Price, 25 Cents le Professor of Love PUBLISHED BY The* Dr^i^latic Pubi^isiiing Compaky CHA.RLES H aEiCGEL. . PRESIDENT Practical Instructions for Private Theatricals ByW.D, EMERSON Author of "A Country Bomance,*' ''The Unknown Eival," ''Humble Pie," etc. Pricet 25 cents Here is a practical hand-book, 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 useful book has ever been offered to the amateur players of any country, CONTENTS Chapter L Introductory Remarks. Chapter II. Stage, How to Make, etc. In drawing-rooms 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. Drapery, tormentors, wings, 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, Reflectors. How to darken the stage, etc. Chapter VI. Stage Effects. Wind, Rain, Thunder, Break- ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Hors**-' Hoofs, Shots. Chapter VII. Scene Painting. 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 The Professor of Love A COMEDY IN ONE ACT BY KATHARINE KAVANAUGH Copyright 1911 by THK DRAMATIC PI BUSHING COMPANl CHICAGO THE DRAMATIC PUBLISHING COMPANY P5352.1 JAN -6 1915 ©C1.D !r9329 THE PROFESSOR OF LOVE A Corned}^ by Katharine Kavaxaugh. CAST. Professor Fairchild, inventor of the Affection Adjuster. Marion Fairchild, liis daughter. Betty, the maid. Mrs. Martin, the housekeeper. Johnnie Jones, the iee-man. Neil Dacey, the book-agent. COSTUMES. Professor Fairchild is an elderly gentleman of the stu- dent type, gray haired, smooth face, and wearing plain dark clothes. Marion Fairchild is a girl of twenty, wears a becoming summer gown. Betty is a girl of eighteen or twenty, wears the typical maid's costume of black dress, whit43 apron and cap. Mrs. Martin is a woman of fifty, veiy neat and nice look- ing. Wears some simple go^vn suitable for a woman of fifty. 3 THE PROFESSOR OF LOVE Johnnie Jones is a well-built young man of twenty-five or twenty-six. Wears ordinary shirt and trousers; a soft hat on back of his head; his shirt sleeves rolled up, ice-tongs in his hand. Neil Dacey, a good-looking young man of twenty-five or so. Wears a neat business suit and straw hat. Has a sample case of bookbindings such as book-agents carry. STAGE SETTING. Interior backing Chair Door C. E. Chair Door Door Librar^^ table Chair Couch PROPERTIES. Library table, three mission or upholstered chairs and a couch. Books and Avriting utensils on table. Two or three good engravings for wall. Handsome floor rug. A framed photograph on table. Ice-tongs for Johnnie Jones ; a sample case of books for Neil Dacey ; a coat for the Professor. The Professor of Love SCENE : Lihrartj in honu of Professor Fairchild. Room is nicely furnished. (See plot for stage setting.) Practical door L. U. E., Center and B. 2 E., center entrance shoiving interior drop in hack. On the wall are a few good pictures. A few papers and hooks on table, also a framed photograph. At rise, enter Betty, L. U. E., comes on stealthily as if she were afraid of being caught. Crosses quickly to door R. 2, and listens at keyhole. Betty. It's still buzzin'. I wonder what the inasliT has got in there. He's always inventin' something and he always tells us about it, but this one he hasn 't said a word about, and he won 't let anybody in the room where it is. ]May be it's some infernal machine that'll blow us up in the middle of the night. I couldn't sleep bist night for thinkin' of it. He tliinks nobody has seen it, but I have. I found a key that fitted and peeped in yesterday morning. It was buzzin' and buzzin' away just like it is now. I put my finger on it, and s-s-s, it blew up in my face like that; a spark like from the fire. I tell you I beat it to my room scared to death. I've been feelin' funny ever since. [Begins to peep through keyhole of door.] [Enter Professor, C. He sees Betty at the keyhole.'] Professor. Betty ! Betty. [Almost fedls hackwarei]. Oh. Lord! Professor. What are you doing there ? 6 THE PROFESSOR OF LOVE Betty. Me, sir"? Why, I was only — only — Professor. Only peeping again. It's getting to be a habit with you, Betty. Betty. Well, sir, wheJi there's an infernal machine in the house you can't blame a poor girl foi* gettiiv ner- vous, sir. [Touches apron to her eyes. \ Professor. How do you know there is a machine in that room! Betty. Why, sir, I — I — Professor. Well ? Betty. I found a key, sir, and went in yesterday. Professor. What ! Tell me, quick, did you touch that machine? Betty. Y — yes, sir, I put my finger on it, and, oh, sir, it blew up in my face, just like that — s-s-st ! Professor. My poor Betty ! Poor girl ! Betty. Oh, sir, what's the matter — what have I done? Oh, Professor, what's going to happen to me — I ain't goin' to die, am I? Tell me 1 ain't goin' to die. Professor. No, Betty, you are not going to die ; but you are going to fall in love. Betty [6'HrpW6'ecr|. What! Fall in love? Me? Who with, sir? Professor. There's the trouble. Tliere's iio telling Avho you will fall in love with. That instrument is an invention of mine which I call "The Adjuster of Affec- tions." Betty, you may not have heard it before, but many people believe that for every man and woman born into this world there is a kindred soul somewhere ; the other half of us, as it were ; a real soul-mate that belongs only to us, that was intended for us from the beginning of things. An affinity. Those who have been fortunate enough to meet their true mates have been made happy THE PROFESSOR OF LOVE i be.yond all their dreams; those who have not been so fortunate have been made miserable, " either by living: dreary, lonely lives or mating with someone not in accord with them. Do you understand me, Betty ? Betty. I am trying to, sir. Professor. May be you can understand this : When you touched that instrument in there you sent a spark out into the world that went straight to the heart of your mate, the one God intended for you. No matter where he is, what he is, or what he is doing, he will have to come to you. He won't understand why he is doing it, but he will come. Betty. Oh, sir, I wonder who he can be? Professor. Goodness only knows, child. Betty. May be he's a millionaire, or a duke, or somethin'. Professor. His station in life doesn't matter. If he is a king, he must come. Betty. A king! Oh, no. Professor, I'd be satisfied with a duke — I ain't proud, or nothin' like that: a duke is all I'd ask for. Professor. Let us hope for the best, Betty. Now, run along and send Mrs. Martin to me. I must warn the household to keep away from that room. Betty. Yes, sir, I'll send Mi*s. Martin at once, sir. Oh, Lord, Professor — just think of it — a duke. [Going up C] You had better be lookin ' for another maid, sir, because it wouldn't be right for a dukess to wait on the table. {Exits L. U. E. very airily.] Professor. Silly child. Well, I may be thankful it wasn't my daughter — my dear Marion — wlio liad touched the thing. I have my own plans for her, wliieli that instiniment must not interfere with. Tlie son of my 8 THE PROFESSOR OF LOVE dealest friend. [Takes up photograph from table, looks at it.] My old chum, John Dacey. Your wish shall be carried out, Jack, old man. Your son shall wed my daughter. [Puts photograph hack.] [Enter Mrs. Martin, L. U. E.; comes center of stage.'] Mrs. Martin. You wished to speak to me, sir ? Professor. Yes, Mrs. Martin. I want to make a request of you. I have locked the door to this room [Indicating B. 2 E.], and I wish it to stay locked until further orders. No one — you understand — no one must enter that I'oom. Mrs. Martin. Very well, sir, I will give orders to that effect. I myself was in there this morning. Professor. You were ? How did you get in ? I have the key myself. Mrs. Martin. There is a duplicate key to all the rooms on my key-ring. I heard that peculiar buzzing noise, sir, and I went in to find out if anything was wrong. Professor. The machine — tlie instnnnent on the ta- ble — did you touch it? Mrs. Martin. Yes, sir, I dusted it. Professor [His hands in his hair], DUSTED IT! Mrs. Martin, I know you are an excellent housekeeper, but if you ever get to Heaven, I'm sure you'll dust the harps every Tuesday. What happened — did you touch it with your hand? Mrs. Martin. Why, yes; a spark flew up into my face. Professor. [Takes her hand.] My poor woman. You're done for. Mrs. Martin. Why — what is the matter — what have I done? THE PROFESSOR OF LOVE " Professor, ^Mrs. ^lartin, was your late husband good to you? Mrs. Martin. Well, he was nothing to brag about. We were not suited to each other. Professor. My dear lady, you are going to fall in love with some one soon. Your real soul-mate will come to you and ask you to marry him. As you value your happiness, don't refuse. Mrs. Martin. Wliy, Professor, what ails you? Aren't you feeling well? Professor. I am perfectly sane, Madam. When you touched that instrument you sent out a spark in search of your affinity. He will come to you, as sure as fate. Mrs. ]Martin. But, sir, I wouldn't leave my position here for the best man in the land. You don't realize how happy I've been in this house. You have been so good to me, and :Miss Marion, God bless her, is the dear- est girl in the world. You don't know how I love you both. ^^^ ^ . Professor. \Takcs Mrs. Martin's hand.] ^\e don t want to lose vou, Mrs. :\Iartin. I have been a widower for a good many years; my little girl has been mother- less a lonu- tune ; but you have never let us feel the loss, as far as it lay in your power. [Turus from her. \ 1 'm sorry I ever invented the cussed thing. Mrs. ^Iartin. 1 don't mean to say anything against your wonderful inventions. Professor. I know that many of them have been quite successful and remark- able! But if vou think that fussy little machine in there is goinc^ to make me leave you and Marion, you're very much mistaken. I shall never leave you, unless you send me away. ^r .• t^ Professor. That 1 will never do, Mrs. Martni. It 10 THE PROFESSOR OP LOVE will be a lonely clay for us when you leave this house. Please send Marion to me. I must, at least, protect her from the influence of my latest invention. Mrs. Martin [Going ojf L. U. E.]. Yes, sir, I'll send her to you at once. [Exit L. U. E.] Professor. What a good woman. How self-sacrific- ing and thoughtful she is for the happiness of others, and she has had so little of her own. That isn't fair. Every woman ought to have her share of happiness. God made them for happiness, and yet, how many of them live out their lives in loneliness and sorrow. It isn't right. There is something wrong somewhere. [Enter Marion, C. E. Has a tenuis racket in her hand.] Marion. Did you want me, Father? Professor. Yes, dear. I sent Mrs. Martin for you. Marion. I was out on the lawn, practising ; she called from the window. What's up. Daddy? Have I been into any mischief this time? Professor. Not that I'm aware of, Miss. I simply wanted to warn you not to touch my new invention in the other room. Marion. What, that funny little thing-a-ma-bob that keeps buzzing all the time? Professor. Exactly. Marion. Why, Dad, 1 had that all apart and put it together again. Professor. What! Marion. Sure. I wanted to see Avhat made the funny noise. Professor. When was this? Marion. Yesterday morning. Professor. Was there a spark? THE PROFESSOR OP LOVE 11 Marion. Several of tlieni. Professor. My child, you have wrought your own ruin. Marion. Good gracious, Daddy, it's nothing very serious, is it? Professor. So serious that it is likely to interfere with my plans for your future. Marion, that instru- ment is an adjuster of affections. JVIarion. What is that — a new breakfast food? Professor. If you realized what it meant to you, you wouldn't joke about it. The spark that you sent out yesterday went straight to the heart of the man that Fate intended for you, and it will bring him to you, no matter where he is, or what he is. Marion. Good gracious, Daddy, who do you suppose it can be ? Professor. We can only hope for the best. I trust he is a gentleman. Marion. Well, if he isn't, I won't marry him. Professor. You won't be able to help yourself. You will go straight into his arms as soon as he says "come.'' Marion. Oh, my goodness. Daddy, suppose he's a Turk, or something like that. Won 't it be awful ! Professor. This is a sad blow to me, Marion. I always intended you foi* the son of my old chum, Jolin Dacey. It has been my life-long wish, and his, too. Marion. Well, I must say the son hasn't been very anxious. He has never taken the trouble to look me up even. As for me, I haven't tlie least idea of what lie looks like. Professor. Yes, unfortunately we haven't been able to bring you two together. Neil has been in p]urop(^ most of the time since he left college, but now that he is home 12 THE PROFESSOR OF LOVE I had hoped to bring- about a meeting. It is all too late now, liowever. You'll liave to take what Fate luis in store for you. Marion. Is tlie son of your eld el: inn good looking, Daddy ? Professor. I haven't seen him for some years; but if he has giown up anything like his father, he's all right. Marion. Oh, shucks! I'm not going to allow that foolish thing to bother me. Come out on the lawn. Dad, and have a game of tennis witli me. \T('J{fs his htn^dy leading Mm toivard center door.'] Professor. My dear, my tei-nis days are ovei' — I'm too old — Marion \ Laughing and drawi)ig him ojj]. Nonsense. You're getting younger and handsomer every day you live. Come along. \Exit, taking the Professor with her. C.EJ^ Betty. \Ent)t couch beside ]\[arion.] I am only too willing. \Tak< s out a hook.] I I'epresent the Universe Publishing Company. This is one of their latest pu])lieations : '^The Love Affaii's of Great Men." Marion. Are they any more interesting tlum the love affaii's of ordinaiy men? Neil. Well, never having had one, I don't know; but I think love is always interesting and Ix-autiful, don't you ? ]\Iarion. Yes, when it is true. Neil. Love must be true — otliei-wise it is not love. Don't you agree with me? Marion. Yes; but tlien I am not an autlioi-ity. Neil. Have you never loved ? Marion. \ Shakes her head.'] No. 16 THE PROFESSOR OF LOVE Neil. But men have loved you; they couldn't help it. [Puts his hand on hers.] Why, you're the kind of girl a fellow dreams about, but hardly hopes to find. I'm glad you've never loved a chap. [Rising.] Marion. [Rises.] Glad? Why? Neil. Because I'm going to make you love me. You've got to, [Takes her in his arms] for I've wanted you all my life, and never knew what it w^as I was want- ing. And now I've found you, and I'm going to keep you forever and forever. Marion. Are you crazy ? Let me go ? Neil. Do you want to go, dear? Marion. [Looks up at him, then puts her head will- ingly on his shoulder.] No, 1 don't. And I can't under- stand it. Neil. Neither can I, and T don't want to. I'm only too happy to have it so. Marion. Oh, what will father say. He will be so disappointed. He had other plans for me. Neil. He can have no plans that I don't enter into, Marion. Marion. Why, you know \\\\ name. I don't know yours. Neil. Mine is — [Enter Professor, R. U., sees Neil, eomes ivith out- stretched hands.] Professor. Neil Dacey. The very likeness of your father. [Shakes hands with Neil.] Marion. Neil Dacey? Professor. The son of my old chum, Marion. I'm so glad you two have met. Neil. [Takes Marion's hand.] So are we. THE PROFESSOR OF LOVE 17 Marion. Wliy, Dad. ho is the book-agent tliat you wouldn't see. Neil. [LaugJis.] I'll have to confess, I see. You know, Professor, my dad warned me that I was to marry the daughter of his old friend, or nobody. Not knowing Marion, I balked at the idea and absolutely refused to be disposed of. But he was so set on it that yesterday morning 1 suddenly took a notion to make a trip here, and, without introducing myself, get a glimpse of Marion. I wanted to please the old dad if I could, but I positively wouldn't marry a. girl I couldn't love. I'm not a book-agent; that was only a ruse to get in. I apologize for the tnck, but I'm glad I came. I am head over heels in love with Marion and I want her as soon as you will give her to me. [To Marion.] Will you, Marion ? Marion. Will I — what? I haven't been properly proposed to yet. Neil. Professor, if you will excuse us, I think we can settle this little difficulty better alone. [Puts his arm around Marion OTid leads her off C] I know it's rather short notice, dear, but I've waited so long, etc. [Going off, his voice dies off gradually.] Professor. [At C. E.y looking after them.\ Well, well, and it has come. The thing we planned and plotted so many years ago. [Comes down stage.] I declare, I'm happy. [Pauses to think.] But it mil rob me of my daughter — I never stopped to think of that. Ah, well, I must be content if she is happy. [Sits at table, thinking.] [Enter Mrs. Martin^ brings on a coat of the Pro- fessor's.] Mrs. Martin. Professor, the evening is getting chilly; 18 THE PROFESSOR OF LOVE please put this heavier coat on ; you will be catching a cold. Professor. [Rises, taking ojf his coat, and allowing Mrs. Martin to put the other one on.'\ You spoil me, Mrs. Martin. If I should ever lose you I wouldn 't know how to take care of myself. Mrs. Martin. I'll never leave you, sii-. Professor. My daughter will be marrying some day soon ; we shall be pretty much alone here. Mrs. Martin. I am glad she will marry, sir; it's the right life for a woman. All of us need some one to cod- dle and worry about, and if we haven't, we're like a fish out of water. Professor. You are pretty much alone in the world, aren't you, Mrs. Martin? Mrs. IVLvrtin. I am entirely alone, sir. Professor. So shall I be when my daughter leaves me for a home of her own. Would you tliink it silly of an old man if he asked you to marry him, Mrs. Martin ? Mrs. Martin. Are you proposing to me. Professor? Professor. I believe I am, Amelia. Mrs. Martin. Do you really want me, Cornelius ? Professor. Next to my daughter, I tliink more of you than anyone else in the world. \ Holds out his arms to her.] Mrs. Martin. And I've loved you for years, Profes- sor — I mean Cornelius. [Goes to Professor, tvho folds his arms about her. They are down stage, R.~] [Enter Marion and Neil, C. D., his arm still about her waist. Enter Betty and Johnnie, L. V ., arms about each other.] Professor [Looking up and seeing the others] . Why, what is all this, a matrimonial agency ? THE PROFESSOR OF LOVE 19 Betty. [Still in Johnnie's arms.] It's your infer- nal machine, sir. Marion. Good gracious, J forgot; the Adjuster of Affections. Mrs. Martin. It has brought us together, just as you said it would. Professor. My friends, you must give me a new title : Professor of Love. Marion. [Her arms around Neu..] Oh, Neil, dear, thank heaven you're not a Turk! CURTAIN. Diamonds and Hearts A G>medy Drama in Thtce Acts By EFFIE W. MERRIMAN Price» 25 cents r This play has become one of the most popular in America. The. good plot, the strong "heart" interest, 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 BERNICE 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 j^ears 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 fcy 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 unmar- ried 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 nephew 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 I 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 j^ou 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. aiJNOI& Uncle Rube An Original Homestead Play in Four Acts By CHARLES TOWNSEND 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 prettv school teacher" Juvenile lady MRS. MARTHA BITNN, a charming widow Character comedy TAGGS. a waif from New York Soubrette Time— Mid Auturtm. Place— Vermont. Time of playing— Two hours and a quarter. SYNOPSIS ACT I. The Old Homestead. Uncle Rube arrives. ACT II. The Constable's office. The plot to ruin Uncle Rube. ACT III. Evening at the old farm. Uncle Rube is arrested. ACT IV. The Constable's office again. The old farmer wins! This play was written 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 nroj-erties required. THE AUTHOR'S OPINIONj MR. TOV^'NSEND 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 everybody — 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 acLing copy, with all the original stage directions. Address Orders to ITiE DRAMATIC PUBLISHING COMPANY CHICAGO, ILLINOIS Santiago OR For the Red, White and Blue A "War Drama in Four Acts Br TOHN A. FRASER Price, 25 cents CHARACTERS Capt. Oscar Hutton, U. S. A. In lov<^ with Cora. .Leading Juvenile Lieut. Fi.sk, 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 butlei. 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 stepdauahter. In love with Oscai: . .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 tin:e of playing, two hours. SYN'orsrs ACT I. The ball at Walton's, Was'angton. D. C. Ilandsome In- terior. ACT II. The Red Cross Hospital. First day's battle of Santiago. Exterior. ACT HI. Scene 1. — Interior Guerilla headquarters in the Sierra Cobra, near Santiago. Scene 2. — Exterior. The underbrush of Si- erra Cobra. Scene o. — Plight in the movmtain pass, second day's battle of Santiago. -Exterior. ACT IV. Hotel Tacon, Santiago, on the night of the surrender. Interioi'. NOTE. — Walton, Dr. Harrison and Carlos ma-^- dou'ole easi'y, 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 magnificer.t female parts. 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 mani.er and witl) bright dialogue for End-Men and Interlocutor. They form a book of the newest, most humorous and quaintest matter ever aii-anied. Any reader maj-, 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 ' tlie c;ireful gathering of >ears — and only the best and 'sure laugh' producers are incorporated in this book." PARTIAL CONTENTS Arithr^etic of I.ove, "Ask a Foliceman,' 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 Pattle, Fishing. Funny Signs and Borrowed Pants, Fish makes Brains. Firing off the Caanon, Climatic Changes, Clanc.v 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." Eating Dumplings, Epitaphs. Editing a Newspaper. Eating by Weight. Ed- ucated Horse, The Mule Battery. "Making Both Ends Meet." The Mind Reader. Missed the Hearse, Mixed Breed of Chickens. IMarried into a mean Famil\, Making a Pair of Shoes. Man's Ribs and Angel Cake. The New Poet, Never Happened, On the Battlefield. Off to the Seat '^i AVar. Our Brothers. Old Cider Barrel, Origin of Songs. Opinimi on Man and Woman. Gratitude, Hotel Regulations. Hold your liead Up, How is Business, How 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." Jiimping Frog. Kissing, Kiss Sociable. Keep off the Grass. Kissing in the Tunnel. Lawyer and Doctor. Lost Lmbrella. Liquor Assists Nature. Learning the Bike, Love and M>trimony. 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 Wont. Peculiarities of Speech, Pumpkin Pie. Patriotic Alphabet. Queer Advertisements. Ragged Jacket. Raising Grass- hoppeis. 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 Largo 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 off," Writing a Novel. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICAGO. ILLINOIS Won Back A Play in Font Acts By GLIFTON W. TAYLBUR Price, 25 cents Six male, four female characters. A play written in the ■vein as "Held by the Enemy," "Shenandoah," "Across the Poto- mac," and other great New York successes. Mr. Tayleur has writ- ten many successful plays, but this striking- picture of the stirring: times of the Great Rebellion surpasses them all. Costumes, civii and military of the period. Scenes, two interiors, and one land- scape with Confederate camp, easily managed. Time of playing, two hours and thirty minutes. SYNOPSIS OF EVENTS ACT I — Drawing-room, Arlington, Washington — i860 "Whom first we love, you know, we seldom wed; Time rules us all: and life indeed is not The thing we planned it out, ere hope was dead. And then, we women cannot choose our lot." Iti fetters — The rivals — North and South — The coy widow — A" noted duelist — An old affection — The dismissal — The rivals meet— "You shall answer for this" — Farewell. ACT II — Same Scene— J 860 '"Who might have been — Ah. what, I dare not think' ' We are all changed. God judges for the best. God help us do our duty, and not shrink. And trust in Heaven humbly for the rest." Broken ties — A Vassar girl's idea of matrimony — A Washington savfTe — Schooling a lover — Affairs of honor — The Northern firre- eate_ — The missing challenge — Betrothed. ACT III — Drawing-room in New York Hotel— J 86 J "With bayonets slanted in the glittering light With solemn roll of drums, With starlit banners rustling wings of night, The knightly concourse comes." To arms! To arms! — Stand by the flag — A woman's duty — A skirmish in the parlor — On to Richmond — Reunited — The passing regiment. ACT IV— Confederate Camp at Winchester t864 "No more shall the war cry sever, or the winding river be red: They banish our anger forever, when they laurel the graves of our dead." A cowards' armor — A hand to hand struggle — ^Hugh captured — Sentenced to be shot — A ministering angel — Harold King's re- venge — The attack on the camp — Death of King — After the battle- Won back. Address Orders to THE DRAMATIC PUBLISHING COMPANY CHICACa ILLINOIS Hageman^s Make-Up Book By MAURICE HAGEMAN* Price, 25 cents Th^ Importance of an effective make-up is becoming- ii.o»^ otppa."^ ent to the professional actor every year, but liitherto there *has been no book on the subject describing the modern methods and at thQ same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty yearj* as actor and stage- manager, and his well-known literary ability liaa enabled him to put tlie knowledge so gained into shape to he 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, Face i'owder 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, 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, 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 A£;e, 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, Bearc/s, 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. 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, Early Dutch Settlen?, 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, ILLINOB LIBRftRY OF CONGRESS PLA"V M 015 939 517 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 dr 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 plajang, 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 cany a full line of grease paints, face powders, hair goods, and other * 'make-up'* materials. The Dramatic Publishing Company CHICAGO