T9 2. 
 
 
 E>2Se. 
 
 AHER’5 EDITION 
 
 or PL7\Y3 
 
 
 
AN EVENING 
 
 OF 
 
 Statuary and Tableaux 
 
 ^ Summer EC'enings Epberbainmenb 
 
 BY 
 
 G. B. BARTLETT 
 
 LieRARY CF m 
 
 /m 2- iG32 
 
 I'-IVERSITY OF ILLINOIS 
 BOSTON 
 
COPYRIGHT, 1888 , 
 
 By Walter H. Baker & Co. 
 

 A SUMMER EVENING’S EN^ 
 TERTAINMENT. 
 
 M any rainy and dull days will cloud the bright- 
 est summer vacation ; and the object of tliese 
 papers is to provide for pleasure-seekers at the sea- 
 side, mountain-resorts and farmhouses — a set of in- 
 door entertainments — with simple and effective 
 directions by which they can be carried out with 
 little trouble and expense. They take in the whole 
 household, old and young, and the preparations of 
 costume an :1 accessories will be found very enjoy- 
 able work for rainy days. 
 
 The stage can be made on tables, and folding doors 
 used for curtains ; but as many proprietors of sum- 
 mer hotels and large farmhouse resorts have ex- 
 pressed a wish for a portable stage which can be put 
 up at short notice without damage to floor or walls, 
 3 
 
4 
 
 AN evening’s entertainment. 
 
 and packed away the next morning, a working plan for 
 such a stage is here given. 
 
 A frame of boards, one inch thick and one foot 
 wide (fig. i), is made, with opening nine feet in height 
 and fourteen in length, fastened together in profile by 
 a block at each corner and two-inch screws. The 
 
 FIG. I. 
 
 edge of this frame stands on the floor, and braces go 
 from the top of it to the walls of the room on each 
 side. 
 
 Six rough trestles (fig. 2), seven feet long, eleven 
 inches high, and three inches wide, are placed on the 
 floor, two of them in line close behind the frame, 
 
AN evening’s entertainment. 
 
 5 
 
 the next pair half way back, the others against the 
 back wall of the room. Fourteen boards, fourteen 
 feet long, one foot wide, and one inch thick, are laid 
 on these trestles, and fastened to them with two- 
 inch screws, thus forming a stage fourteen feet wide, 
 
 FIG. 2. 
 
 fourteen feet deep, and just the height of the upper 
 edge of the lower side of the frame (fig. 3). 
 
 Four trestle frames (fig. 4, side view, fig. 5, front 
 view), five feet long, and three feet high, are next 
 placed four feet apart, with the ends against the 
 back wall of the room on the stage. Five boards. 
 
6 
 
 AN EVENINGS ENTERTAINMENT. 
 
 fourteen feet long, twelve inches wide, and one inch 
 thick, are screwed in place across the top of these 
 trestle frames, thus making a platform five feet wide 
 and three feet one inch high, across the back of the 
 stage. 
 
 In the middle of this platform, two feet from the 
 back, a second and smaller frame (fig. 5), made in 
 the same way as the first, with opening four feet 
 wide and six feet high, is erected. This small 
 frame stands upon the platform two feet from the 
 back wall, in a perfectly upright position. A small 
 platform, five feet long, two feet wide, and one foot 
 high, fills all the space between this small frame and 
 the wall, and serves also to keep it in position. 
 
 At each end of the large platform, a post thirteen 
 feet high is erected, two feet from the back edge, 
 a hole being cut in the stage so the end may pass 
 through and rest upon the floor of the room. From 
 the tops of these posts light strips of board two inches 
 wide run to the upper corners of the large or front 
 frame, and a similar strip connects the tops of the 
 posts. 
 
 These strips support the roof and sides of the 
 
AN evening’s entertainment. 
 
 1 
 
 stage, which may be made of plain black calico 
 stretched tightly. Between the side strips, just in 
 front of the small frame, two curtains of the same 
 material, meeting in the centre, are hung by rings on 
 
 FIG. 4. 
 
 cords. This two-part curtain hides the small frame 
 when it is not in use, and fills the space at each side 
 of it when drawn aside from the centre to show 
 small pictures. Another black curtain is hung behind 
 
8 
 
 AN evening’s entertainment. 
 
 this small frame against the back wall of the room. 
 
 Behind the large frame a thick curtain is hung by 
 rings so that it will run easily on a wire stretched 
 taut just above the opening. Over this curtain, be- 
 hind the upper board of the frame, a row of ten gas- 
 burners is placed, with reflectors behind them ; these 
 
 lights can be fed from a chandelier by an elastic pipe 
 Kerosene lights may be placed on a shelf firmly 
 wired in position, if gas is not available. These 
 frames may be painted or covered with gilt paper ; 
 and a curtain of black tarleton muslin may be 
 
AN evening’s entertainment. 
 
 stretched in front of the large frame when the 
 audience is seated near. 
 
 A stage thus constructed is suitable for the most 
 elaborate performances, and the fact of its being 
 portable will render it a useful possession in the 
 * neighborhood in case of church and charitable enter- 
 tainments, as the pieces can be numbered and stored 
 away. If there are spaces at the sides, curtains can 
 be hung to the walls of the room. 
 
 The platform described above is a new invention 
 to save time, as the front has three covers : one of tur- 
 key-red cloth, with a strip of blue cambric nine inches 
 wide across the bottom, on which chalk lines are 
 drawn to represent water, and against the ends of 
 which profiles are leaned when boats, etc., are needed ; 
 a cover of white cloth covers this, and is turned 
 back when the red is shown, and is hung over 
 the red when a statuary pedestal is needed ; a mov- 
 able black cover fourteen feet long and three feet 
 wide covers all when small picture pantomime or 
 stage groups are shown. Several strong boxes cov- 
 ered, some with black and others with white cloth, 
 will be found useful, if of various sizes. 
 
lo AN evening’s entertainment. 
 
 I. Tableau: parsee sun-worshippers watching 
 
 FOR DAYBREAK. 
 
 This is one of the finest Oriental groups ever 
 represented, and consequently depends much on 
 the expression of face and grace of attitude dis- 
 played by the performers. A group of six maidens 
 are eagerly watching for the rising of the sun, as if in 
 doubt whether they will ever again behold the object 
 of their adoration. They are grouped as follows : 
 One kneels on the platform at the centre, her left 
 hand resting on a huge harp, and the right shading 
 her eyes. Next her stands another with her left hand 
 on the shoulder of the harp-player, and her right hand 
 extended as if pointing to the glowing east. At the 
 left side is a third, pointing with the right, and shad- 
 ing her eyes with the left hand. Seated on the stage 
 on a box, another maiden leans on her guitar, and 
 eagerly looks in the direction of the pointing right 
 hand of a lady who touches with her left hand the 
 shoulder of the one with the guitar. At the right of 
 the last couple another maiden kneels, gazing earn- 
 estly in the same direction. All wear turbans of 
 Roman scarfs, tunics made of crape or other bright 
 
AN evening’s entertainment. II 
 
 shawls, and short, bright skirts, the front of their 
 dresses covered with ornaments of gilt paper and glit- 
 tering chains and coins. In the next scene all are 
 playing on their instruments to welcome the now-risen 
 sun. The harp and cymbals are made of pasteboard 
 covered with gold paper, and the others have guitar 
 and tambourines. 
 
 II. Statuary: diana and endymion. 
 
 Endymion, a handsome boy, reclines in a graceful 
 attitude at the left end of the platform, his head lean- 
 ing on his left arm, which rests upon a box draped to 
 represent a rock. Diana stands at the right, grasping 
 her bow with her left, and extending her right hand a 
 little above her head as if astonished. She is sup- 
 posed to have just discovered the sleeping youth, and 
 is gazing on him with delight. The youth wears a 
 tightly fitting suit of cotton, and a short skirt of cot- 
 ton-flannel, a band from which goes over his left 
 shoulder. He wears white cotton hose and gloves, 
 as also does the lady, who is draped in cotton sheets. 
 The faces of both are whitened, and their hair is cov- 
 ered with cotton wadding. Diana’s wig is made with 
 
12 
 
 AN EVENING S ENTERTAINMENT. 
 
 the large knot behind so often seen in her statues. 
 The bow is covered with white cotton cloth, and the 
 quiver which she wears over her left shoulder is 
 made of pasteboard, also covered with white cloth. 
 The lady must stand perfectly still, which is very hard 
 to do in such a strained attitude, especially when the 
 eyes are closed, which is always needful m personating 
 statuary. The platform and box are draped with 
 white, and when convenient, a good effect is produced 
 by showing them first on a dark stage, and turning on 
 the gas very slowly until it is quite light. They come 
 out very strongly under this treatment. 
 
 III. Tableau: homage to poetry. 
 
 Poetry is seated in a pensive attitude on a box in 
 the centre of the platform ; on another higher box 
 behind her stands Glory crowning her with a 
 wreath. Fame, with a long trumpet, stands at the 
 right, and History sits at the left, writing on a 
 tablet with a large pen. On the stage in front of 
 these figures stands a group of six children in a circle 
 around Hope, who leans her left hand on an anchor, 
 pointing upward with her right. The five ladies 
 
AN evening’s entertainment. 13 
 
 should be blondes with flowing hair, in classic dress, 
 which is easily fashioned of unbleached cheese-cloth 
 hanging straight from the shoulders to the feet, 
 excepting that a tape is tied around the waist, a 
 portion of the drapery being allowed to fall over it. 
 Glory has a scarf of red. Poetry of blue, History 
 of brown, and Fame and Hope of pink, all of soft 
 cotton cloth, pinned to the left shoulder and carried 
 to the right foot. A long floral rope droops from 
 Hope’s left hand over the anchor, and the two 
 ends are held by the children at the right and left. 
 The children wear white dresses trimmed with flow- 
 ers. The anchor and tablet are made of pasteboard, 
 and the horn is a roll of brown manilla paper, wet 
 with paste and bent into a curved form while damp, 
 and when dry covered with silver paper. The lyre 
 of Poetry may be copied in pasteboard from the 
 one under a piano, and covered with silver paper. 
 Black platform and boxes are used for this scene. 
 
 IV. MARGERY DAW. 
 
 See-saw, Margery Daw,” 
 
 Here we go higher and faster, 
 
14 AN evening's entertainment. 
 
 Down to the earth, then up to the sky, 
 
 Sweet little maiden and master. 
 
 Two pretty children dressed in antique style are 
 enjoying themselves at see-saw, for which purpose a 
 plank twelve feet long and three inches thick is bal- 
 anced on a high box or trestle. The song to which 
 the above words are sung may be found in Elliot’s 
 Mother Goose Set to Music, and the singing may be 
 done by the children themselves, by a lady dressed in 
 Mother Goose costume, or by a concealed singer. 
 Each time the verse is sung, the time is quickened, 
 and the children move faster and faster in unison 
 with it, until at last they move with the utmost rapid- 
 ity. The boy has lace ruffles in the front, collar and 
 sleeves of his coat, and at the knees of his knicker- 
 bockers, which should be of velveteen, a cocked hat, 
 powdered hair, and queue. The girl wears a bright- 
 flowered cretonne, tucked up over a quilted skirt, pow- 
 dered hair, with a very small hat on one side. She 
 carries a handsome fan, over which she glances at 
 the boy, who waves a lace handkerchief to her every 
 time he ascends. Mother Goose has a chintz over- 
 dress, black skirt and high pointed hat with large 
 
AN evening’s entertainment. 
 
 ^5 
 
 buckle, and carries a cane with a bar across the top, 
 with which she points to the children while singing^ 
 standing behind them. 
 
 V. Picture: sub rosa. 
 
 This picture is shown in the smaller frame, and 
 represents a young lady confessing a secret to a ma- 
 tron before whom she kneels. The older lady, dressed 
 in black silk or velvet, with a high turban over her 
 gray hair, sits a little to the left of the centre of the 
 frame in an antique chair; and before her kneels 
 the younger, looking earnestly up into her face, 
 with her clasped hands resting on the lap of her con- 
 fidante. The chair is turned sideways to the specta- 
 tors so that the faces of the ladies are shown in 
 profile. The older lady holds a spray of roses in her 
 left hand, which is slightly elevated so that the flowers 
 are over the head of the younger one. If the ladies 
 keep perfectly still the effect will be so much like a 
 real painting as to astonish the spectators, for the 
 frame makes them look very much smaller than life. 
 The younger lady must wear a dress of some bright 
 shade ter contrast with the dark dress of the other, 
 
1 6 AN evening’s entertainment. 
 
 and both may be of as rich material as possible. As 
 it is quite important that all pictures should be set in 
 the exact centre of the frame, a mark across the 
 small platform which is behind the frame, carefully 
 measured to find the middle, will be found useful. 
 
 VI. Pantomime: the alarm. 
 
 This humorous pantomime scene represents a 
 family disturbed by an alarm of burglars. The old 
 man heads the procession, in one hand holding a 
 large pistol, in the other a fire-shovel. His wife is 
 behind him with an uplifted feather duster, and two 
 frightened children cling to her skirts, while in the 
 background are the servants protected by the cook, 
 who has grasped a ladle with her left, and holds a 
 lighted candle high above her head with her right 
 hand. The whole party keep advancing toward a 
 door and then retreating, as if they heard strange 
 sounds from the closet behind it. After much trepi- 
 dation the old man summons courage to open the 
 door, when out springs the burglar — a large cat. 
 Astonished, the cook drops the candle, and the whole 
 party in great confusion tumble wildly abont, stum- 
 
AN evening’s entertainment. 17 
 
 bling over the children who are rolling about the 
 floor. The man wears a dressing-gown and flannel 
 nightcap of red, the ladies are in calico dresses with 
 shawls pinned over their heads and shoulders, and the 
 cook wears a huge cap with white apron and kerchief. 
 The children are in nightgowns and nightcaps. The 
 closet may be made by placing a door across the 
 corner of the stage. The cat is held by some one 
 concealed behind the black drapery in the closet, 
 who gives Jier a toss just as the door is opened, and 
 she will seldom fail to “act well her part.” 
 
 VII. Pictures and Tableau: reveries of a bach- 
 elor. 
 
 The bachelor is asleep on a couch at the left, 
 while on the extreme right of the platform a little 
 Cupid rests upon his bow. Each time when a vision 
 appears in the centre of the small frame, Cupid lifts 
 his bow and points it toward the sleeping bachelor, 
 aiming at his heart. The young ladies who form the 
 visions pass slowly, one by one, behind the frame, 
 pausing for ten seconds in the centre. As these vis- 
 ions must be in perfect order and time, an assistant 
 
i8 an evening’s entertainment. 
 
 must be concealed at the right who directs them when 
 to appear, when to turn front face, and when to dis- 
 appear after they have stood still for ten seconds. 
 After the visions have all been seen the curtain falls. 
 They are again seen grouped about the couch, some 
 behind it, some at each end, and others above on the 
 platform. Perched high above all, Cupid stands on 
 a pyramid of boxes, which is hidden by the group of 
 young ladies. All may be in modern costume, with 
 as much variety in style, color and material as pos- 
 sible. The bachelor has a newspaper in his hand as 
 if he had fallen asleep while reading, in a dark suit 
 with slippers and breakfast-jacket. The ladies who 
 compose the visions should practise gliding slowly 
 and steadily. 
 
 VIII. Boat Scene: dolce far niente. 
 
 A group of pleasure-seekers are becalmed on their 
 homeward sail from a grand reception, weary with the 
 day’s merrymaking. A handsome youth in the dress 
 of a cavalier stands on the highest box in the centre 
 of the platform, playing on a guitar ; two ladies in 
 rich dresses of contrasted color, languidly recline at 
 
AN evening’s entertainment. 19 
 
 his feet. At the stem of the boat the old steersman 
 sits sound asleep, his long white beard resting on 
 his chest. Next him a lady sits leaning her head on 
 her hand, anxious not to waken the lovely blonde 
 asleep with her fair head' in her lap. A merry, 
 bright-eyed brunette in a brilliant buff silk is trying 
 to wake the sleeper with a long peacock feather, 
 which she has taken from a fan lying at her feet. At 
 the bow a lady in dark silk or velvet holds a sleeping 
 child, and a colored woman in white drapery and 
 , turban fans it with a red fan. Two profiles, one in 
 the form of a shell, the other in the form of a dove, 
 three feet in height and four in length, are cut from 
 this board and painted white, with gilt-paper decora- 
 tions, and lean against the red-curtained platform 
 behind the blue water strip, and in front of the 
 group, thus forming the prow and stern of the boat. 
 The steersman wears a red robe, the musician a dark 
 dress with laces, and an opera cape over the shoulder. 
 The ladies all wear silk and will have powdered hair. 
 
 IX. Picture: the blind beggar. 
 
 In the smaller frame, a very old man, with long 
 
30 
 
 AN EVENING S ENTERTAINMENT. 
 
 white wig and beard, stands with his old hat in his 
 right hand, and is leaning with his left upon the 
 shoulder of a very pretty sad-faced little girl, who 
 holds a bundle tied up in a bright handkerchief in 
 her right hand, with her left hand holding an old 
 shawl over her head at the chin. Both must wear sad 
 expressions of face, and the old man must have 
 his eyes shut. He wears an old cloak, covered with 
 patches, which also adorn his knee-pants and long 
 vest. The tatters can be sewed on to respectable 
 clothing without injury, and still give the appearance 
 of extreme poverty. This picture is very useful 
 as a contrast to the more brilliant ones, as much 
 of the success of a performance depends upon the 
 skilful blending of the bright and sombre, the serious 
 and humorous. In this picture it may be well to 
 turn the light down, and gradually increase it. If a 
 white wig and beard are not easily to be procured, 
 flax makes a good substitute, or white wool fringe 
 sewed into a skull-cap, which may be marked in 
 front with black wrinkles on light pink cloth. A 
 portion of the child’s hair drawn out loosely over 
 the shawl will add to the picturesque effect. The 
 
AN EVENING S ENTERTAINMENT. 
 
 21 
 
 feet may be dressed in pink hose so as to look like 
 bare feet. 
 
 X. Pantomime: family jars. 
 
 This scene and the companion one show a well- 
 known family scene, where the hungry youngsters, 
 having been awakened by the shining of the moon 
 into their room, have gone forth upon a midnight 
 foray in search of goodies. The same cupboard 
 may serve as in the Alarm,’’ and placed on the 
 platform at the centre ; two tables and three chairs 
 will also be needed, and a dozen preserving-jars 
 filled with any bright-colored substances. First one 
 child glides in and looks around to see that the 
 coast is clear. I'hen, one after another, the white- 
 gowned mischief-makers enter on tiptoe, and express 
 their delight that all seems favorable, by wild capers. 
 At last they draw a table near the platform, put a 
 smaller table on that, a chair on that’; then a second 
 chair is brought, by which one of their number 
 climbs to the first table, and puts a chair on it ; then 
 he stands on the top chair, another child mounts the 
 next, etc., so that there is a child on each table and 
 
22 
 
 AN evening’s entertainment. 
 
 chair, and the others are grouped around in expectant 
 attitudes. The upper child opens the cupboard-door, 
 and passes down a jar of sweetmeats to every child, 
 and all begin to eat greedily, to the detriment of their 
 white robes. In the midst of the fun an ancient 
 dame appears, in high cap, black dress, with uplifted 
 rod in hand. 
 
 XI. Pantomime: family jam. 
 
 This is a natural consequent of the former scene. 
 The pyramid of furniture has fallen to the floor, 
 burying them in its ruins. A confused mass of 
 children, chairs and tables is shown, the children 
 striving to extricate themselves from the wreck, 
 yet unwilling to resign the sweets. Three of the 
 little ones lie flat upon their faces in the foreground, 
 under a long table, which is sustained at one end 
 by a chair which lies on its side; other children 
 lie on this fallen table, and another table rests partly 
 upon them, one end upon a chair which still stands 
 upright. Some of the children are crying, some 
 laughing, and others enjoy the stolen sweets amid 
 the confusion. The dame stands above the group 
 
AN evening’s entertainment. 
 
 23 
 
 on the platform, with uplifted rod, as if deciding 
 whether to add to the punishment already received. 
 Children usually enter with great spirit into this 
 scene, which will be found very dramatic and 
 laughable. 
 
 XII. Statuary : war and peace. 
 
 One very large man stands at the right of the 
 stage, holding a long spear, as if throwing it at an 
 unseen foe. At his feet lies a lady, her arm thrown 
 over the front of the platform, and her head also 
 hanging over the platform, which she can grasp with 
 her left arm to keep her position. Near this group, 
 on the left, a lady reclines, resting on her left hand, 
 and holding a dove in her extended right hand. The 
 man is dressed as in “ Endymion,” with the addition 
 of a helmet, made by covering a wide cake-cover 
 with white cloth, and sewing on the back of it a 
 white pasteboard crest. A stuffed dove, with spread 
 wings, can usually be hired of a florist, or may be 
 cut from white pasteboard, the wings spread, and the 
 whole covered with Canton flannel. The spear is 
 made by tacking a pasteboard head upon a long 
 
24 AN evening’s ENTERTAINMENT. 
 
 wooden staff, and covering all with white cloth. 
 The same persons can take part in the various 
 groups of statuary, as they are so much disguised 
 as to be hardly recognized. Thus two gentlemen, four 
 ladies and one child will serve as the statuary for 
 \e most elaborate entertainment. 
 
 XIII. Pictures cherry-ripe. 
 
 This picture may be shown in the frame, and is 
 very brilliant, as it represents a dark-eyed girl, with 
 brilliant lips and cheeks, wholly dressed in cherry 
 color: skirt, bodice and waist made of turkey-red 
 cloth. On her head she bears a large waiter heaped 
 high with the luscious fruit, a spray of which she 
 holds in her right hand above her uplifted face, as 
 if trying to catch one of the tempting cherries in her 
 lips they rival. If out of season, the fruit on her 
 waiter may be covered with a cherry-colored napkin, 
 while the cherries she holds can be found at a 
 confectioner’s. The waiter must be three feet long, 
 or a long basket may be substituted, and is held in 
 place by Her left hand. She stands a little sideways, 
 
AN evening's entertainment. 
 
 25 
 
 with her face toward the right, and must have a 
 very animated expression of face and figure. 
 
 XIV. Pantomime: the rangers of the forest. 
 
 King of the Gipsies. Fantasia, an old crone. 
 
 Zola, his daughter. Zingara, Queen of the Bohemians. 
 Roderigo, his son. Count Waldemar, English captive. 
 
 Spanish gipsy men and maidens as many as con- 
 venient, and two little boys. This pantomime is in- 
 tended as an afterpiece, so that all the performers 
 can take part in it, many needing to do little more 
 than change turbans and caps for bright handker- 
 chiefs tied cornerwise over the heads, gayly trimmed 
 with a profusion of gilt beads and coins. The gipsy 
 costume consists of bright skirts and bodice waists 
 for ladies, and knee-breeches and bright-colored 
 vests for gentlemen, whose leggings and high-crown 
 hats are wound with bright braids and ribbons. 
 They carry muskets, with knives and pistols in their 
 sashes. Many of the women also wear these weapons, 
 and all the young maidens have tambourines hanging 
 on the left side by ribbons long enough to allow 
 their being raised as high as their heads. The old 
 
26 
 
 AN evening’s entertainment. 
 
 crones wear red cloaks over their shoulders, broad 
 straw hats tied over their ears, with gay handker- 
 chiefs, and black dresses of rough material. One has 
 a pack of cards, and another has in charge a large 
 kettle supported by a wooden tripod, and a saucer of 
 alcohol and salt, all concealed by logs of wood. The 
 Count wears a military suit and cloak. The lights 
 burn low, but are turned up when the fire is lighted. 
 First Roderigo enters, and walks cautiously around 
 with his musket ready for use. After satisfying him- 
 self that all is safe, he gives a low whistle, which is 
 answered from each side of the stage. The King 
 enters next, holds up his hand, beckons, and many 
 enter, some from each corner, in haste, and the scene 
 becomes alive in a moment. The young gipsy 
 maidens whirl around, beating their tambourines 
 and rattling their bells. The old women erect the 
 tripod at the left corner of the stage, and light the 
 fire under the kettle. The men stack their muskets, 
 and lie down in lazy attitudes around the fire. 
 Others arrive from time to time, bringing baskets of 
 game, and if convenient a few live hens can be made 
 to add music to the occasion. Soon supper is ready, 
 
AN evening’s entertainment. 
 
 37 
 
 and all come to the fire to fill tin clippers which they 
 wear attached to their belts, and after much noise 
 and clatter they sing a chorus to the tune of the 
 Pirate Glee : ” 
 
 Ever be merry, be daring and free, 
 
 Sons of the forest glade ! 
 
 Never from danger or trouble we flee, 
 
 Safe in its kindly shade ! 
 
 Children of mist, mid storm and rain. 
 
 Ever we onward roam ! 
 
 We come and go, and we come again. 
 
 And we scorn the rest of home I 
 
 During the singing one old crone spreads out the 
 cards and tells the fortune of some young maidens 
 who gather around her. The King sits at the centre 
 of the platform, his daughter at his feet. Roderigo 
 stations a guard, and seems to send others out as if 
 on a scouting expedition. The gipsies then recline 
 in lazy attitudes on floor, platform and boxes. A 
 distant whistle sounds, is answered by a second and 
 third, the men rise and seize their arms. Roderigo 
 goes out, and soon returns with two men, who drag 
 in Count Waldemar as prisdher, bound with ropes. 
 They lead him into the centre of the group. The 
 
28 
 
 AN EVENING S ENTERTAINMENT. 
 
 King rises in wrath, and aims at him with apistol which 
 he draws from his belt. Zola springs up, seizes his 
 arm, pulls down the hand which holds the pistol, and 
 looks up into his face as if begging him to spare the 
 life of the Count. The King makes a signal to 
 Roderigo, who drags his sister away and holds her 
 still. The King again aims, when Zingara enters, 
 having been hastily summoned by Fantasia from a 
 thicket outside where she has been hidden. Zingara 
 lifts her hand, points upward, and all the gipsies 
 except the King and Fantasia fall upon their knees. 
 The latter stands leaning on her long staff, pointing 
 an outstretched arm at the prisoner, who now breaks 
 from his guards and runs to her for protection. All 
 these motions must be done by all the company, who 
 change their attitudes simultaneously, thus forming 
 three tableaux, marked by the stroke of a gong-bell, 
 so that all may fall immediately into position. This 
 is very effective, and can be accomplished with a few 
 rehearsals. While the gipsies are still kneeling, the 
 Count is led away by Fantasia, as no one ventures to 
 move until Zingara lowers her uplifted arm. She 
 then gives the signal for a general merrymaking, by 
 
AN evening’s entertainment. 
 
 29 
 
 twirling her tambourine over her head three times, 
 and the young people join hands in a ring and go 
 through the “ tambourine dance,” which is very showy 
 and beautiful, and can be learned in a few moments 
 by a close attention to the directions : 
 
 All hands around, all forward to centre and clash 
 tambourines against those on opposite side. All open 
 out to a round ring again, and whirl around, striking 
 their tambourines against those of the dancers on 
 each side. Every lady then turns around holding her 
 tambourine above her head, with the left hand against 
 the knuckles of her right hand. Grand right and left, 
 each holding high the hands which shake the tam- 
 bourines. All turn partners with right, and corners 
 with left, repeating the same twice. Then the ring 
 divides at the sides, those in front turning so that all 
 will face audience and bow very low at conclusion. 
 
 During this exercise, the king and all who do not 
 dance occupy the platform, the fire is put out, and 
 the tripod removed, and all join in this chorus which 
 will go to many common airs : 
 
 The gipsy’s life is wild and free, oh, ho, ho, ho I 
 A careless life so full of glee, oh, ho, ho, ho I 
 
30 
 
 AN evening’s entertainment. 
 
 In joy we roam our woodland home, 
 
 In peace or fight, by day and night we onward go ; 
 
 In wonted dance we gayly prance, oh, ho, ho, ho ! 
 
 And steal away ere break of day. 
 
 To silent camp in forest damp, to hide so low. 
 
 \Curtain falls 
 
 In all entertainments, music from a piano or small 
 orchestra adds much. 
 
A SUMMER EVENING’S EN- 
 ENTERTAINMENT. — II. 
 
 I. Boat Scene : the voyage of the fairies. 
 
 ^ I ''HE shell boat may be used, changing the dove 
 which formed the prow to a large golden butter- 
 fly. To make this same picture of a butterfly to right 
 size, enlarge copy on thin board which is sawed 
 to the outside lines and covered with gold paper, 
 ornamented with eyes, spots and lines of red foil 
 and brown velvet paper. This profile boat projects a 
 foot above the platform, upon which a box one foot 
 high is placed so a little boy can sit outside of the 
 butterfly. Three boxes of different sizes, covered 
 with black cloth, occupy the centre of the platform 
 behind boat profile to form a pyramid, on the top of 
 which the queen sits. A fairy stands on either side 
 
 31 
 
32 
 
 AN evening's entertainment. 
 
 of her, holding above her an enormous leaf as a 
 canopy, and the rest of the pyramid is covered with 
 children , wherever there is room for one to sit or 
 stand. At the stern of the boat is another lower pyra- 
 mid of boxes swarming with little fairies, some hold- 
 ing wands with gilt ornaments, and others waving 
 bright flowers as fans and sunshades. Between the 
 two pyramids, and in front of the middle one, little 
 boys sit, backs toward the prow, as if rowing hard, 
 with long oars of cat-tails. In the spaces left vacant 
 by the rowers little fairies sit or recline. The boys 
 wear tight-fitting pink muslin bodies, pink trunks, 
 and long stockings ; the girls tight slips, and full short 
 skirts of pink, blue or white tarletan, ornamented 
 with gold and silver braid unravelled. Gold paper 
 may be used instead of the braid. The girls have 
 crimped hair, and the boys wear close curls, and all 
 have wings made of bonnet wire bent in the form of 
 a butterfly’s wing, and covered with muslin orna- 
 mented with strips of gold and silver paper. The 
 coarsest muslin is good enough for these dresses, 
 which will serve for the costumes of all fairies and 
 elves mentioned in these articles. The king and 
 
AN evening’s entertainment. 
 
 33 
 
 queen may wear golden crowns cut from pasteboard, 
 trimmed with glass buttons for dew drops, sewed on 
 to gold paper. When fairy scenes are shown, soft 
 music should be played on a piano, or be furnished 
 by a music-box concealed under the boat or throne. 
 
 II. LOCHINVAR : Li three scenes. 
 
 Before showing this spirited ballad in pantomime, 
 the whole poem should be finely read, so that all the 
 audience may understand the story, and it may be 
 well to repeat some of the lines as they are acted. 
 In the first scene young Lord Lochinvar occupies 
 the centre of the platform, personated by a handsome 
 boy mounted on a large rocking-horse, the rockers of 
 which are hidden by a strip of black cambric fastened 
 along the platform. He is dressed in a Highland 
 suit, and doffs his bonnet and waves his sword as he 
 reins his spirited steed. 
 
 In the second scene the stage is filled with little 
 boys and girls in Highland dress, all but one little 
 miss, who wears a full bridal suit, and stands near the 
 centre of the stage with the bridegroom. The plat- 
 form is occupied by the father and mother, and the 
 
34 
 
 AN evening’s entertainment. 
 
 priest in a long black robe, the former couple in 
 Highland dress, with powdered hair. Lord Lochinvar 
 enters in haste, and a great sensation follows. The 
 father salutes him with the words, Oh ! come you in 
 peace, or come you in war ? ” Lord Lochinvar takes 
 the lady from the craven to whom her father had 
 promised her hand, and leads her to the place at the 
 top of the dance, which is now formed by the ladies 
 standing in line at the left and the gentlemen at the 
 right. The top couple promenade down, and the 
 sides forward and back in line. Lord Lochvinar steals 
 swiftly off at the left with his partner during the last 
 figure, in time with the music, and presently the cur- 
 tain is drawn away from the picture frame, and 
 Lochinvar is seen on his gallant rocking-horse steed 
 holding his little bride ; and all rush off in great con- 
 fusion, after pausing a moment in a tableau of aston- 
 ishment. 
 
 Scene third shows the mad pursuit of Young Loch- 
 invar by the astonished revellers, some on foot, and 
 some mounted on rocking and wheel horses ; they 
 dash about with great speed, but without getting 
 another glimpse of the truants. 
 
AN evening’s entertainment. 
 
 35 
 
 The girls wear black waists with skirts, and scarf 
 of plaid draped from the left shoulder. The boys 
 wear short kilted skirts, and plaid scarfs over black 
 jackets or dark flannel shirts, and all have flat Scotch 
 caps. The boys are armed with swords, and they 
 have sporrans at the belt made of pieces of fur. The 
 rocking-horses can be borrowed at a toy-shop, or may 
 be made like the hobby-horses of old with a little 
 ingenuity. If the children enter into their parts with 
 spirit, the pantomime will prove very effective, and 
 suited to the capacity of smart children of six years, 
 and of even younger ones. The poem is to be found 
 in the works of Sir Walter Scott. 
 
 III. THE HUGUENOT FUGITIVES. 
 
 The idea of this picture is taken from the celebrated 
 painting by Edwin White, which it is not intended to 
 copy in any way. The boat is supposed to be slowly 
 sailing into the peaceful waters of a friendly harbor, 
 bearing a load of refugees, who were warned of the 
 approaching massacre of St. Bartholomew just in 
 time to escape from a banquet hall in their festal 
 robes. They are singing a psalm of gratitude for 
 
3 ^ 
 
 AN evening's entertainment. 
 
 their deliverance as the evening shadows gently fall 
 around. The sail hangs idly from the mast, and the 
 old man at the helm seems more intent on the music 
 than on the navigation of his craft. A high curved 
 prow and stern may take the place of the shell and 
 butterfly used on the Voyage of the Fairies. The 
 sail is made by a silken shawl or white sheet tacked 
 upon a yard which is fastened at the centre by a nail 
 to a mast nine feet high. One corner of this sail is 
 much higher than the end toward the front, and 
 stands a little forward of the centre of the boat, in 
 which place the mast may be held upright by a per- 
 son who would be concealed by the sail. In front 
 of this a blonde lady stands dressed in blue silk, with 
 square neck richly trimmed with pearls or Roman 
 beads, a band of which surrounds her flowing hair. 
 This lady holds a handsome book, the other side of 
 which is held by a tall gentleman in a cavalier dress 
 of maroon or black. At the stern sits the ancient 
 helmsman with a yellow and black robe, grasping the 
 helm, which is drawn and cut in profile at the end of 
 the stern-piece. The space between the two singers 
 and the steersman is filled by two ladies in contrast- 
 
AN evening’s entertainment. 
 
 37 
 
 ing silk dresses, who bend over a little boy in vel- 
 veteen dress trimmed with white lace, who is sleeping 
 on a pile of cushions. Two ladies stand between the 
 sail and prow, who hold a singing-book between them. 
 The effect is much improved by the singing of some 
 popular church chant behind the curtain, which covers 
 the frame. The light slowly fades away during the 
 hymn, and the curtain slowly descends as the last 
 notes of the verse die away. The performers must 
 look very sad and earnest, with parted lips as if they 
 were singing. 
 
 IV. Statuary: skill, strength and patience. 
 
 This group of statuary may be represented by one 
 gentleman and two ladies draped in white. The for- 
 mer, as Strength, stands on a high, white-covered box 
 in the centre of the platform, with a huge whitened 
 pick-axe raised as if in the act of striking a heavy 
 blow. Every muscle is strained as if to display great 
 effort to heighten the contrast to Patience, who re- 
 clines on the platform before him, her folded hands 
 and down-bent pose of the head implying thought and 
 study. At the left, on the front corner of the high 
 
38 
 
 AN evening’s entertainment. 
 
 box, sits Skill at the feet of Strength, looking up into 
 his face, pointing with her right hand in the direction 
 in which he is striking, as if to show that his brute 
 force is wholly dependent on her gentle power for 
 successful action. She holds a half-unrolled chart in 
 her left hand, which hangs by her side. The lady 
 who represents Patience may be larger than the one 
 who represents Skill, to show that the weaker body 
 may possess the more powerful attributes of mind. 
 The pick-axe may be made of wood and pasteboard, if 
 the actor is not strong enough to hold a real one still, 
 and both this and the scroll must be covered with 
 white paper or cloth. 
 
 V. MEDIAEVAL ART STUDIES. 
 
 Some remarkable art studies may be introduced 
 into the programme for the benefit of lovers of high 
 art, and as a contrast to simpler and more humorous 
 scenes. The background for them is wholly made of 
 gilt paper, which must be fastened with paste to a cloth 
 curtain, in order that it may hang smoothly without 
 tearing. The angels of Fra Angelico are very effect- 
 ive on this background, of course shown separately. 
 
AN evening’s entertainment. 
 
 39 
 
 and may be represented by young ladies with bright 
 auburn hair creped. The dresses and attitudes may 
 be copied from photographs, and made up of turkey- 
 red and blue cloth trimmed with gilt paper. The 
 wings are made on wire frames, fastened by a cross- 
 bar with elastic tapes to the shoulders. The trump- 
 ets and other musical instruments may be made of 
 tin, pasteboard or of paper, copying the form in the 
 picture, and covered with gold or silver paper, as re- 
 quired. All gilt-paper ornaments may be fastened on 
 to the cloth by strong flour paste. The attitudes 
 must be very carefully copied from the paintings. Any 
 rich mediaeval painting may be given in this manner. 
 
 VI. ten little INJUNS {two sccfies.) 
 
 Scene First, 
 
 This funny pantomime requires a gentleman or large 
 boy who can sing, and ten boys graduated in height 
 for the ‘‘ Injuns,” and dressed in brown tights, with 
 short skirts made of carpet yarn or flannel, from which 
 a strip of the same material crosses the left shoulder. 
 The tights are trimmed down the outside with carpet 
 
40 
 
 AN evening’s entertainment. 
 
 yarn, and slippers covered with brown cloth, gayly 
 trimmed, represent moccasins. The headdress is a 
 close 'flannel cap trimmed in front with a circlet of 
 feathers, and with long black carpet yarn sewed on to 
 the back of it and reaching down to the waist. Bells, 
 bits of tin, or brass ornaments, may be sewed on to 
 the waist in wild confusion, and the faces should be 
 painted with ochre, marked in stripes of various 
 colors. They may all carry bows, hatchets or rude 
 tomahawks made of tin, and the man carries^a gun. 
 He may be dressed in a hunting dress of any rough 
 material most convenient. 
 
 The curtain rises on the hunter, Tom Brown, who 
 begins to sing the well-known air; “Tom Brown had 
 a little Injun, Tom Brown had a little Injun, Tom Brown 
 had a little Injun, had a little Injun boy.” The small- 
 est boy here enters, and sings alone, “ One little,” and 
 with Tom continues the verse as follows : “ Two little, 
 three little, four little, five little, six little Injuns, seven 
 little, eight little, nine little Injuns, ten little Injun 
 boys.” During this chorus they join hands and dance 
 around very rapidly ; and at the last note the little Injun 
 sits down, while Tom very soberly sings his part alone 
 
AN EVENING'S ENTERTAINMENT. 
 
 4 ^ 
 
 again, during which a second Injun, next in size, en- 
 ters and sits down by the first, whom Tom discovers 
 in surprise and points at as if in astonishment, and 
 the chorus goes on as before, the first one singing the 
 words one little,’’ the second striking in at two 
 little,” jumping up on to his feet at the same moment, 
 and whirling round in the ring with the others. The 
 third enters during the next solo, and joins in at 
 “ three little ” when his turn comes, and taking part in 
 the chorus and dance. The fourth, fifth, sixth, seventh, 
 eighth, ninth and tenth do likewise, the grotesque 
 astonishment of Tom growing greater at each arrival, 
 and the wild whirl of the dance and chorus growing 
 swifter and wilder, as the boys leap up and down in 
 time to the music, but sitting down in perfect quiet 
 the moment the chorus stops. When the last chorus 
 is over all make a mad rush at Tom Brown, who has 
 taken his place in the middle of the ring as soon as 
 the fourth Injun has arrived to make it big enough. 
 To make it plain, the words are copied as they are 
 sung, the authorship of the poem being unknown to 
 the writer. Tom sings alone : ‘‘ Tom Brown had a 
 little Injun,” four times. Chorus : ‘‘ One little, two 
 
42 
 
 AN evening’s entertainment. 
 
 little, three little Injuns, four little, five little, six lit- 
 tle Injuns, seven little, eight little, nine little Injuns, 
 ten little Injun boys.” 
 
 TEN little INJUNS. Sceuc Secofid. 
 
 In the second scene the same boys, dressed as de- 
 scribed in the first scene, appear, when the curtain 
 rises, seated upon a fence, made by nailing a rail 
 thirteen feet long on the tops of two posts two and 
 one-half feet high. These posts stand on the plat- 
 form, in the centre near the front edge, one at each 
 end of the rail, and a third will be needed in the cen- 
 tre of the rail unless it is very stiff. The back of 
 this rail is covered with black cambric which hangs 
 down and fills all the space to the platform, so- that 
 the boys are hidden behind it when they fall olff. 
 They are seated in regular order on the rail, their 
 feet hanging down in front, and as each verse is sung 
 by Tom Brown, who stands before them, one boy 
 rolls off backward and disappears. As each one 
 goes, Tom weeps, each time drawing a larger hand- 
 kerchief from his pocket. 
 
AN evening’s entertainment. 
 
 43 
 
 Tom sings : 
 
 “ Ten little Injuns sitting in a line; 
 
 One tumbled off and then there were nine. 
 
 Nine little Injuns sat on a gate ; 
 
 One tumbled off and then there were eight. 
 
 Eight little Injuns, three from eleven; 
 
 One tumbled off and left only seven. 
 
 Seven little Injuns sitting on sticks ; 
 
 One tumbled off and left only six. 
 
 Six little Injuns sat all alive ; 
 
 One broke his neck and left only five. 
 
 Five little Injuns his loss to deplore ; {All cry.) 
 
 One tumbled off and left only four. 
 
 Four little Injuns on an old tree; 
 
 One tumbled off and left only three. 
 
 Three little Injuns looking very blue; 
 
 One tumbled off and left only two. 
 
 •Two little Injuns basking in the sun; 
 
 One tumbled off and left only one. 
 
 One little Injun left all alone ; 
 
 He tumbled off and then there were none.” 
 
 While Tom stands with his back to them crying 
 bitterly, first one little head appears over the rail, 
 then the next, and so on until all show, and they sing : 
 
 “ Dry up your tears, and just look around — 
 
 Here you see us, all safe and sound.” 
 
 During this verse they put their hands on the rail, 
 
44 
 
 AN EVENING S ENTERTAINMENT. 
 
 and all together vault into place and sit motionless a 
 second. At a signal from Tom they jump down, and 
 all move off in procession as curtain falls, repeating 
 song and chorus. 
 
 VII. THE FROST KING. 
 
 This is a boat scene representing the approach of 
 Winter, and the shell may be used for the stern, 
 while a lion’s head must be cut out in profile for the 
 prow. On a high box in the centre a very large man 
 sits in a dress of fur with a very long flowing beard 
 and wig ; he holds erect a whip of icy thongs. At 
 the prow and stern female figures bend eagerly for- 
 ward as if blowing with all their might through long 
 trumpets. At the man’s feet recline two figures : one 
 a graceful lady holding with curved arm above her 
 head a large reversed vase, and a little boy who 
 bends down looking into the water, holding a re- 
 versed torch. Between the centre and the stern a 
 strong man reclines, bound with chains ; and next 
 the bow a lady stands bending toward the left, trying 
 to cover two shivering children under her cloak. 
 
AN EVENING S ENTERTAINMENT. 
 
 45 
 
 The children are dressed in winter wraps and close red 
 hoods, and the woman who shelters them wears a 
 red cloak trimmed with fur. The other ladies wear 
 classic dresses made of white-cheese cloth in plain 
 folds from neck to feet, falling over a string around 
 the waist. Over the boat and over the dresses of all, 
 snoiv^ ice mid frost are thickly spi'ead^ the former made 
 of a thin sheet of cotton wadding, the ice of crystal- 
 lized alum, and the frost of ravelled silver braid, which 
 is sold by costumers ; powdered glass can be also 
 easily procured, which is put on with paste. Large 
 portions of the boat and of the dresses are covered 
 with paste laid on thick, over which the powdered glass 
 is sifted, to which it adheres, making a very beautiful 
 appearance. The silver braid when ravelled comes 
 out in lengths of eight to twelve inches, and may be 
 used to advantage on all frosty and fairy dresses. 
 The king’s crown may be made of glass prisms bor- 
 rowed from chandeliers, and his beard and wig may 
 be made of flax which has been dipped in a strong 
 solution of alum and alcohol. Crystals will adhere 
 to the flax and hang down like icicles, making a very 
 good imitation. For this and some scenes of the 
 
46 
 
 AN evening’s entertainment. 
 
 same spectacular nature, colored fires may be burned, 
 or Magnesium lights. 
 
 VIII. Statuary : boadicea. 
 
 This statuesque group represents the fierce Queen 
 of Britain slaying her children and then taking her 
 own life. It should not be copied after the statue of 
 that name, but be grouped in three different attitudes. 
 Boadicea, represented by the largest of the statue 
 ladies, holds in her right hand a large knife with which 
 she is striking at a child who kneels at her side on 
 the right centre of the platform. The other child, 
 represented by the shorter of the statue ladies, kneels 
 at the left of Boadicea begging for her sister’s life. 
 In the second scene the child lies at the feet of 
 Boadicea, who seizes the lady by the right shoulder 
 and keeps her still, while she leans back with uplifted 
 arm awaiting the fatal blow. In the third scene the 
 two children lie at Boadicea’s feet, while she leans 
 backward and holds the knife buried in her heart. 
 This knife is made in two parts, one half of which is 
 fastened only by a pin, so that when the lower part is 
 
AN evening’s entertainment. 
 
 47 
 
 removed the knife-blade seems to have entered the 
 body, leaving only a small part of the blade and the 
 handle exposed to view. In the last scene the figure 
 of the second child lies across the first, and their 
 heads are over the front of the platform. 
 
 IX. BED-TIME. 
 
 This beautiful picture is shown in the centre frame, 
 in the part of which a small couch is made by cover- 
 ing with bright draperies a small mattress and pillows. 
 On this bed a little child lies sleeping, with her head 
 on her hand. Her right arm is thrown carelessly over 
 the quilt, and her creped hair is tossed over her 
 cheeks. Close behind the child a lady kneels, bend- 
 ing gracefully over her as if she had just bestowed 
 upon her a parting kiss. Above the lady an angel 
 stands with her right foot on a box and her body bent 
 forward as if just about to lift herself on her wings, 
 which are outstretohed. These wings maybe made on 
 wire frames, and fastened to the shoulders by elastic 
 tape. Cheese-cloth drapery, arranged as described 
 for the classic figures, is suitable for saint and angel 
 
48 AN evening’s entertainment. 
 
 dresses. The same cloth also is very good for 
 covering the wing frames, as it can be draped into 
 feathery folds, and is also inexpensive. In all such 
 figures, light hair creped, without ornament, is best. 
 
 X. THE CARNIVAL. 
 
 In conclusion it is always important to have a grand 
 scene in which all the performers can take part. For 
 this purpose the Carnival is peculiarly suited, as cos- 
 tumes may be worn which have already been intro- 
 duced. For this a short flight of three steps, three 
 feet wide, will be needed to stand on the stage in the 
 centre against the platform, so that two persons at a 
 time can descend. Boxes must be placed at each 
 end of the platform, concealed by the corners of the 
 
 each side without being seen. All enter by couples 
 from the two ends, and as two couples meet they 
 salute, and the two who are in front join hands, lift 
 them high and march down the steps to the front 
 of the stage, salute, divide, march around the edge of 
 the stage close to the side curtains, along the front 
 
AN EVENING S ENTERTAINMENT. 
 
 49 
 
 of the platform to the ends of the steps, and down to 
 the front again. The other couple of the first four 
 wait until the leaders have descended the stairs, and 
 then follow them ; the next four as soon as room is 
 made also imitate the others, and all go on in a grand 
 march until all have entered, when they assemble at 
 the sides in two groups. Two lines then arrange 
 themselves on the platform until it is filled, and a 
 large box, with a smaller one on it, is pushed in from 
 the frame, and five of the most prominently costumed 
 ladies form a pyramid, by one standing on the top 
 box, and two on the lower box, with the others seated 
 at their feet. The curtains are then drawn from the 
 frame and window described in the Serenade, and the 
 latter, as well as all the space behind the pyramid, is 
 filled with faces, the owners of which at the last of the 
 dance pelt the dancers with candy, bon-bons and little 
 bouquets. While the pyramid is arranging itself, four 
 gentlemen escort their partners to the centre of the 
 stage, and with many graceful bows go through the 
 figures of the Lancers or those of any showy quadrille. 
 When the dance is over, all form in a semi-circle at 
 the right and left of the pyramid, and sing in chorus 
 
so 
 
 AN evening’s entertainment. 
 
 these words to ‘‘Auld Lang Syne,” omitting the re- 
 frain of the tune: 
 
 “The fleeting pictures come and go with transitory ray, 
 
 But tender visions of our friends will never fade away. 
 
 Kept by the photographic power of memory’s fadeless hue, 
 Upon our hearts we ever hold the kindness ^hown by you.*‘ 
 
ENTERTAINMENTS FOR GIRLS. 
 
 The Bffl o_f D rills. 
 
 PART I. 
 
 A. group of entertainments for stage or floor performance, by Mary B. 
 
 Horne, the author of “ The Peak Sisters,” etc. 
 
 Price, - - - 30 cents. 
 
 CONTENTS. 
 
 A NATIONALr FLAG DRILL (As presented by children in 
 Belmont, Mass., at a Fair given by the Arachne, in December, 1888. 
 Also as given by ten young ladies of the Unity Club, in Watertown, 
 Mass., February 22, 1889.) 
 
 THE SHEPHERD’S DRILL. 
 
 THE TAMBOURINE DRILL (As given at a Rainbow Party 
 by twelve little girls of the Third Congregational Society, Austin St., 
 Cambridgeport, May 2, 1889. 
 
 THE MOTHER GOOSE QUADRILLE (As danced at the Bel- 
 mont Town Hall, May 10, 1889.) 
 
 The n HRONQTHflNATOLETRON: 
 
 OR, OLD TIMES MADE NEW. 
 
 An entertainment in one act for sixteen girls, written for the Class Day 
 Exercises at Dana Hall School, Wellesley, Mass., by two members 
 of the Class of ’87 and first performed before members of the school 
 and their friends, June 18, 1887, and later at Ellsworth, Maine 
 April 6th, 1888. 
 
 Price, - -- -- --35 cents. 
 
 T he idea of this cleverly conceived but quaintly named piece may be 
 briefly described as follows : The ‘‘Genius of the Nineteenth Cen- 
 tury,” although congratulating herself upon the achievements of the age, 
 still longs for some means of recalling to earth the prominent characters 
 of the past. Her wish is granted by the “ Inventress ” who produces 
 the “marvelous machine,” the “ Chronothanatoletron ” (or Time and 
 Death Annihilator), by means of which any woman of any epoch can be 
 brought at once into the presence of the “operator.” 
 
Out of his Sphere. 
 
 A Comedy in Three Acts by the Author of the Pop- 
 ular Military Drama 
 
 “FORCED TO THE WAR.” 
 
 Price, 15 cents. 
 
 Five male, three female characters. Scenery, two simple interiors. The 
 leading character is an old farmer, whose wish for the comforts of 
 city life and the luxuries of wealth is answered in an unexpected 
 and embarrassing manner. The piece abounds in rustic humor, the 
 contrast between the simple old countryman and his city surround- 
 ings being ludicrously emphasized. All the characters are good and 
 the piece easy to produce. 
 
 SYNOPSIS. 
 
 Act I. Kitchen in Jedediah’s house. A stormy night. Family jar. Jede- 
 diah’s return. A much abused man. “Haiii’t I been wrecked with floods, an* 
 blizzards, an’ hurricanes, an’ every other calamity under the sun?” Dissatisfled 
 with his sphere in life. “I want ter be rich, that’s what I want, an’ with 
 nuthin’ ter du but jesi sit around an’ take life easy.” Mr. Markham seeks shel- 
 ter from the storm. Jedediah, relates his troubles, after which he retires. 
 Scheme between Mrs. Blood and Mr. Markham to .cure Jedediah from grumbling. 
 The Dutchman let into the secret. “ You vhas der doctor, und I vhas der gen- 
 eral superintendent. Pizness is pizness.” Jedediah placed under the influence 
 of anaesthetics and taken to the mansion of Mr. Markham. 
 
 Act II. Room in Markham’s mansion. Jedediah awakes from his stupor. 
 A bewildered man. “What — on — airth — Why! where am I, anyhow ! ” Fe- 
 male servants not wanted. Believes himself to be dreaming and endeavors to 
 awake. “ I’ve hern tell if you could shout, or thrash yourself about, it would 
 wake you from the toughest nightmare on record. So here goes.” Interview 
 between Jedediah and John. “Wise man holds tongue. Old proverb. Better 
 follow it.” Fun by the bushel. More and more bewildered. Mrs. Blood as Mrs. 
 Southernwood. An explanation wanted. “For Heaven’s sake tell me where I am 
 an’ what’s the matter.” Old home the best. Asleep or crazy — which? “ Oh, 
 Lord, I’m in a lunatic asylum, an’ these servants are my keepers.” Jedediah 
 retires. Once more returned to his old home. 
 
 Act III. Same as Act I. Conundrums. “Why do some ladies who do up 
 their hair imitate a rooster?” The Dutchman’s conundrum. “Vydoes der 
 hen move his head back und forth vhen she vhalks ?” Something about base- 
 ball. Jedediah awakes. “ I’ve had a dream.” So have Thomas and the Dutch- 
 man. Jedediah’s story. A permanent cure. “No matter under what circum j 
 stances I am placed , or how poor my condition may be, I will never again find | 
 fault with my sphere in life.” 
 
 THE BAT AND THE BALL. 
 
 A Farce in one Act. 
 
 Price - -- -- --15 cents. 
 
 Four male, three female characters. Scenery, costumes and properties 
 simple. Time in playing about 40 minutes. Showing the difficul- 
 ties that may arise from the practice of Amateur Photography. A 
 roaring farce. 
 
TWO NBW COMBDIBS 
 
 By the Author of “A RICE PUDDING.” 
 
 flN t lUTOKRflPH I ETTER. 
 
 By ESTHER B. TIFFANY, 
 
 The author of “Anita’s Trial,’’ “Young Mr. Pritchard,’ 
 “That Patrick,” etc. 
 
 Price, - -- -- -..35 cents. 
 
 A comedy drama in three acts for five male and five female charac 
 ters. This latest play of Miss Tiffany is by far the strongest work frorti 
 her pen, and unites to the brilliancy and grace which characterized heir 
 earlier pieces, dramatic power of a high order. A charming little love- 
 story, tender in sentiment but without mawkishness, is cleverly combined 
 with a plot of a graver nature which is developed in a series of scenes of 
 great interest and power. As in all her pieces, the dialogue is oistin- 
 guished by brilliancy, and its humor genuine but refined. Two scenes 
 only, both interiors, are required, and the properties and dresses are 
 simple, modern in character, and easily gotten up. Equally suitable 
 for stage or parlor performance. Plays about two hours. 
 
 THE WAY TO HIS POCKET. 
 
 By the Same Author. 
 
 Price, - -- -- --15 cents. 
 
 A comedy in one act for two male and three female characters. Scene 
 an interior, costumes modern. All its requirements are simple to the 
 last degree and offer no difficulties. This little play is in Miss Tiffany’s 
 best vein, and admirably continues the series of parlor pieces, refined 
 in humor and clever in plan, of which she is the author. Plays about 
 an hour. 
 
 For Other Novelties see Other Side. 
 
THREE; NEW BOOKS 
 
 A F ool for 1 uck. 
 
 1 FARCICSL COMEDY IN TWO ACTS. 
 
 By W. M. BROWNE. 
 
 Four male and three female characters. This laughable comedy uf 
 modern society turns upon the mania for stock speculation. The leading 
 comedy character is a type of Englishman not unrelated to Lord Dun- 
 dreary, the other personages and the scene being American. The dia- 
 iOgue is very bright, the scenery and costumes very easy. 
 
 Price, - -- -- --35 cents. 
 
 Six to One; or The Scapegrace. 
 
 fi (^pfnEDY IK OKE 
 
 By F. A. MATHEWS. 
 
 One male, six female characters. Costumes, those of everyday life; 
 scenery, not at all necessary. This laughable little skit has something 
 of the character of “The Only Young Man in Town,” and will be 
 even more popular. Five types of society girl are satirized with a keen 
 hand — the Boston Girl, the Philadelphia Girl, the Chicago Girl, etc., etc. 
 
 The dialogue is bright and the situations amusing. The one male 
 character is an excellent one and plays itself. 
 
 Price, - -- -- --15 cents. 
 
 The N ursery D rill 
 
 An entertainment for females — adults or children — by Mary B. Dorne, 
 author of “The Peak Sisters,” “The Book of Drills,” etc. This drill is 
 a new and original version of the entertainment variously called “ The 
 Dolls’ Drill,” “The Nurse-Maids’ Drill,” “The Rag Baby Drill,” etc. 
 and is published complete with all music not readily obtainable, and full 
 instructions. It will be found to be easily the best version of this popu- 
 lar and amusing drill. 
 
 Price, 
 
 15 cents. 
 
A NEW PLAY FOR FEMALE CHARi^^ERi 
 
 I A Compa7tion to REBECCA'S TRIUMPH." ''-UN 
 
 ANITA’S TRIAL; 
 
 Or, Our Girls in Camp. 
 
 By Esther B. Tiffany, author of ‘‘A Rice Pudding,^’ ‘‘That Patrick,’^ 
 
 I “Young Mr. Pritchard,” etc. Price, ^25 cents. 
 
 ' This is a bright and sparkling comedy in three acts, for eleven fynale ^ 
 
 I characters. Its story is entertaining, and its dialogue distinguished by this 
 author’s delicate humorous touch. One scene only is necessary for the 
 three acts — a camp in the woods, easily arranged. The dresses are simple 
 and picturesque camping costumes. The enormous success of “Rebecca’s 
 Triumph ” has created a demand for this sort of piece, to meet which we 
 confidently present “Anita’s Trial,” in which is solved, with no less suc- 
 cess than in its predecessor, the difiicult problem of constructing a play of 
 •trong human interest without the assistance of male characters. 
 
 IBy the Same Author. 
 
 A RICE PUDDING. 
 
 Price, - -- -- --85 cents. 
 
 A comedy in two acts, for two male and three female characters. Scene, 
 a simple interior, the same for both acts. Costumes modern and simple, 
 but affording opportunity for elegant dressing, if it is desired. No proper- 
 ties required beyond what may be found in every house. The story of this 
 piece deals with the mishaps of an inexperienced house-keeper in a new 
 house. Its humor is abundant, its satire of the “Cooking School ” shrewd,^ 
 iU incidents amusing and dramatic, its dialogue brilliant. 
 
 h YOUNG MR. PRITCHARD. 
 
 Price, - -- -- --15 cents. 
 
 > 
 
 A comedy in two scenes, for one male and three female characters^ 
 Very bright, easy to do. Two excellent characters, old women and ingenuC; 
 
 THAT PATRICK. 
 
 Price, - -- -- --15 cents. 
 
 j A comedy in one act, for one male and two female characters. One 
 I lady in German dialect. A very bright an^ whimsical little piece. 
 
V 
 
 Lithomount 
 Pamphlet 
 Binders 
 Gaylord Bros. Inc. 
 
 Makers 
 
 Syracuse, N. Y,