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 COPYRIGHT DEPOSIT. 
 
Price, 25 Cents. 
 
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 PUBLISHED BY 
 
 The* Dramatic PuBL,istiiNG Compaky 
 
 CHA.ULES H SERGEL. . PRESIDENT 
 
Practical Instructions for 
 Private Theatricals 
 
 By W. D, EMERSON 
 Author of "A Country Eomance," ''The Unknown Eival/'' 
 "Humble Pie," etc. 
 
 Price, 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. 2vo such useful 
 book has ever been offered to the amateur players of any 
 country. 
 
 CONTENTS 
 
 Chapter T. 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, v^^ings, 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, Eefiectors. How to darken the 
 stage, etc. 
 
 Chapter VI. Stage Effects. "Wind, Eain, Thunder, Break- 
 ing Glass,' Falling Buildings, Snov/, Water, Waves, Cascades, 
 Passing Trains, Lightning, Chimes, Sound of Horses' 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 
 
GIUSEPPINA 
 
 A PLAY IN ONE ACT 
 
 BY 
 
 THOMAS LITTLEFIELD MARBLE 
 
 Copyright, iqoq, by Thk Dramatic PublishinCx Company 
 
 CHICAGO AND NEW YORK 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
CHARACTERS. 
 
 ^^!.,^ 
 ^V"'^ 
 
 Robert Sherwood, a reporter. 
 
 Kate Pennington, his jEiancee. 
 
 Monsieur Louis, proprietor of the Cafe Italy. 
 
 PiETRO, a waiter. 
 
 GiusEPPiNA, an Italian peasant girl. 
 
 Place. — Private dining-room of an Italian restaurant in 
 New York City. 
 
 Time.— The Present. 
 
 COSTUMES. 
 
 Sherwood. — Evening clothes ; top-coat and opera hat. 
 Kate. — Elaborate evening gown. 
 
 Louis. — Neat business suit. 
 
 PiETRO. — Waiter's livery. 
 
 GiusEPPiNA. — Red and white striped skirt ; scarlet kerchief 
 knotted over head ; large brass ear-rings. 
 
 For the benefit of amateurs who cannot secure an or- 
 chestra, it may be said that an excellent musical effect may. 
 be obtained by the use of a large phonograph supplied with 
 orchestral records. The first selection should be a spirited 
 waltz ; the others of a more sombre character. The phono- 
 graph should be placed in a room adjacent to the stage, and 
 the door of the room opened and closed as the characters 
 enter and exeunt. 
 
 The following key to the pronunciation of certain Italian 
 words used in the play may be of assistance. 
 
 carissima =ca-ris'-e-ma mio =me^-o 
 
 ecco =ec-co Pietro — Pe-a^-tro 
 
 Giuseppina =Ju-se-pe'-na signore =se-nyo'-re 
 
 grazia =grat'-ze-a signorina = se-ny6-re'-na 
 
 2 
 
 ©CI.D 17365^ 
 
GIUSEPPINA 
 
 Scene. — Private dining-room of an Italian restaurant. Door^ 
 R. u. E., opening into hallway. Electric bell at side of 
 door. Hat rack, c, back. Window, r. c, back, over- 
 lookifig the city. Small dining-table, R. <z., front, ivith 
 serving table near window. Chairs at right and left of 
 di?iing-table. A second di?iing-table., at the extreme L., is 
 concealed fro?n the view of those on stage by a thick row of 
 potted palms. Chair at table. Ca?idelabra, flowers, etc., 
 on tables. The walls are frescoed with brilliant scenes 
 typical of Italian life, and there is a general atmosphere 
 of festivity. 
 
 (At rise of curtain, the door, r. u. e., opens, and the 
 strains of an orchestra, the clatter of dishes afid the hum 
 of co7iversation are heard outside. This continues till door 
 is closed, whe?i the music is heard less distinctly. Enter 
 Monsieur Louis and Kate Pennington through door. 
 Kate wears an elaborate gow7i, opera cloak, etc.) 
 
 Louis {graciously^. Zees vay, Mees Pennington. Mee- 
 staire Sherwood he teleephone me to haf ze pahii room 
 ready, and to fetch you here vhen you haf arrive. (Closes 
 door., and assists Kate to remove cloak) 
 
 Kate. The pahn room ? What does Rob mean, I won- 
 der ? We're not usually so exclusive. I prefer the main 
 dining-hall with the people and the music and all that sort of 
 thing. It's half the fun of dining here. 
 
 3* 
 
4 GIUSEPPINA. 
 
 Louis. Oui. Zat ees jus' vhat I say vhen I — er — vhat 
 you call heem ? — design ze Cafe Italy. Ze people zay vant 
 color and spice and ze noveltee. Zay are seek of ze French 
 restaurant. Zay vant a change : zay vish to eat ze macaroni. 
 So I hire ze Dagoes for ze vaitaires, but I keep ze French 
 cook, and — voila ! Eet ees ze Cafe Italy ! 
 
 Kate {s?niling). Yes ; and we couldn't get along with- 
 out it now. Why, you don't know how Rob and I enjoy our 
 weekly dinner here. It is so cozy and restful after the 
 week's work is over. We always go to the theatre after- 
 ward, and if Rob is too busy to call for me, I venture in 
 town alone and wait for him just as I am doing to-night. 
 
 {Sound outside, as if made by the rising of an elevator, fol- 
 lowed by the sliding of a 7?ietal door.) 
 
 Louis. I do not think zat you vill haf to vait long. Zat 
 ees ze elevaitaire now. {Goes to door, r. u. e., opens same, 
 and looks off r. Sound of music, etc., as before) Oui, and 
 here ees Meestaire Sherwood himself. (Starts) Parbleu ! 
 
 (£nter Robert Sherwood and Giuseppina, r. u. e. The 
 
 former wears evening clothes, light top-coat, and opera hat. 
 
 The latter is dressed in a brilliantly colored costume of 
 
 cheap material ; she has a scarlet kerchief knotted over 
 
 her head, and wears large ear-rings.) 
 
 Sherwood (quietly). Keep cool, Louis. I'll explain 
 later. I w^ant to hide this young lady behind the palms 
 there for a little while. By-and-by you may get her some- 
 thing to eat — something to make her think of home — 
 spaghetti, you know, or 
 
 Giuseppina (smiling sweetly). Spa-ghet-ti 1 Ah, grazia, 
 signore. 
 
 Sherwood (good-hujnoredly). Well, yes ; but not just 
 now. Come. (Leads her to table behind palms) Yes. 
 Right over here. Now sit down. (She sits at table) Be 
 comfortable. That's right. (Places fingers to his lips) Sh ! 
 Not a word, remember. (Turns to Louis) She doesn't 
 speak English, but I think she understands. Now, Louis, if 
 you can spare Pietro, I'd like a heart to heart talk with him. 
 
GIUSEPPINA. 5 
 
 Louis. Ver' well, sir. I vill send heem up. Ring if 
 you vant me. {Bows loia) Au revoir. {Exit^ k. u. e.) 
 
 (Sherwood removes iop-coat, hanging hat and coat o?i rack 
 near door. He then takes seat at table opposite Kate.) 
 
 Kate {piay/id/y). Well, Mr. Assurance, what have you 
 to say for yourself ? 
 
 Sherwood. A great deal, Miss Astonishment ; but I'm 
 afraid there 's not time for explanation now. Pietro will be 
 here directly. {Rises and looks in direction ^t/'Giuseppina) 
 The palms conceal the little lady quite effectually, I think. 
 Piecro will not notice her. {Musingly) He has treated her 
 abominably. I — {Enter Pietro, r. u. e.) Ah, Pietro, good 
 evening. 
 
 GiusEPPiNA {i/i a tow whisper^. Pietro ! 
 
 Pietro {effusively'). Goota eve', signore and signorina. 
 Shall I serva da deener ? 
 
 Sherwood. No, not just now. We're waiting for a 
 vacant table in the other room. You may bring us a little 
 of the red wine, if you please, and then wait over there by 
 the window. I'm expecting a message, and may need you. 
 
 Pietro. Vera goot, signore. {Exit., door.^ r. u. e.) 
 
 Sherwood {returning to seat at table). Now, Kate, please 
 be very interested in the story I'm going to tell, and do not 
 mind if Pietro is unduly excited. I intend he shall be. 
 
 Kate {mockingly). Gramercy, sir ! How very mys- 
 terious ! 
 
 {Enter Pietro, door^ r. u. e. He carries glasses and bottle or 
 decanter of wine ; places glasses on table and fills the7n.) 
 
 Pietro. Beholda da wine, signore. Eet ees red like-a 
 da leeps of da signorina ; eet ees mild like-a da spreenga 
 time in Eetalee. 
 
 Kate {lauglwigly). Ha, ha, ha ! You are a poet, 
 Pietro. 
 
 Pietro. Grazia, signorina. Eet ees more poeteek be- 
 hinda da palm'. Shall I move-a da table ? 
 
 Sherwood {interruptiiig him). No, no. Just wait there 
 by the window, please. I'll call if we need you again. 
 
 Pietro. Si, signore. 
 
6 GIUSEPPINA. 
 
 (PiETRO retires to wifidow. Pause. Sherwood fi/igers mine 
 glass idly, then turns to Kate and speaks abruptly?) 
 
 Sherwood. I was over at the docks this afternoon on 
 board a European liner. We often pick up a good story 
 among the immigrants, you know. 
 
 Kate (with enthusiasm). Yes, I know. It's very inter- 
 esting, isn't it ? I always think of those ocean liners as 
 miniature worlds. From cabin to steerage ! The history of 
 humanity is there. 
 
 Sherwood. Yes ; and I never realized it more forcibly 
 than to-day. I took an interpreter along, for the steerage 
 was filled with foreigners, and I wanted to speak with them. 
 I found a squalid, commonplace lot of beggars, though, and 
 was about to return in disgust, when there in the lowest 
 stratum of the ship's little world, I stumbled upon a better 
 story than I had hoped to find. True, its motif is old — old 
 as man's egoism and woman's love; but it's tinged with 
 pathos, and rich in local color. It concerns a little Italian 
 peasant girl. {Glances ^/Pietro from the corner of his eye) 
 Her name is Giuseppina. 
 
 PiETRO {giving an astonished start). Giuseppina! 
 
 Sherwood {tur?iing toward wijidow). Did you speak, 
 Pietro ? 
 
 PiETRO. Ah, si, signore. I begga da pardona. I t'inka 
 out louda. Excoosa me, signore and signorina. 
 
 Sherwood. Oh, that's all right. {Turns to Kate) She 
 was a very pretty girl, about eighteen, I fancy. Her hair 
 and eyes were very dark, and her cheeks were red, — a deep, 
 deep red like the tint of a Jacqueminot rose, and she wore 
 the picturesque costume of her country. She seemed utterly 
 bewildered when I found her, for the great, whole-souled 
 America of her dreams had proved quite indifferent to her 
 arrival. 
 
 Kate {sympathetically^. Poor little girl 1 
 
 Sherwood. Yes, so I thought, and I asked the inter- 
 preter to talk with her. She laughed delightedly to hear 
 her language spoken in a foreign land, and her eyes grew 
 eloquent as she prattled on. She had come to America to 
 geek her lover. It was all so very simple : a tale of ^biding 
 
GIUSEPPINA. 7 
 
 faith and childlike innocence. It seemed a sacrilege to 
 undeceive her. And yet a single glimpse of the city taught 
 her more of life's unfathomable mystery than had all the 
 years of her life at home. 
 
 Kate. Was she so unsophisticated then ? 
 
 Sherwood. Yes, she had no conception of the bigness 
 of the world. Two years ago she was betrothed to a lad of 
 her own station in Italy. He was an ambitious, enthusiastic 
 fellow, a bit discontented with the opportunities at home, I 
 dare say, and he determined to emigrate to America. {Turns 
 to PiETRo) By the way, his name was like yours, Pietro. 
 
 PiETRO {with agitation). Like mine, signore ? 
 
 Sherwood. Yes ; and he resembled you in many ways. 
 {Turns to Kate) Well, time went on. Pietro sailed for the 
 land that knows neither peasant nor king, and Giuseppina 
 stayed at home. 
 
 Kate. The women always do. 
 
 Sherwood. No, not always. Giuseppina didn't — long. 
 At first Pietro wrote her the most wonderful letters. America 
 was beautiful, lavish, golden, and there was work enough for 
 all. Pietro did not choose to join the innumerable brother- 
 hood of shovel and pick. Ah, no ! His temperament was 
 too ethereal for that. And so he became a waiter at a little 
 Italian restaurant here in New York. From that time on, 
 his letters to Giuseppina dwindled in size and frequency, 
 and finally they ceased altogether. It was a cruel blow for 
 Giuseppina. The old tabbies who gossip said 
 
 Kate {with interest). Ah ! They have them in Italy 
 then. 
 
 Sherwood {smiling). Yes, and they said that Pietro 
 had forgotten; that he had found another girl in that far-off, 
 crazy land, and they gave Giuseppina much good advice. 
 
 Kate {grimly). Of course they did. 
 
 Sherwood. But Giuseppina did not heed it. 
 
 Kate {dryly). Naturally not. 
 
 Sherwood. She believed deep down in her heart that 
 Pietro was true to her, and she thought that only sickness Of 
 death could explain his silence. 
 
 Kate {with pit}'). Foolish little girl ! 
 
 Sherwood. Froni morning till night she toiled in the 
 
8 GIUSEPPINA. 
 
 sweltering fields to earn her passage money to America. Then 
 at last she bade adieu to sunny Italy, and started in quest of 
 her lover. That is the story she told me. She was very 
 artless, very transparent 
 
 Kate {quickly). Are you so sure of that ? May not your 
 story be richer in local color than you think ? The vendetta 
 thrives under sunny skies, you know. Perhaps little Giusep- 
 pina is seeking vengeance instead of love. Perhaps she 
 wishes to kill 
 
 Sherwood {^quietly, but very dislinctly). Pietro ? 
 
 (PiETRO trejnbles viokfitly.) 
 
 Kate {with a quick glance at Pietro). No ; the woman. 
 
 (PlETRO shows relief ; turns and staiids hwking out wiudoza.) 
 
 Sherwood. You may be right ; still I have a feeling 
 that there is no woman. I have a shrewd suspicion that 
 Pietro has grown a bit ashamed of the little peasant girl. It 
 is one of the things that our glorious land — the land of 
 equality — has taught him. I could not tell Giuseppina this, 
 for one who has not seen it cannot understand the height of 
 lordly dignity to which a waiter may rise in this land of ours. 
 But I'm going to find this Pietro if I can (I think I know 
 where to look for him), and I'm going to let Giuseppina hear 
 her fate from his lips. Who knows ? It may be that he 
 loves her after all. (Turns toward Pietro) Tell me, 
 Pietro. You should understand the Southern tempera- 
 ment. Has your namesake forgotten the little peasant girl ? 
 
 (Pietro re?nai?is a moment looking out window^ then turris 
 suddenly, and comes down stage.) 
 
 Pietro {with emotion). Forgotta her ? Ah, no, signore. 
 He no forgetta Giuseppina. He only t'ink dat he forgetta. 
 He ees mucha da fool — dis Pietro — and Eetalee ees vera far 
 away. He — he — You say dat Giuseppina ees here ? 
 
 Sherwood {quietly^. Yes, here in New York. 
 
 PiE'iRO {tremulously). And she worka in da field' to 
 earna da mon' to come to heem ? 
 
 Sherwood {risi?ig). Yes, she toiled early and late, and 
 
GiusErriNA. 9 
 
 with her Httle hands. They are very white and very soft 
 little hands, Pietro. Really, she is hardly more than a 
 child. 
 
 Pietro {tragically). Ah, signore, I coulda keela myself 
 froma da shame. Have peety, signore, and take me to da 
 leetle peasant girl. 
 
 Kate. Why, Pietro, what possible interest can you have 
 in her ? 
 
 Pietro {with agitation). She — she ees of my country, 
 signorina, and I would like-a to helpa her. 
 
 Kate. But why should you wish to kill yourself from 
 shame ? 
 
 Pietro {glibly). Ah, signorina, dat was whata you call a 
 sleep of da tongue. I meanta dat — {Breaks down suddenly., 
 and covers his face with his hands. Giuseppina appears 
 deeply moved. Suddenly Pietro turns to Sherwood, and 
 extends his hands in supplication) Ah, signore, I am no 
 goota at da lie. I am dat Pietro who leave leetle Giusep- 
 pina to worka in da field'. {Strikes his breast) Ecco ! I 
 am da man. 
 
 Sherwood {sternly). Yes, I know you are. You are 
 the man who forgot. (Pietro cowers before hi??t) It would 
 be a mercy to send Giuseppina back to her native land, and 
 to ask her to pray the blessed Virgin that she too might for- 
 get — forget that such a worthless scamp as you had ever 
 crossed her path. It seems a pity that her heart should be 
 in your keeping. She is such a pretty, refined little girl ! 
 Heaven fashioned her for better things. {Pause) By Jove ! 
 I'm going to do it. Fm going to tell her the truth. She 
 will suffer at first, and the great tears will rise in those big 
 black eyes of hers, but she'll get over it after a time, and 
 will find some noble-hearted fellow a thousand times 
 worthier than you who will make her life very happy. 
 
 Pietro {beseechingly). Oh, signore, have peety ; have 
 peety. I love Giuseppina. Do not send her away. I have 
 been like-a da sailors in my country, signore. I have listen' 
 to da voices dat sing on da rock'. My leetle boat has 
 almos' been wreck', for I have turna my back to da way dat 
 ees safe, and have looka only to da cleef where da sea-green 
 signorinas comba da hair, and sing, and laugh, and tella me ; 
 
lO GIUSEPPINA. 
 
 "Come on; we waita for you." But Giuseppina, she no 
 forgetta. She speaka to me across da sea. She show me 
 da goota way, and I have remember' before eet ees too late. 
 Ah, signore, she ees beautiful like-a da summer night, and I 
 love her. Her heart is tender, and she will forgive. Let 
 me go to her. Da voices on da rock' calla me no more. 
 
 (Kate rises, crosses slowly in front of table, and sta7ids before 
 PiETRO. Sherwood crosses to l., and stands near the 
 row of palms.) 
 
 Kate {gefttly). Pietro, we women are very foolish. We 
 sometimes forgive the men we love even though they have 
 heeded the sirens' call. And so I'm going to plead for you 
 — just for Giuseppina's sake, and because I am a woman. 
 I am going to ask Mr. Sherwood to give you another 
 chance. 
 
 (Kate crosses to Sherwood, and Pietro goes up stage to 
 window.) 
 
 Sherwood. No need of that. The little girl shall decide 
 for herself. (Goes behind palms) Giuseppina, you may 
 come out now. (Gives Giuseppina his hand, and leads her 
 to centre of stage) Pietro, here she is — the girl you had for- 
 gotten. (Pietro turns\ Take her, and mind you treat her 
 kindly. 
 
 (Pietro stands mute 7ciith astonishment at the sight ^Giusep- 
 pina. The latter smiles cojifdently, a?id moves a step or 
 two in his direction). 
 
 Giuseppina {softly). Pietro mio. 
 
 Pietro (hoarsely). Giuseppina ! Carissima 1 
 
 (Pietro rushes forward, and clasps Giuseppina /;/ his arms. 
 Sherwood crosses to door and presses electric buttoti. 
 Business of putting on coat and assisting Kate ivith cloak 
 until Louis enters, door, r. u. e. Door is left open till 
 end of act, and music is heard outside as before. As 
 Louis enters, Sherwood turns towards hifn.) 
 
 Sherwood (to Louis). Can you not arrange to give 
 
GIUSEPPINA. II 
 
 Pietro a holiday? His little sweetheart has come over from 
 Italy. They're going to be married to-morrow. 
 
 (Pietro <^;/^Giuseppina refjtain clasped in each other' s arms. 
 Louis stands near door, r. u. e., through which Kate 
 and Sherwood exeunt^ 
 
 CURTAIN. 
 
A Woman^s Honor 
 
 A Dtama in Four Acts 
 
 By JOHN A. FRASER 
 Author of "A Noble Outcast," "Santiago," "Modern Ananias," etc. 
 
 Price, 25 cents 
 
 Seven male, three female characters. Plays two hours. For 
 Intense dramatic action, thrilling climaxes, uproarious comedy and 
 a story of absorbing romantic interest, actors, either professional 
 c^ amateur, will find few plays to equal "A Woman's Honor." 
 With careful rehearsals they will find a sure hit is made every time 
 without difficulty. 
 
 CAST OF CHARACTERS 
 
 General Mark Lester. A Hero of the Cuban Ten Years' War.. Lead 
 
 Pedro Mendez. His half brother Heavy 
 
 Dr. Garcia. Surgeon of the Madaline Straight 
 
 Gilbert Hall, M. D. In love with Olive Juvenile 
 
 Robert Glenn. A Wall Street Banker Old man 
 
 Gregory Giimes. Lester's Private Secretary Eccentric Comedy 
 
 Ebenezer. Glenn's Butler Negro Comedy 
 
 Olive f Glenn's I Juvenile lead 
 
 Sally ( Daughters | Soubrette 
 
 Maria. Wife of Pedro Character 
 
 NOTE. — Glenn and Garcia may double. 
 
 Act 1. The Glenn Mansion, New York City. 
 
 Act 2. The Isle of Santa Cruz, off San Domingo. One month 
 later. 
 
 Acts 3 and 4. Lester's home at Santa Cruz. Five months later. 
 Between Acts 3 and 4 one day elapses. 
 
 SYNOPSIS OF INCIDENTS 
 
 Act 1. Handsome drawingroom at Glenn's. Sally and Ebenezer, 
 "I isn't imputtinent, no. no. Missy." "Papa can't bear Gregory 
 Grimes, but I'm going to marry him, if I feel like it." "Going 
 away?" "I was dizzy for a moment, that was all." "This mar- 
 riage is absolutely necessary to prevent my disgrace." "General 
 Lester, you are a noble man and I v/ill repay my father's debt of 
 honor." "Robert Glenn is dead." 
 
 Act 2. Isle of Santa Cruz. "Mark brings his American bride to 
 his home today." "You .ind I and our child will be no better than 
 servants." "How can I help but be happy with one so good and 
 kind?" "It means that I am another man's wife." "Dat's mine; 
 don't you go to readin' my lub lettahs in public." 
 
 Act 3. Sitting-room in Lester's house. "What has happened?'' 
 "Is my husband safe?" "Break away, give your little brother a 
 chance." "To tell the truth, my heart is breaking." "Debt of 
 duty! and I was fool enough to think she loved me." 
 
 Act 4. "The illness of the general has an ugly look." "The 
 gossips have it she would rejoice to be rid of her husband." "The 
 Gilbert Hall I loved is dead." "Standing on the brink of the grave, 
 my vision is clearer." "Forgive, and I will devote my life to 
 making you happy in order to repay the debt I owe you — a debt oi 
 honor." 
 
 Addtz^ Occgfs to 
 
 THE DRAMATIC P'JBLISHING COMPANY 
 
 ^i^^'lAOO, ILLINOIS 
 
Dumont^s 
 Minstrel Joke Book 
 
 Pt'ice, 25 cents 
 
 A Collection of jokes arranged for End-Men. both professional and 
 amateur. Never before collected and published in a clear mannei^ 
 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 ol 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," 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, Married 
 into a mean Family, Making a 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, 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," 
 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- 
 iioppers. 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 off," Writing a Novel. 
 
 Address Orders to 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO. ILLINOIS 
 
Hickory Farm 
 
 A Comedy Drama of New England Life 
 in Two Acts 
 
 By EDWIN M. STERN 
 
 Pricct 25 cents 
 
 Six male, two female characters. The play deals with the same 
 phases of life as "The Old Homestead" and "The County Fair," 
 and is written in the same comedy vein which has rendered these 
 two pieces so popular. The courtship of the Irish alderman is one 
 of the most ludicrous scenes ever written, while the scenes between 
 the old farmer and his daughter are most touching and pathetic. 
 Scenery, a set cottage and a plain room. Costumes of the day. 
 Time of playing, an hour and a half. 
 
 SYNOPSIS OF INCIDENTS 
 ACT I — Hickory Farm House 
 
 Darkwood's Plot — Skinner tempted — Money! Gold! — Zekiel ap- 
 pears — "Be you Ann Maria's boy?" — Fortune's reminiscences — The 
 deed must be stolen! — Hard cider — Aunt Priscilla's love — The alder- 
 man's brogue — "Dear departed Hezekiah" — Jessie's secret — "Then 
 you still love me?" — "Larry McKeegan's courtin' " — The "widdy" 
 succumbs — "Zekiel's fav'rit' song" — McKeegan's ghost — Jack Nel- 
 son makes a discovery — Jessie has gone! — "Heaven help me!" — 
 Zekiel's prayer. 
 
 ACT II — In Fortune's Shanty 
 
 Zekiel's misfortunes — The rent collector — Darkwood's insult — 
 "Villain, you lie!" — Skinner's remorse — The New York detective — 
 The bank robbery — Darkwood threatens — Jessie returns — The alder- 
 man married — "Sure it's a darlint little woife she is" — Zekiel's hap- 
 piness — "Gosh! I ain't felt so gol-darned happy sinct I wuz a boy" 
 ■ — A trap for Darkwood — Jack and Jessie reunited — Prise Jla caci- 
 fied— Darkwood at bay— "Stand aside, as you value your lives'"^^ 
 The detective fires — "You've done for me this time!" — Zefit^i * ^^M"" 
 giveness — Old Hick'ry farm restored. 
 
 Address Orders to 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO. DLUNOIS 
 
Because I Love You 
 
 Drama in Four Acts 
 
 By JOHN A. FRASER 
 
 Author of "A Woman's Honor," "A Noble Outcast," "A Modem 
 
 Ananias," "Santiago," etc. 
 
 Price, 25 cents 
 
 Eight male, four female characters. Plays two hours. Modem 
 costumes. This is probably the strongest drama written of the 
 modern romantic style. It is a pure love story and its sentiment 
 and pathos are of the sterling, honest kind which appeals to every 
 man and woman with a human heart. The stage business will be 
 found extremely novel, but easily accomplished. The climaxes are 
 all new and tremendously effective. One climax especially has 
 never been surpassed. 
 
 CAST OF CHARACTERS 
 
 Imogene Courtleigh. Wilful, wayward and wealthy. .. .Juvenile lead 
 
 Ginger. A Gypsy waif Soubrette 
 
 Nance Tyson. Her supposed mother Character 
 
 Prudence Freeheart. A poor relation Old maid comedy 
 
 Horace Verner. An artist and accidentally a married man 
 
 Juvenile lead 
 
 Dick Potts. His chum and incidentally in love with Ginger 
 
 Eccentric comedy 
 
 Ira Courtleigh. Imogene's guardian Heavy 
 
 Buck Tyson. A Gypsy tinker Character comedy 
 
 Elmer Van Sittert. Anglomaniac, New Yorker Dude comedy 
 
 Major Duffy. County Clerk and Confederate veteran 
 
 Irish comedy 
 
 Squire Ripley. A Virginia landlord Character old man 
 
 Lige. A gentleman of color Negro character 
 
 Note: Squire Ripley and Van Sittert may double. 
 
 SYNOPSIS OF SCENES 
 
 Act 1. "The George Washington," a country tavern in old Vir- 
 ginia. An impromptu wedding. "When I was on the boards at 
 old Pott's theayter." "Horace has fallen in love and has done 
 nothing but rave about her ever since." "The marriage ceremony 
 performed, I depart, and you will make no attempt ever to see me 
 again." "Except at your own request, never!" 
 
 Act 2. Lovers' Leap, a Blue Mountain precipice. A daring res- 
 cue. "Gold does not always purchase happiness, lady." "Do you 
 ever feel the need of a faithful friend?" "I do, I do, I'm thinking of 
 buying a bulldog." "Look at the stride of him, and Imogene 
 sitting him as if he were a part of herself." Within twenty feet 
 of certain death. "Gone? Without even my thanks for such a 
 deed of desperate heroism?" 
 
 Act. 3. The Courtleigh Place. A woman's folly. "And you say 
 his father was a gentleman?" "I have already refused to sign the 
 document." "Stand back, she is my wife." 
 
 Act. 4. The "Mountain Studio." "You're too good to let that 
 French girl get you." "I struck him full in the face and the chal- 
 lenge followed." "You will not meet this man, dear love?" "It 
 shall, at least, be blow for blow." "I'll release you from your 
 promise. Fight that man." "I'm the happiest man in old Vir- 
 jfi:iia, because you love me." 
 
 Address Orders to 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGC. ILLINOIS 
 
The Outcast^s Daughter t g^ Acts 
 
 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 Hogan Servant to Ross 
 
 Abel 7 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 
 
 Katie 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 — you 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 
 condemn him." 
 
 Address Orders to 
 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO. QXINOId 
 
 NOV 27 1909 
 
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 hitherto there has been 
 no booli on the subject describing the modern methods and at the 
 same time covering all branches of the art. This want has now- 
 been filled. Mr. Hageman has had an experience of twenty years 
 as actor and stage-manager, and his well-known literary ability has 
 enabled him to put the knowledge so gained into shape to be of 
 use to others. The book is an encyclopedia of the art of making up. 
 Every branch of the subject is exhaustively treated, and few ques- 
 tions can be asked by professional or amateur that cannot be an- 
 swered by this admirable hand-book. It is not only the best make- 
 ':p book ever published, but it is not likely to be superseded by 
 dny 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 
 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, 
 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 Age, Ruddy Complexions. 
 
 Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
 fects, Wigs. Beards, Eyebrows, Noses, Lips, Pallor of Death. 
 
 Chapter IX. The Human Features. The Mouth and Lips, the 
 Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth, 
 
 Chapter X. Other Exposed Parts of the Human Anatomy. 
 
 Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
 a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
 Wigs. Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
 Beards for Tramps, Moustaches, Eyebrows. 
 
 Chapter XII. Distinctive and Traditional Characteristics. 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 Settlers, 
 Englishm.en, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
 Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
 Hungarians, Gipsies, Russians, Turks, Arabs, IMoors, CafRrs, Abys- 
 sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
 Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 
 
 Address Orders to 
 THE DRAMATIC PUBLISHING COMPANY 
 
 CHICAGO, ILLINOIS 
 
NOV 15 19'>o 
 
 PLAYS. 
 
 DEING the largest theatrical booksellers m 
 ^ the United States, we keep in stock the most 
 complete and best assorted lines of plays and 
 entertainment books to be found in this couiitr>'. 
 We can supply any play or book pub- 
 lished. We have issued a 144-page catalogue 
 of the best 1500 plays and entertainment books 
 published in the U. S. and England. It con- 
 tains a full description of each play, giving 
 number of characters, time of playing, scenery, 
 costumes, etc. This catalogue will be sent free 
 on application. 
 
 The plays described are suitable for am- 
 ateurs and professionals, and nearly all of them 
 may be performed free of royalty. Persons in- 
 terested in dramatic books should examine oul 
 catalogue before ordering elsewhere. 
 
 The Dramatic Publishing Companv, 
 
 CHICAGO. 
 
UBRARY OF CONGRESS 
 
 014 212 013 6 
 
 
 "4% 
 
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