Dramatic Amusements.PRIVATE theatricals and dramatic or Shakspeare reading clubs are among the fashionable amusements of the present day. Many, I know, disapprove of them; but I think they do far more good than harm. They certainly strengthen the lungs, memory, and improve the intellectual tastes. But I will not discuss the subject, as far abler pens than mine have already argued on both sides of the question. Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserves the thanks of the audience.Even a simple farce requires much labor and frequent rehearsals, to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the foot-lights, stage, &c., must be prepared. A few directions, with a list of easy farces may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of townsand villages, I will give a short account of how such things can be managed.Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors, or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor a gas-pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye) are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvass by being strained when wet over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers, are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced, with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows, and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, andunder the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side, marks age or emaciation.A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or gray colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the arm-holes in the sack must be fastened up on the inside), by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume, (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and a little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder by rattling sheet-iron, lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.Dissolve crystals of nitrate of copper in spirits of wine,light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames, now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.The following is a list of plays which are easily and often acted in private theatricals:Comedies.The Rivals.Fashion.London Assurance.Lady of Lyons.Farces.The Loan of a Lover.The Widow’s Victim.Perfection.Sketches in India.Morning Calls.Swiss Cottage.My New Wife and My Old Umbrella.Kill or Cure.Poor Pillecody.Bombastes Furioso.Lend Me Five Shillings.Phantom Breakfast.Rough Diamond.A Pretty Piece of Business.Old Guard.A Game of Romps.Betsy Baker.DRAMATIC READING CLUBS.Theseclubs are far more agreeable to their members and less likely to cause unpleasant rivalries, which, it is to be regretted, are apt to arise among even private actors. Human nature, alas, is weak! Some clubs read Shakspeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakspeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays. I have known of very successful clubs, and I will give the generalmanner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies with a view of making home and winter evenings agreeable to their brothers; a committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the “librettos” of their plays. The following rules were signed by all the members:1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.3. The one who selects the play has a right to the best character.4. The club shall meet once a week at the houses of members, in alphabetical rotation.5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.6. No new member can be admitted without the vote of the majority.7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.At first, they merely read the plays; but soon, they partially acted them, and found them increased in interest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them; or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they becamefamiliar with the best plays, without wearying of them; and each member had an opportunity of consulting his own taste.I sincerely recommend this as an amusement. Persons who read French and German will find this an admirable way of learning to converse with ease in either of those languages.Sheridan Knowles’ plays and Shakspeare are among the best to select from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are excellent plays to be read in this way.CHARADES.Thereis no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teachthem ease of manner; but let them only act before a home circle.A few directions for acting certain words, and a short list of words easy to be acted may be of service to my readers. If a word or syllable can be represented by action, it should be seldom spoken, but syllables must be spoken in some cases to give an idea of the word:Penitent.—“Penny” sufficiently expresses the first division of the word. It can be represented by dressing in old clothes, torn hats, bonnets, &c., to appear as street hawkers, common in cities. One can sell “Lucifer matches—penny a bunch!” another, “Apples, fine red apples—penny apiece!” another, “Oranges, fine fresh oranges—penny apiece!” and so on. In this way a motley group can be contrived. A policeman, rushing in and dispersing the group, may close the scene. “Tent” can be represented by throwing a sheet or table-cloth over two chairs (high-backed chairs would be preferable), in the style of a gypsy tent. In front should be grouped some gypsies, in gay shawls, handkerchiefs, looped dresses, &c. A lady and gentleman can approach and ask to have their fortunes told, &c. Some one of the gypsies singing, “In the days when we went gypsying,” would close this act well. “Penitent” can be easily represented in a variety of ways. If it is not guessed, the charade could be repeated and acted differently.Bridewell.—“Bride” is usually represented by a wedding, which can be arranged to suit the tastes of the parties acting, and can be either simple or elaborate, as they may please. The common way is to have a dress ceremony; bride in full costume, with bridesmaids, but for a change, one might arrange a justice’s office, and have a couple come in to be married, the bride conspicuous in white bows and ends, and cheap finery. Let her be the chief speaker, the man appearing awkward and shy. After the ceremony, let her drive asharp bargain in paying the fee. “Well:” Take a large tub and cover it with a gray shawl, so arranged as to look like stone, and if you have any green fleecy mats, arrange them to represent grass. A dark-complexioned gentleman, (any one can stain his face for the occasion,) with a turban, and dressed in shawls skillfully arranged, may represent an Eastern Emir. He should be seen seated Turkish-fashion by the well. A lady, dressed as Rebecca, with a crimson scarf about her waist, having her arms bare, and a handkerchief bound around her head, should come in, holding with one arm a pitcher on her head. Let her seem to fill her pitcher at the well. Then Eliezer must ask her to give him drink. After she has handed him her pitcher (which she must have placed on her head after having appeared to fill it), he must take from his bosom a casket of jewels, and exhibit bracelets and ear-rings. She can feign astonishment and admiration. He must kneel at her feet and present them. She should express surprise and delight. Then Eliezer must fasten on the bracelets, and the scene of Eliezer and Rebecca at thewellwill be represented.To act “Bridewell:” Arrange a prison cell; take screens or clothes-frames, and hang them with gray or black shawls, and cover the carpet. Put in a common wood table and a kitchen chair, and let a dim-lighted lantern be the only light. Some gentleman, meanly clad, with hair all on end; and clenched hands resting on his knees, must be seated in the chair, with eyes bent sullenly on the ground, and with a scowling brow. Let chains hang from his wrists and ankles, and as he moves clank together. Acted in this way, the word would be easily guessed.Farewell.—“Fare:” A gentleman dressed as a hackman can come in, whip in hand. Then a gentleman and lady and a child should appear, dressed for a journey. The hackman must address them in the usual manner, offering to takethem to any place, &c. The gentleman must then ask, “What is thefare?” and bargains for it, refusing to payfarefor the child, &c. “Well:” Two ladies enter with shawls and bonnets on, and appear to meet accidentally; each asks anxiously if the other iswell, and if all the family arewell, &c.“Farewell” can be acted in various ways. A party with bandboxes and baskets, on their way west, may be biddingfarewellto friends; or a lover, going to California, may be taking leave of his lady-love, &c.Railway.—“Rail:” Take two chairs, and place a strong cane, stick or broom, with one end resting on each chair. Then some boy or girl may come in and jump on the stick, swing over it, and talk about “riding on arail.” An elderly lady or gentleman should come in and talk to him about breaking his neck on the rail, &c., &c. “Way:” a gentleman with a carpet bag in his hand may inquire thewayto the depot, or an old lady may ask which is thewayto the menagerie, &c. “Railway:” Let a party of people come rushing in, some limping and groaning, others wondering where their bandboxes have gone to! all talking of the “smash up” on therailway, bringing in the word in all possible ways.Carpet.—“Car:” several persons may pass in and out dressed in character, as a Yankee peddler, a country girl never before from home, a man of business, a fine lady with servants, &c., all appearing to be waiting for thecars, and talking about them. Suddenly let a bell ring, and the conductor call out, “Cars start for,” etc. All then rush forward in character. “Pet:” Let a lady come in with a cat, dog or anypetanimal, fondling it as absurdly as possible, pretending it is sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange a table as a counter. Some one must act as shopman. Let a lady enter with a simpering air, her intended husband following, and ask to look atcarpets. Havein readiness under the counter several pieces ofcarpetsor rugs, which the shopman should display, while the lady consults the taste of her future lord, &c.Lunatic.—“Luna:” A gentleman, dressed as a young collegian, enters with a young lady on his arm; they pretend to be walking bymoon-light. He speaks of the moon by its latin name,Luna, and talks in a high-flown style. The lady may ask in a flat and awkward style, “Who is Luna?” saying she never heard of her, &c., &c. The young man explains, in a bombastic style, whoLunais. “Tic:” A lady represents an old woman, and goes about offering to make over oldtics, as good as new, and also says she has some geese feathers to sell, carrying on of course other conversation, so that the word to be guessed may not be too apparent. “Lunatic:” The best actor of the company feigns the part of alunatic, in any way he sees fit.Lamentable.—(French charade.) “L’amont” can be acted well in pantomime, by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slily and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows and retires. Soon a loud knock is heard, she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat and motions him to go. He leaves at one door, whileL’Amanenters at another. Then they act a lover like scene and the curtain drops. “Table:” She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes; the young lover standing by, and now and then eating one of the cakes. They hear a heavystep and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table-cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene. “Lamentable:” The same actors appear, but the table is turned over, and behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.Warlock.—(A male wizard.) “War:” A wounded soldier is seen prostrate and dying. “Lock:” An old woman with a long tow wig, sits mumbling to herself, and knitting. A young man appears and pretends entire devotion to her, and begs for alockof her hair. She refuses at first, but he coaxes it from her. She then takes out a large pair of shears and cuts off a longlock, rolls it up and gives it to him. He pretends ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as an old wizard, appears and offers to tell fortunes, &c.; this can be performed as the actor thinks best.The following words are easy to be acted:—Back-bite.Com-fort.In-fan-tile.Bond-age.Ann-ounce.Sin-cere.Brace-let.In-firm.Spec-tacles.TABLEAUX VIVANTS.Tableauvivants, as commonly represented, are so well understood that no directions are necessary, but some of my readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another wayis to represent the different scenes in a song, while at the same time some one who is a good musician sings the verses of the song as they are represented. For instance, “The Mistletoe Bough,” first represent a room decorated with green, a company assembled gaily dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene representing children in a lumber-room opening an old chest and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” and “The Three Fishers” are easily represented. Still another variety of tableaux is a song represented in pantomime, for instance, the song of “Blue Beard,” or “O, they Marched through the Town,” &c.
Dramatic Amusements.PRIVATE theatricals and dramatic or Shakspeare reading clubs are among the fashionable amusements of the present day. Many, I know, disapprove of them; but I think they do far more good than harm. They certainly strengthen the lungs, memory, and improve the intellectual tastes. But I will not discuss the subject, as far abler pens than mine have already argued on both sides of the question. Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserves the thanks of the audience.Even a simple farce requires much labor and frequent rehearsals, to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the foot-lights, stage, &c., must be prepared. A few directions, with a list of easy farces may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of townsand villages, I will give a short account of how such things can be managed.Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors, or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor a gas-pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye) are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvass by being strained when wet over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers, are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced, with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows, and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, andunder the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side, marks age or emaciation.A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or gray colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the arm-holes in the sack must be fastened up on the inside), by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume, (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and a little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder by rattling sheet-iron, lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.Dissolve crystals of nitrate of copper in spirits of wine,light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames, now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.The following is a list of plays which are easily and often acted in private theatricals:Comedies.The Rivals.Fashion.London Assurance.Lady of Lyons.Farces.The Loan of a Lover.The Widow’s Victim.Perfection.Sketches in India.Morning Calls.Swiss Cottage.My New Wife and My Old Umbrella.Kill or Cure.Poor Pillecody.Bombastes Furioso.Lend Me Five Shillings.Phantom Breakfast.Rough Diamond.A Pretty Piece of Business.Old Guard.A Game of Romps.Betsy Baker.DRAMATIC READING CLUBS.Theseclubs are far more agreeable to their members and less likely to cause unpleasant rivalries, which, it is to be regretted, are apt to arise among even private actors. Human nature, alas, is weak! Some clubs read Shakspeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakspeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays. I have known of very successful clubs, and I will give the generalmanner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies with a view of making home and winter evenings agreeable to their brothers; a committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the “librettos” of their plays. The following rules were signed by all the members:1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.3. The one who selects the play has a right to the best character.4. The club shall meet once a week at the houses of members, in alphabetical rotation.5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.6. No new member can be admitted without the vote of the majority.7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.At first, they merely read the plays; but soon, they partially acted them, and found them increased in interest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them; or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they becamefamiliar with the best plays, without wearying of them; and each member had an opportunity of consulting his own taste.I sincerely recommend this as an amusement. Persons who read French and German will find this an admirable way of learning to converse with ease in either of those languages.Sheridan Knowles’ plays and Shakspeare are among the best to select from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are excellent plays to be read in this way.CHARADES.Thereis no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teachthem ease of manner; but let them only act before a home circle.A few directions for acting certain words, and a short list of words easy to be acted may be of service to my readers. If a word or syllable can be represented by action, it should be seldom spoken, but syllables must be spoken in some cases to give an idea of the word:Penitent.—“Penny” sufficiently expresses the first division of the word. It can be represented by dressing in old clothes, torn hats, bonnets, &c., to appear as street hawkers, common in cities. One can sell “Lucifer matches—penny a bunch!” another, “Apples, fine red apples—penny apiece!” another, “Oranges, fine fresh oranges—penny apiece!” and so on. In this way a motley group can be contrived. A policeman, rushing in and dispersing the group, may close the scene. “Tent” can be represented by throwing a sheet or table-cloth over two chairs (high-backed chairs would be preferable), in the style of a gypsy tent. In front should be grouped some gypsies, in gay shawls, handkerchiefs, looped dresses, &c. A lady and gentleman can approach and ask to have their fortunes told, &c. Some one of the gypsies singing, “In the days when we went gypsying,” would close this act well. “Penitent” can be easily represented in a variety of ways. If it is not guessed, the charade could be repeated and acted differently.Bridewell.—“Bride” is usually represented by a wedding, which can be arranged to suit the tastes of the parties acting, and can be either simple or elaborate, as they may please. The common way is to have a dress ceremony; bride in full costume, with bridesmaids, but for a change, one might arrange a justice’s office, and have a couple come in to be married, the bride conspicuous in white bows and ends, and cheap finery. Let her be the chief speaker, the man appearing awkward and shy. After the ceremony, let her drive asharp bargain in paying the fee. “Well:” Take a large tub and cover it with a gray shawl, so arranged as to look like stone, and if you have any green fleecy mats, arrange them to represent grass. A dark-complexioned gentleman, (any one can stain his face for the occasion,) with a turban, and dressed in shawls skillfully arranged, may represent an Eastern Emir. He should be seen seated Turkish-fashion by the well. A lady, dressed as Rebecca, with a crimson scarf about her waist, having her arms bare, and a handkerchief bound around her head, should come in, holding with one arm a pitcher on her head. Let her seem to fill her pitcher at the well. Then Eliezer must ask her to give him drink. After she has handed him her pitcher (which she must have placed on her head after having appeared to fill it), he must take from his bosom a casket of jewels, and exhibit bracelets and ear-rings. She can feign astonishment and admiration. He must kneel at her feet and present them. She should express surprise and delight. Then Eliezer must fasten on the bracelets, and the scene of Eliezer and Rebecca at thewellwill be represented.To act “Bridewell:” Arrange a prison cell; take screens or clothes-frames, and hang them with gray or black shawls, and cover the carpet. Put in a common wood table and a kitchen chair, and let a dim-lighted lantern be the only light. Some gentleman, meanly clad, with hair all on end; and clenched hands resting on his knees, must be seated in the chair, with eyes bent sullenly on the ground, and with a scowling brow. Let chains hang from his wrists and ankles, and as he moves clank together. Acted in this way, the word would be easily guessed.Farewell.—“Fare:” A gentleman dressed as a hackman can come in, whip in hand. Then a gentleman and lady and a child should appear, dressed for a journey. The hackman must address them in the usual manner, offering to takethem to any place, &c. The gentleman must then ask, “What is thefare?” and bargains for it, refusing to payfarefor the child, &c. “Well:” Two ladies enter with shawls and bonnets on, and appear to meet accidentally; each asks anxiously if the other iswell, and if all the family arewell, &c.“Farewell” can be acted in various ways. A party with bandboxes and baskets, on their way west, may be biddingfarewellto friends; or a lover, going to California, may be taking leave of his lady-love, &c.Railway.—“Rail:” Take two chairs, and place a strong cane, stick or broom, with one end resting on each chair. Then some boy or girl may come in and jump on the stick, swing over it, and talk about “riding on arail.” An elderly lady or gentleman should come in and talk to him about breaking his neck on the rail, &c., &c. “Way:” a gentleman with a carpet bag in his hand may inquire thewayto the depot, or an old lady may ask which is thewayto the menagerie, &c. “Railway:” Let a party of people come rushing in, some limping and groaning, others wondering where their bandboxes have gone to! all talking of the “smash up” on therailway, bringing in the word in all possible ways.Carpet.—“Car:” several persons may pass in and out dressed in character, as a Yankee peddler, a country girl never before from home, a man of business, a fine lady with servants, &c., all appearing to be waiting for thecars, and talking about them. Suddenly let a bell ring, and the conductor call out, “Cars start for,” etc. All then rush forward in character. “Pet:” Let a lady come in with a cat, dog or anypetanimal, fondling it as absurdly as possible, pretending it is sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange a table as a counter. Some one must act as shopman. Let a lady enter with a simpering air, her intended husband following, and ask to look atcarpets. Havein readiness under the counter several pieces ofcarpetsor rugs, which the shopman should display, while the lady consults the taste of her future lord, &c.Lunatic.—“Luna:” A gentleman, dressed as a young collegian, enters with a young lady on his arm; they pretend to be walking bymoon-light. He speaks of the moon by its latin name,Luna, and talks in a high-flown style. The lady may ask in a flat and awkward style, “Who is Luna?” saying she never heard of her, &c., &c. The young man explains, in a bombastic style, whoLunais. “Tic:” A lady represents an old woman, and goes about offering to make over oldtics, as good as new, and also says she has some geese feathers to sell, carrying on of course other conversation, so that the word to be guessed may not be too apparent. “Lunatic:” The best actor of the company feigns the part of alunatic, in any way he sees fit.Lamentable.—(French charade.) “L’amont” can be acted well in pantomime, by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slily and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows and retires. Soon a loud knock is heard, she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat and motions him to go. He leaves at one door, whileL’Amanenters at another. Then they act a lover like scene and the curtain drops. “Table:” She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes; the young lover standing by, and now and then eating one of the cakes. They hear a heavystep and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table-cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene. “Lamentable:” The same actors appear, but the table is turned over, and behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.Warlock.—(A male wizard.) “War:” A wounded soldier is seen prostrate and dying. “Lock:” An old woman with a long tow wig, sits mumbling to herself, and knitting. A young man appears and pretends entire devotion to her, and begs for alockof her hair. She refuses at first, but he coaxes it from her. She then takes out a large pair of shears and cuts off a longlock, rolls it up and gives it to him. He pretends ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as an old wizard, appears and offers to tell fortunes, &c.; this can be performed as the actor thinks best.The following words are easy to be acted:—Back-bite.Com-fort.In-fan-tile.Bond-age.Ann-ounce.Sin-cere.Brace-let.In-firm.Spec-tacles.TABLEAUX VIVANTS.Tableauvivants, as commonly represented, are so well understood that no directions are necessary, but some of my readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another wayis to represent the different scenes in a song, while at the same time some one who is a good musician sings the verses of the song as they are represented. For instance, “The Mistletoe Bough,” first represent a room decorated with green, a company assembled gaily dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene representing children in a lumber-room opening an old chest and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” and “The Three Fishers” are easily represented. Still another variety of tableaux is a song represented in pantomime, for instance, the song of “Blue Beard,” or “O, they Marched through the Town,” &c.
PRIVATE theatricals and dramatic or Shakspeare reading clubs are among the fashionable amusements of the present day. Many, I know, disapprove of them; but I think they do far more good than harm. They certainly strengthen the lungs, memory, and improve the intellectual tastes. But I will not discuss the subject, as far abler pens than mine have already argued on both sides of the question. Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserves the thanks of the audience.
Even a simple farce requires much labor and frequent rehearsals, to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the foot-lights, stage, &c., must be prepared. A few directions, with a list of easy farces may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of townsand villages, I will give a short account of how such things can be managed.
Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors, or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor a gas-pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye) are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvass by being strained when wet over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.
Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers, are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced, with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows, and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, andunder the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side, marks age or emaciation.
A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or gray colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.
Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the arm-holes in the sack must be fastened up on the inside), by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume, (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and a little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder by rattling sheet-iron, lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.
Dissolve crystals of nitrate of copper in spirits of wine,light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames, now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.
The following is a list of plays which are easily and often acted in private theatricals:
Comedies.
Farces.
DRAMATIC READING CLUBS.
Theseclubs are far more agreeable to their members and less likely to cause unpleasant rivalries, which, it is to be regretted, are apt to arise among even private actors. Human nature, alas, is weak! Some clubs read Shakspeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakspeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays. I have known of very successful clubs, and I will give the generalmanner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies with a view of making home and winter evenings agreeable to their brothers; a committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the “librettos” of their plays. The following rules were signed by all the members:
1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.
2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.
3. The one who selects the play has a right to the best character.
4. The club shall meet once a week at the houses of members, in alphabetical rotation.
5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.
6. No new member can be admitted without the vote of the majority.
7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.
At first, they merely read the plays; but soon, they partially acted them, and found them increased in interest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them; or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.
There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they becamefamiliar with the best plays, without wearying of them; and each member had an opportunity of consulting his own taste.
I sincerely recommend this as an amusement. Persons who read French and German will find this an admirable way of learning to converse with ease in either of those languages.
Sheridan Knowles’ plays and Shakspeare are among the best to select from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are excellent plays to be read in this way.
CHARADES.
Thereis no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.
A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teachthem ease of manner; but let them only act before a home circle.
A few directions for acting certain words, and a short list of words easy to be acted may be of service to my readers. If a word or syllable can be represented by action, it should be seldom spoken, but syllables must be spoken in some cases to give an idea of the word:
Penitent.—“Penny” sufficiently expresses the first division of the word. It can be represented by dressing in old clothes, torn hats, bonnets, &c., to appear as street hawkers, common in cities. One can sell “Lucifer matches—penny a bunch!” another, “Apples, fine red apples—penny apiece!” another, “Oranges, fine fresh oranges—penny apiece!” and so on. In this way a motley group can be contrived. A policeman, rushing in and dispersing the group, may close the scene. “Tent” can be represented by throwing a sheet or table-cloth over two chairs (high-backed chairs would be preferable), in the style of a gypsy tent. In front should be grouped some gypsies, in gay shawls, handkerchiefs, looped dresses, &c. A lady and gentleman can approach and ask to have their fortunes told, &c. Some one of the gypsies singing, “In the days when we went gypsying,” would close this act well. “Penitent” can be easily represented in a variety of ways. If it is not guessed, the charade could be repeated and acted differently.
Bridewell.—“Bride” is usually represented by a wedding, which can be arranged to suit the tastes of the parties acting, and can be either simple or elaborate, as they may please. The common way is to have a dress ceremony; bride in full costume, with bridesmaids, but for a change, one might arrange a justice’s office, and have a couple come in to be married, the bride conspicuous in white bows and ends, and cheap finery. Let her be the chief speaker, the man appearing awkward and shy. After the ceremony, let her drive asharp bargain in paying the fee. “Well:” Take a large tub and cover it with a gray shawl, so arranged as to look like stone, and if you have any green fleecy mats, arrange them to represent grass. A dark-complexioned gentleman, (any one can stain his face for the occasion,) with a turban, and dressed in shawls skillfully arranged, may represent an Eastern Emir. He should be seen seated Turkish-fashion by the well. A lady, dressed as Rebecca, with a crimson scarf about her waist, having her arms bare, and a handkerchief bound around her head, should come in, holding with one arm a pitcher on her head. Let her seem to fill her pitcher at the well. Then Eliezer must ask her to give him drink. After she has handed him her pitcher (which she must have placed on her head after having appeared to fill it), he must take from his bosom a casket of jewels, and exhibit bracelets and ear-rings. She can feign astonishment and admiration. He must kneel at her feet and present them. She should express surprise and delight. Then Eliezer must fasten on the bracelets, and the scene of Eliezer and Rebecca at thewellwill be represented.
To act “Bridewell:” Arrange a prison cell; take screens or clothes-frames, and hang them with gray or black shawls, and cover the carpet. Put in a common wood table and a kitchen chair, and let a dim-lighted lantern be the only light. Some gentleman, meanly clad, with hair all on end; and clenched hands resting on his knees, must be seated in the chair, with eyes bent sullenly on the ground, and with a scowling brow. Let chains hang from his wrists and ankles, and as he moves clank together. Acted in this way, the word would be easily guessed.
Farewell.—“Fare:” A gentleman dressed as a hackman can come in, whip in hand. Then a gentleman and lady and a child should appear, dressed for a journey. The hackman must address them in the usual manner, offering to takethem to any place, &c. The gentleman must then ask, “What is thefare?” and bargains for it, refusing to payfarefor the child, &c. “Well:” Two ladies enter with shawls and bonnets on, and appear to meet accidentally; each asks anxiously if the other iswell, and if all the family arewell, &c.
“Farewell” can be acted in various ways. A party with bandboxes and baskets, on their way west, may be biddingfarewellto friends; or a lover, going to California, may be taking leave of his lady-love, &c.
Railway.—“Rail:” Take two chairs, and place a strong cane, stick or broom, with one end resting on each chair. Then some boy or girl may come in and jump on the stick, swing over it, and talk about “riding on arail.” An elderly lady or gentleman should come in and talk to him about breaking his neck on the rail, &c., &c. “Way:” a gentleman with a carpet bag in his hand may inquire thewayto the depot, or an old lady may ask which is thewayto the menagerie, &c. “Railway:” Let a party of people come rushing in, some limping and groaning, others wondering where their bandboxes have gone to! all talking of the “smash up” on therailway, bringing in the word in all possible ways.
Carpet.—“Car:” several persons may pass in and out dressed in character, as a Yankee peddler, a country girl never before from home, a man of business, a fine lady with servants, &c., all appearing to be waiting for thecars, and talking about them. Suddenly let a bell ring, and the conductor call out, “Cars start for,” etc. All then rush forward in character. “Pet:” Let a lady come in with a cat, dog or anypetanimal, fondling it as absurdly as possible, pretending it is sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange a table as a counter. Some one must act as shopman. Let a lady enter with a simpering air, her intended husband following, and ask to look atcarpets. Havein readiness under the counter several pieces ofcarpetsor rugs, which the shopman should display, while the lady consults the taste of her future lord, &c.
Lunatic.—“Luna:” A gentleman, dressed as a young collegian, enters with a young lady on his arm; they pretend to be walking bymoon-light. He speaks of the moon by its latin name,Luna, and talks in a high-flown style. The lady may ask in a flat and awkward style, “Who is Luna?” saying she never heard of her, &c., &c. The young man explains, in a bombastic style, whoLunais. “Tic:” A lady represents an old woman, and goes about offering to make over oldtics, as good as new, and also says she has some geese feathers to sell, carrying on of course other conversation, so that the word to be guessed may not be too apparent. “Lunatic:” The best actor of the company feigns the part of alunatic, in any way he sees fit.
Lamentable.—(French charade.) “L’amont” can be acted well in pantomime, by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slily and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows and retires. Soon a loud knock is heard, she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat and motions him to go. He leaves at one door, whileL’Amanenters at another. Then they act a lover like scene and the curtain drops. “Table:” She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes; the young lover standing by, and now and then eating one of the cakes. They hear a heavystep and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table-cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene. “Lamentable:” The same actors appear, but the table is turned over, and behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.
Warlock.—(A male wizard.) “War:” A wounded soldier is seen prostrate and dying. “Lock:” An old woman with a long tow wig, sits mumbling to herself, and knitting. A young man appears and pretends entire devotion to her, and begs for alockof her hair. She refuses at first, but he coaxes it from her. She then takes out a large pair of shears and cuts off a longlock, rolls it up and gives it to him. He pretends ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as an old wizard, appears and offers to tell fortunes, &c.; this can be performed as the actor thinks best.
The following words are easy to be acted:—
TABLEAUX VIVANTS.
Tableauvivants, as commonly represented, are so well understood that no directions are necessary, but some of my readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another wayis to represent the different scenes in a song, while at the same time some one who is a good musician sings the verses of the song as they are represented. For instance, “The Mistletoe Bough,” first represent a room decorated with green, a company assembled gaily dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene representing children in a lumber-room opening an old chest and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” and “The Three Fishers” are easily represented. Still another variety of tableaux is a song represented in pantomime, for instance, the song of “Blue Beard,” or “O, they Marched through the Town,” &c.