter wonct, or it's mesilf as will pull ivery blissid bit of wool off yez ould black skool. Dinah, [rising) Duz yer tink — Enter, Lena, r. Lena. For mercy's sake ! Who is this, Dinah? Dinah. Ain't it um company? Lena. My company ? No, I was not expecting a stranger. Dinah. What am yer name, gal ? Bridget. Bridget, shure. Dinah. Bridget Shore ! Dar am a Shore family down on Front street ; dey is no-count trash. Is you any 'lation ter dem? Bridget. Divil a bit ! Dinah. Divillybit ! Now wat am dat? Can't yer talk English ? Lena. Oh, Dinah, you do not understand her. (/^ Bridget) Young woman, why have you come here at this hour of the night ? Bridget. This hour of the noight, indade ! Faith an' its bekase a divil a bit could I foind the phlace in the day tcime ! Lena. But why did you wish to find the place? Bridget. Howly St. Pathrick! An' how waz I goin' ter git in if I didn't foind ther phlace, I'd loike ter know? Lena. Good gracious. Dinah, do you know what she came for? Bridget. Howly murther, an' it's afther that yez wantin' ter know? Shure an' it's afther a sitooation I'm coome ! Lena. Oh, it's for the place that Hannah left vacant! I'll call grandma. Exit, L. Dinah. I'd jess Hke ter know if ye tinks youse gwine ter lib in dis house, wid me? Bridget. Faith, an' shure it's niver a bit do I want ter live wid a nagur ! Dinah. A nigger! Dar nebber wuz a nigger made so mean as dat Shore family ! An' Ise quite sartin dat youse 'lation ter dem. 'Tain't noways likely dat youse gwine ter own it. MURDER WILL OUT. g Enter, Lena ^«^ Grandma, l. Lena. This is the young woman, grandma, who, as I under- stand, has answered papa's advertisement for a housemaid. Per- haps, if you question her, you can find out whether she is compe- tent to take Hannah's place. (Bridget rises and drops a courtesy) Bridget. An' it's a place I'd loike shure, mam, av yez plaze. An' it's me shister Norah as was afther sinding me *til yez this blissid morning, an' it's all the day as I've been thrampin' the strates an' divil a bit could I foind yez afore. Grandma. What is your name, my good girl? Bridget. Faith an' me name is Bridget O' Flaherty, an' me shister Norah woruks wid Misrhress Jones, what sint me 'til yez. Dinah. Dat am a falsify, sartin! Firs' she done say she sister sent she, an' now it am Missus Jones I An' she tole me hersef dat her name am Shore. Lena. Oh, Dinah, you didn't understand her! Dinah. Yis I did too! I 'stand ^rt/ plain 'nough. Nobody gw'xvit ter un'stand dat odder lingo. Lena. I suppose, Bridget, that you have references ? Bridget. Pwhat ? Grandma. Have you a written recommendation of character? Bridget. An' it's a poor misfortunite girul I am ! [rockino herself to and fro) Oh, de?ir \ [zurin^ing her hands) It's mesilf as tould Norah that nobuddy would be afther takin' a sthrange girul wid- out a character ! Dinah. An' I shouldn't think dey would ! Lena. What do you mean by having no character ? Bridget. Shure an' I lohst me character, on the stamer, afore I'd shailed three days away from ould Ireland. Dinah. Holy Moses ! Dat am a purty gal fo' Missus Jones ter sen' ter de minister's house ! Yer jess better start yersef back ter Irelan' whar ye 'longs! Grandma. Keep still, Dinah, can't you? (/^Bridget) You mean a paper written by some one and stating that your character is good, don't you, Bridget ? Bridget. All writ out so purty loike and soigned by the praist. Sinire an' it's mesilf as will niver be afther gitting a sitooation wid- out it! Grandma. You may stay here to-night, and to-morrow I will see Mrs. Jones. If you stay, we shall require you to see to general house work. Dinah will attend to the cooking. Bridget. Shure, and I'd as lief tind the Gineral as anybuddy ! Lena. Have you had any supper ? Bridget. Divil a bit ! Lena. Then you must be hungry. Dinah, take her to the kitchen and, after she has eaten supper, show her to Hannah's lO MURDER WILL OUT. room. It is getting late, and I do not wish to be disturbed again to-night. Dinah. Come along den, Bridget Shore Flattery, an' stuff yersef wid vvittels as was cooked fo' decint folks. It am de las' youse'll hab ob mine cookin' ! I alius did keep 'spectable company an' I don' mean ter 'sociate long ob no sich trash. I shall lebe jess as quick as ebber de missus comes home. Dat I will! Exeunt, DiNAH and Bridget, l. Grandma. What a sight of trouble them gals make ! I declare I can jest keep my eyes open ! I must go right to bed. Don't set up a minute longer than you can help. Exit, L. Lena. My stars 1 1 shall never get ready for the ball, at this rate, [begins to hunt inivardrobe) Where is my mask ? I must have left it in the garret. Exit, R. Enter, BRIDGET, L. Bridget. Howly murther ! An* sich a supper for a girul as has been thrampin' the sthrates the blissid day ! Cold praties, wake tay an' bannock ! Och, ther stingy nagur; an' divil a bit o' sich will I be afther atein'. It's mesilf as will spake 'til the misthress shure. Faith an' here's a bottle! [takes bay rum froin dressing- case^ Something ter dhrink azeit? [djinks) Howly murther, an' it tastes quare ! — Hark ! [listens) an' is it that nagur coomin' t [hid- ing in the wardrobe) Enter, Lena, May a«<^ Minnie, r. Minnie dressed in black domino and mask. May dressed in old- fashioned dress, gay colored shawl, a very large old-fashioned bonnet and a jnask. Lena. I don't see where my mask is ! Oh, May, you look like a fright ! Bridget, [in wardrobe^ Shure, an' I'm thinkun that's thrue enough ! It's a big froight yez givin' me. May. Do I look like one, who, to-morrow night, will prowl around, with an assassin's knife, seeking the blood of an innocent old woman ? Bridget, [looking out) Howly St. Pathrick, it's the ould cravthur hissilf! Lena. Girls, I don't like that plot ; there is too much murder in it. I'm afraid it's wicked. Minnie. . Wicked ! Now what nonsense ! If you get faint- hearted, we shall have to give up the whole affair. Nobody can act in the murder scene as you can. Lena. That is just the part I don't like. That murder is horrid ! MURDER WILL OUT. II Bridget, [in wardrobe') An' it's a murther they's afther doin', is it? Begorra now, an' I whist I'd niver lift home for a piilace where I'd be kilt intoirely by the women folks. But it's Bridget O'Flaherty as will niver lave this cupboard 'till the murthenn' haythins gits out of the house ! May. Sufficient unto the day is the evil thereof. So let to- morrow take care of itself, while you hurry a little and get dressed for to-night. Lena, {going towards wardrobe) That I must, or we shall be the last ones at the ball. Minnie. Meanwhile I'll tell you something to quicken your movements. Brother Dick is waiting to escort us. Lena. Oh ! [jerking at wardrobe door) Minnie. I meant it for a surprise, but you were so slow — Lena. Why, what ails this door? May. It sticks I guess ; mine does sometimes. Let me help you, [both pull at the door) Minnie. You can't have much strength. Let ;;/tandings follow one another in rapid succession, and the mystery grows deeper and still deeper. Finally, when everybody gets into a hopeless tangle, it is discovered that ail three are victims of a practical joker, who has made them "April Fools." MISS MADCAP. A comedietta in one act, by Charles Townsend, for two male and one female characters. Time of playing, 20 minutes. 'I'his bright and breezy little play sparkles like champ;igne, and is just the thing for a curtain- raiser or an afterpiece. The story is well told, and the characters are well drawn. The youth who pretends to be a " tough," the young man who pretends to be a " dude," and the young lady who pretends to be a " tomboy," all give scope for excellent acting. The piece has been played with pronounced success under the author's management. THE DARKEY WOOD DEALER. A farce in one act, by Charles Townsend, for two male and one female characters. Time of playing, 20 minutes. A ro 'ring farce in this author's happiest vein, totally unlike the ordinary "Ethi- opian" plays. Each character IS first-class. The "wood-dealer," beyond doubt, is one of the best negro parts on the stage. The Deacon is a highly-amusing old man, and Mrs. Deacon (this part may be played by a young man), a tremen- dous hit as a "strong-minded" female. This farce is certain to keep an audience in a loar, and has proved a sure hit as played under the author's management. AN OLD PLANTATION NIGHT. PRICE, 25 CENTS. A musical and dramatic entertainment for four male and four female characters, forming a double quartet. This is not a negro minstrel show, contains no boisterous jokes nor conundrums, and is without a vestige of " Tambo " or " Bones," or the conventional stage darkey. It is a simple but vivid representation of life " in de quarters," embellished with song and story illustrating some of the quaint super- stitions and frolicsome merry-makings of the mellow-voiced race. Thoroughly bright throuijhout, the text is uncommonly well written, and the succession of inci- dents skilfully contriv d, while its transitions from grave to gay can be made wonder- fully effective by intelligent actors. The scene, a simple interior, can be arranged on any platform without set s-cenery ; some old garments and a little discarded finery will suffice for the costumes ; the " properties are few and simple, and the music is within the capacity of fairly good voices, such as any ordinary church choir contains. Wholly novel in conception, and singularly clever in arrangement, An Old Planta- tion Night will prove highly acceptable to audiences of all kinds in church, school, lyceum, or parlor. Synopsis: Uncle 'Rastus and Thomas Jefferson.— " Befo' de Wah."—" Swing Low, Sweet Chariot."— An influx of visitors.— Aunt Marthy's Story of the little possum. — The rabbit cross. — Limber Jim. — The Sunflower Song. — The stylishness of some folks.— The little white goat on the mountain. — "The Gospel Train."— Polly and the screech-owl.— A husking bee.— The Corn Song.— Little Aaron's battlements. —01 J Dan Tucker. ZW" Co/>ies of the above will be mailed, post-paid, to any address, on receipt of the specified prices. .„^^ HAROLD ROORBACH, Publisher, 9 Murray St.. New York. H. THEYRE SMITH'S PLAYS. Price, 1 5 Cents Each. A CASE FOR EVICTION. One male and two female characters— light comedian, lady comedian and servant. Interior scene ; modern costumes ; time of playing, thirty minutes. This breezy little play is so true to life that everybody enjo> s it and, as a matter of course, it is always highly successful. A young husband and wife have a visitor who makes them twice glad — glad when he comes and doubly glad when he goes. The difficulties that the young couple experience in getting rid of their guest, without hurting his feelings, are laughable in the extreme. The guest, by the way, is hear-d but not j^^«— which fact gives rise to much comical business. No scenery whatever is required ; and as every-day costumes are worn, the piece can be produced successfully without the slightest trouble. CUT OFF WITH A SHILLING. Two male and one female characters- juvenile man, old man and lady comedian. Scene, a sitting-room ; modern cos- tumes ; time of playing, forty-five minutes. An exceedingly popular play, offering unusual opportunities for good acting. A young man who has married without his uncle's consent is cut off with a shilling. But the uncle meets, his nephew's wife — not knowing who she is — and is so captivated by her wit, grace and beauty that, on learning who she is, he changes his mind, reinstates his nephew and allows the latter to rettirn the shilling. The dialogue is witty, the action rapid, and the situations effective. A HAPPY PAIR. One male, one female character— both light comedy. Scene, a nicely furnished room ; modern costumes ; time of playing, forty-five minutes. A brisk little play, full of action and giving numerous opportunities for clever work. While entirely free from all "low-comedy" business, it contains enough humor to be highly diverting. The quarrels of the "happy pair," and their final recon- ciliation can not fail to please, and the play is sure to give entire satisfaction either in the parlor or as a " curtain raiser" or afterpiece. MY LORD IN LIVERY. Four male and three female characters— light comedian, low comedian, old man, utility, lady comedian and two walking ladies. Parlor scene ; modern costumes ; time of playing, fifty minutes. An unusually bright piece brimming over with wit and humor. The three young ladies who permit a comic servant to meet them on terms of equality under the belief that he is a nobleman masquerading like themselves — the happy-go-lucky young nobleman who is mistaken for a burglar— the comical old butler — all have a vast deal of laughable by-play and business. This play was a pronounced success in New York, and has been presented to crowded houses in all the principal cities of this country. The ease with which it may be staged, and the invariable success which attends it, make My Lord in Livery peculiarly adapted to the use of amateurs. UNCLE'S WILL. Two. male and one female characters — juvenile lead, old man and lady comedian. Scene, a sitting-room ; costumes, modern ; time of playing, thirty minutes. This brilliant little play is a prime favorite in both Europe and America, and is admirably adapted to the use of amateurs. The wit flashes like a diamond, and the dainty bits of humor scattered here and there keep up a constant ripple of pleased excitement. Each character is a star part. I'he dash- ing young naval officer, the comical old man — in which Mr. Davidge made a pronounced hit at the Fifth Avenue Theatre, New York— and the bright and spirited young lady, all are first class and worthy of the best talent in any dramatic club. W^HICH IS WHICH. Three male, three female characters— juvenile man, old man, utility, two juvenile ladies and old woman. Scene, a studio ; costumes, modern ; time of playing, fifty minutes. Excellent and much patronized by nmateurs. The amusing perplexities of the poor artist, who can not tell which of his visitors is the heiress and which her penniless friend— who mistakes one for the other — who makes love to the rich girl, supposing that she is poor, and deter- mines to marry her in spite of her supposed poverty — and who finally discovers that he has proposed to the heiress after all — combine to make this a delightful play. ll^~ A ny of the above -will be sent by maii, postpaid, to any address, on receipt o/ the annexed prices. As there are several editions of these plays offered for sole, good, bad and indifferent, purchasers will consult their own interests, when order- ing, by specifying Roorbach's edition. „^^ HAROLD ROOBACH, Publisher, 9 Murray St, New York. NEW ENTERTAINMENTS. THE JAPANESE WEDDING. A costume pantomime representation of the Wedding Ceremony in Japanese high life. The company consists of the bride and groom, their parents, six bridesmaids, and the_ officiating personage appropriately called the " Go-between." There are various formalities, including salaams, tea-drinking, eating rice-cakes, and giving presents. No words are spoken. The ceremony (which occupies about 50 minutes), with the " tea-room," fills out an evening well, though music and other attractions may be added. Can be represented byyoung ladies alone, if preferrei. P^ice, 25 Cents. AN EVENING WITH PICKWICK. A Literary and Dramatic Dickens Entertainment. — Introduces the Pickwick Club, the Wardles of Dingley Deli, the Fat Boy, Alfred Jingle, Mrs. Leo Hunter, Lord Mutanhed and Count Smorltork, Arabella Allen and Bob Allen, Bob Sawyer, Mrs. and Master Bardell, Mrs. Cluppins, Mrs. Weller, Stiggins, Tony Weller, Sam Weller, and the Lady Traveller. Price, 25 cents. AN EVENING WITH COPPERFIELD. A Literary and Dramatic Dickens Entertainment. — Introduces Mrs. Copperfield, Davie, the Peggotys, the Murdstones, Mrs. Gummidge, Little Em'ly, Barkis, Betsey Trotwood, Mr. Dick and his kite, Steerforth, the Creakles, Traddles, Rosa Dartle, Miss Mowcher, Uriah Heep and his Mother, the Micawbers, Dora and Gyp, and the wooden-legged Gatekeeper. Price, 25 cents. These " Evenings with Dickens " can be represented in whole or in part, require but little memorizing, do not demand experienced actors, are not troublesome to pre- pare, and are suitable for performance either on the platform or in the drawing room. THE GYPSIES' FESTIVAL. A Musical Entertainment for Young People. Introduces the Gypsy Queen, Fortune Teller, Yankee Peddler, and a Chorus of Gypsies, of any desired number. The scene is supposed to be a Gypsy Camp. The costumes are very pretty, but simple ; the dialogue bright ; the music easy and tuneful ; and the drill movements and calisthenics are graceful. Few properties and no set scenery required, so that the entertainment can be represented on any platform. Price, 25 cents. THE COURT OF KING CHRISTMAS. A CHRISTMAS ENTERTAINMENT. The action takes place in Santa Claus land on Christmas eve, and represents the bustling preparations of St. Nick and his attendant worthies for the gratification of all children the next day. The cast may include as many as 36 characters, though fewer will answer, and the enter- tainment represented on a platform, without troublesome properties. The cos- tumes are simple, the incidental music and drill movements graceful and easily managed, the dialogue uncommonly good, and the whole thing quite above the average. A representation of this entertainment will cause the young folks, from six to sixty, fairly to turn themselves inside oiit with delight, and, at the same time, enforce the important moral of Peace and Good Will. Price, 25 cents. RECENTL Y PUBLISHED. ILLUSTRATED TABLEAUX FOR AMATEURS. A new series of Tableaux F/r/a«/'j-, by Martha C. Weld. In this series each description is accompanied with a full-page illustration of the scene to be represented. PART I.— MISCELLANEOUS TABLEAUX.— Contains General Introduction, 12 Tableaux and 14 Illustrations. Price, 25 Cents. PART II.— MISCELLANEOUS TABLEAUX.— Contains Introduction, 12 Ta- bleaux and 12 illustrations. Price, 25 Cents. SAVED FROM THE WRECK. A drama in three acts. Eight male, three female characters. Time, two hours and a half. Price, 15 Cents. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, three f'-male characters. Time, two hours and a half. Price, 15 Cents. BY FORCE OF IMPULSE. A drama in five acts. Nine male, three female characters. Time, two hours and a half. Price, 15 Cents. A LESSON IN ELEGANCE. A comedy in one act. Four female characters. Time, thirty minutes. Price, 15 Cents. WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six male characters. Time, thirty minutes. Price, 15 Cents. SECOND SIGHT. A farcical comedy in one act. Four male, one female charac- ter. Time, one hour. Price, 15 Cents. THE TRIPLE WEDDING. A drama in three acts. Four male, four femal« characters. Time, one hour and a quarter. Price, 15 cents. ^^~Any of the above will be sent by mail, postpaid, to any address, on receipt of the annexed prices. ,^^i HAROl.D ROORBACH, Publisher, 9 Murray St.. New York. I TRRftRY OF CONGRESS mm HELMER' ACTOR'S MAKE-l '7'ST8 "597 ise 7 jI fraetlcal and Systematic Guide to the Art 0/ Making up /or the Stage, PRICE, 25 CENTS. With exhaustive treatment on the Use of Theatrical lATiGS and Beards, The Make-up and its requisite materials, the t)ifferent features and their management, typical character. Masks, etc. With Special Hints to Ladies. Designed for the USE OF Actors and Amateurs, and for both Ladies and Gentle- men. Copiously Illustrated. CONTENTS. I. Theatrical Wigs. — The Style and Form of Theatrical Wigs .^nd Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly. II. Theatrical Beards. — How to fashion a Beard out of crep6 liair. How to make Beards of Wool. The growth of Beard simu- lated. HL The Make-up. — A successful Character Mask, and how ta make it. Perspiration during performance, how removed. IV. The Make-up Box. — Grease Paints. Grease paintL ia •sticks; Flesh Cream; Face Powder; How to use face powder as a liquid cream ; The various shades of face powder. Water Cos- m^iique. Nose Putty. Court Plaster. Cocoa Butter. Cr^p6 Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's •Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hares* Feet. Camels'-hair Brushes. V. The Features and their Treatment. — The Eyes : blind- ness. The Eyelids. The Eyebrows : How to paint out an eyebrow or moustache ; How to paste on eyebrows ; How to regulate bushy eye- "brows. The Eyelashes : To alter the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use the nose putty; A pug nose ; An African nose ; a large nose apparently reduced in size. The Mouih and Lips : a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a one-sided mouth ; a merry mouth ; A sullen mouth. The Teeth. The Neck, Arms, Hands and Finger- nails : Fingernails lengthened. Wrinkles: Friendliness and Sullen- ness indicated by wrinkles. Shading. A Starving character. A Cut in the Face. A Thin Face Made Fleshy. VI. Typical Character Masks. — The Make-up for Youth: Dimpled cheeks. Manhood. Middle Age. Making up as a Drunk- ard : One method ; another method. Old Age. Negroes. Moors. Chinese. King Lear, Shylock, Macbeth. Richelieu. Statuary, downs. VII. Special Hints to Ladies. — The Make-up. Theatrical Wigs and Hair Goods. Sent by mail, postpaid, to any address, on receipt of the price. HAROLD ROORBACH, Publisher, 9 Murray Strec/, New York. iSRARY OF CONGRESS 018 597 186 7