Mrs. T.Helen.Miss A.⎫⎬⎭In this room?
Mrs. T.Helen.Miss A.
⎫⎬⎭
In this room?
Deacon.Yes, in this room. Upon that very sofa. (pointing to sofa) Only a moment ago there was a colored woman sitting there arrayed in one of Miss Amelia's dresses.
Miss A.In one of my dresses!
Deacon.Yes, and she looked just like you.
Miss A.(in horror, raises her hands) Like me!
Deacon.Like you, until she turned her face toward me. She escaped out that window. (pointing toD. C.)
Miss A.(toMrs. T.) Sister, I believe this house is haunted!
Mrs. T.There certainly is something going on that I cannot understand. (toDaisy) Did you send Pete for that policeman?
Daisy.No, ma'am, I could not find him.
Helen.That's just like him. He's never around when he's wanted.
Miss A.Sister, something must be done, or I'll not sleep in this house to-night.
Mrs. T.(toDaisy) Go and see if Pete is anywhere around now, and if you find him send him for an officer at once.
Daisy.Yes, ma'am.(Exit,L. 2 E.)
Mrs. T.Brother, are you sure you saw a colored woman?
Deacon.Didn't I tell you I did? Do you think I'm blind? Confound it! (wipes lips with handkerchief) I saw her too plainly for comfort. I wish I had her now. I'd wring her neck off. Blast her buttons!
Miss A.Deacon, I fear you are forgetting yourself.
Mrs. T.Brother! Brother!
Deacon.That's nothing, I feel like saying——
Miss A.(quickly) Don't! Please don't, Deacon.
Re-enterPetehurriedly,L. 2 E.; appears short of breath. Fans himself with hand.
Pete.What's de mattah? (toDeacon) I heard yo' callin'. I was out in de orchard pickin' some apples an' I run myself out of bref. I t'ought de house was a-fire.
Deacon.Why didn't you call me when I told you to?
Pete.I did. I called yo' ag'in an' ag'in, an' yo' said, all right. I t'ought yo' wus awake. 'Spect yo' must agone to sleep ag'in.
(Mrs. T., andHelencrossR.)
Mrs. T.Pete, did you see a colored man or woman pass out of that window this afternoon?
Pete.(in astonishment) Why, no, missus. Dar was none passed out, fo' I were jist over dar (pointing) in de orchard, right opposite de window, an' nobody could pass out widout 'tractin' my 'tention. (Petegoes toD. C.and looks out. TheDeaconcrossesL.nearMiss A.)
Mrs. T.It's very strange. I can't account for your vision, brother, upon any other grounds, than that you were dreaming.
Deacon.(angrily) Then you think I didn't see a colored woman at all——
Miss A.And that my eye-sight failed me, too——
Deacon.And I'm telling a falsehood——
Miss A.And that I'm not to be believed? Oh, sister, sister! (clasps hands. Noise heard offL., as of some one crying.Petecrosses upL. C.)
Re-enterDaisy, hurriedly,L. C.
Daisy.(angrily) Pete, you horrid wretch, what did you mean by putting that cat in poor Billy's room. You know how mortally afraid he is of them.
Pete.I didn't put no cat in his room.
Daisy.You did, for he saw you open his door, and he's scared almost out of his wits.
The curtains atD. C.are pulled violently aside, and in rushesBilly.
Billy.(screaming with fright) Take him away! Take him away! (goes downC.Has left eye covered with cloth, left arm in sling, black patch on right cheek and nose swollen. Has on night-shirt and long white stockings. All the ladies scream.Mrs. T.springs to supportHelenin her arms;Miss Ameliafaints in theDeacon'sarms)
Mrs. ThorntonandHelenR.;DeaconandMiss AmeliaL.;DaisyandPeteupC.
Deacon.Thank Heaven! At last I enfold thee!
SLOW DROP.
Scene.—Mrs. Thornton'ssitting-room, same as Act IV.Miss Ameliaseated on sofa, theDeaconbeside her;Petelooks in upon them from behind curtainC., grinning.
Deacon.In a short time, my love, Helen will be the happy bride of Mr. Wheeler. Oh, that I could persuade you to become my blushing bride at the same time. (places arm around her, and looks at her fondly)
Miss A.(half-playfully) I declare, Deacon, the more one sees of you the more impressive your silliness becomes. The bare idea of a man of your age desiring to marry, is simply ridiculous.
Deacon.Perhaps it is, my darling, but let me enjoy the happiness of living over my youth again. I feel fifty years younger this morning than I did last night before I obtained your consent to bless my declining years with your sweet smile. But when we come to consider our age, and the subject of marriage in connection with it, it certainly does appear as thoughbothof us were silly geese.
Miss A.(amazed and offended) Sir!
Deacon.(confused) I beg your pardon. I did not mean to refer to your age. I—I—meant my own. That was what I was thinking about. (tenderly) As I look at you, you appear as fresh and bright as a lass of sixteen.
Miss A.(reassured, gushingly) Oh, Deacon, I can't believe you mean that.
Deacon.I do though.
Pete.(atD. C.) Look out, de parson am coming! (Miss A.andDeaconstart, then separate.Peteenters and goesR.At same instant
EnterParson Brownlow,L. 2 E.
Deacon.(rises, facesPete, enraged) How dare you enter my—our presence unannounced! What do I care if the parson has come! (Miss A., catching sight ofParson B., who standsL.amazed, with uplifted hands, tugs at theDeacon'ssleeve to attract his attention) If a dozen of them come, are they any better than any body else? If ever you enter my presence again so abruptly, old as I am, I'll cane you within an inch of your life.
Miss A.Deacon, Deacon, do be still. You are disgracing yourself and mortifying me. Just look! There stands Parson Brownlow listening to every word you say.
Deacon.Hang the Parson! I'll—(sees the parson) I beg yourpardon, sir, I was not aware of your presence. You must excuse my unseemly passion. I have been greatly irritated by that black rascal standing there. (pointing toPete)
Parson B.What, Pete in trouble again! (toPete) What have you been doing now?
Pete.(in injured tone) I weren't doin' nuffin'. De Deacon dar was a-spoonin', (theDeaconfrowns and starts forPete, but is detained byMiss A.catching him by the arm.Petestarts to run upR.) an' cause I warned him of your approach to keep yo' from catchin' ob him, he got mad.
Miss A.There, Pete, that's enough. (toParson B.) It was a little misunderstanding, that is all. (Deaconmanifests a desire to reachPete. ToDeacon) Deacon, do be still. I think I hear the bride and groom coming.
EnterMrs. Thorntonand guests, if any,R. 2 E.They take places.Mrs. T.downL., guests upL.andR.;Miss Amelia,DeaconandParsoncrossR.;ParsonstandsR.ofMiss A.;Petegoes upR.near curtain. Orchestra plays a wedding march. After a few bars enterHelenD. C., arrayed in bridal robes, leaning on the left arm ofWheeler. Take positions directly in front ofL. 2 E.door.Petemakes a low salaam as they enter, but shakes fist atWheeleras he crosses to position.Parsontakes book from pocket, steps in front of contracting parties, and proceeds with ceremony as music ceases.Petepeeps outD. C.
Parson.(reading from book) We are gathered together here in the presence of this company to join together this man and woman in the holy bonds of matrimony. If any man can show just cause why they may not lawfully be joined together, let him now speak, or else hereafter forever hold his peace—(during the delivery of this,Petemanifests uneasiness and occasionally glances around atD. C.WhenGraefenters he displays joy by rubbing hands gleefully)
EnterGraefD. C.; goes downC.Speaks as he comes forward.
Graef.One moment, Parson. I forbid this marriage.
Wheeler.On what grounds?
Graef.Aunt—Helen—you are being imposed upon!
Wheeler.(angrily) What is the meaning of this interference, sir?
Graef.(toHelen) That man has a wife living.
Wheeler.'Tis false! As false as he who makes the accusation. (toHelen, angrily) You will not allow yourself to be influenced by the base charge of a common thief, will you?
Graef.Helen, I ask no one to believe my simple word. I haveproof amply sufficient to convince you of the truthfulness of my assertion. (toWheeler) Do you deny my charge?
Wheeler.I do, and challenge you to produce your proof.
EnterMrs. Darrah,D. C.
Graef.(toWheeler) It is here. Do you know this lady?
Wheeler.(surprised) Minnie!
Graef.You know her then?
Wheeler.You here?
Mrs. T.(toGraef) Who is that woman?
Graef.Uncle's daughter, (theDeacon'sback is turned towardMrs. D.) and your would-be son-in-law's wife.
Mrs. T.(toWheeler) Is this true?
Wheeler.I cannot deny it. (bows head.Mrs. T.catchesHelenby arm and supports her to sofa asMrs. D.speaks.Parson B.closes book and crosses toR.ofMiss Amelia)
Mrs. D. Alas, it is too true! But I remain such only until the courts sever our relation. (goes to sofa and helps comfortHelen, after casting a longing glance at theDeaconwho still stands with back toward her)
Wheeler.(hisses through clenched teeth, toGraef) So I haveyouto thank for this humiliation, have I?
Graef.Yes, and it is a pleasure I have been anticipating for the past two days.
Wheeler.Then you prepared this plan for my exposure?
Graef.I did.
Wheeler.Have you the effrontery to tell me to my teeth that you deliberately prepared my downfall?
Graef.(coolly) I have.
Wheeler.Then, you miserable cur, I'll be revenged. (rushes atGraefwho retreats a little.Petedraws huge butcher knife and runs toGraef'sside)
Pete.Pull on him, Massa George, pull on him, I'se wid yo'! (holding knife aloft dramatically. At sight of knifeMiss Ameliahas slight attack of hysterics, throws both arms around theDeacon'sneck and chokes him. TheDeaconstruggles to release himself.Parson B.stoops behindMiss A.and tries to make her dress shield him.Wheelerstops suddenly)
EnterOfficer,L. 2 E.; approachesWheelersoftly.
Graef.He's not worth the effort, Pete. Officer, arrest that man.
Officer.(seizingWheelerfrom behind) George Darrah, I arrest you for the crime of theft. (Wheelerstruggles.GraefhelpsOfficerhandcuff him. TheDeaconunloosensMiss A.'sarms, when her head falls upon his right shoulder. TheDeaconsupports her drooping form by placing his right arm around her waist.Mrs. T.rises)
Wheeler.What is the meaning of this indignity?
Graef.You will soon know. (toMrs. T.) Aunt, there stands the George Graef who stole your diamonds!
Pete.Say, Massa George, what do yo' think his picture will look like now, arter it's took, eh? (Graefsmiles.Petecrosses toParson B.and makes feint to stab him with knife.Parsonsinks almost to knees, manifesting great fear. Aside) He kin teach others how to die bravely, but he skeers when deff comes nigh him.
Mrs. T.(toGraef) I don't understand you.
Graef.George Darrah, there, known to you as Mr. Wheeler, is the thief you thought was myself. (toWheeler) Do you requireproofto that effect?
Wheeler.Yes, if you possess it.
Graef.(taking watch charm from pocket) Do you recognize that charm?
Wheeler.No, I never saw it before.
Pete.Dat's a whopper!
Graef.(taking paper from pocket) Perhaps you will deny also ever having seen this note with your name attached to it. (folds note so that signature only is seen, and shows it toWheeler) Is that your signature?
Wheeler.No, it's a forgery.
Pete.By crickitees! I'se not a circumstance to dat feller in lyin'.
Graef.Aunt, this charm and note were found by Pete just outside of your dressing-room door the morning after the robbery. He, thinking they might lead to a clue, brought them to me. From the contents of this note I learned who committed the theft and where the diamonds were secreted.
Wheeler.Will you let me see that note?
Graef.With pleasure. (walks toWheeler, unfolds note and holds it up for him to read, talking as he does so) Pete visited the place where the diamonds were hidden, and brought them to me. I will give them to you in a moment. Are you through? (toWheeler. Takes small package from pocket and hands it toMrs. T.) There they are.
Wheeler.Mrs. Thornton, that note is supposed to be written by me. In it I am made to state thehourI was to commit the robbery, and theplacewhere I would hide the diamonds, so that my confederate could find them. Now, do you think ifIplanned the affair and had an accomplice, I would be likely to write him atell-tale note, and allow it to fall into an interested party's hands to be used against me?
Pete.Did yo' eber hear de like?
Mrs. T.Well, hardly, but how do you account for the note explaining where the diamonds were hidden?
Wheeler.That's plain enough to me. There stands the man (looking atGraef) whotookthe diamonds; there stands the man whoreturnedthem, andthereis the man who wrote that note and trumped up this charge to shield himself at my expense.
Graef.You infamous scoundrel! (advances uponWheeler)
Pete.(excitedly) Pin him, Massa George. I'd nebber stand dat, suah!
Mrs. T.(looks reproachfully atGraef) Can it be possible!
Graef.Aunt, for heaven's sake, believe not that black-hearted villain. In one moment I'll convince you of his guilt beyond question. This morning, Davis the pawnbroker, came to my room of his own free will, and told me that that man (pointing toWheeler) was the one who left one of your jewels at his shop, and that he was to pay Davis three hundred dollars to keep that fact a secret. Is that sufficient for you?
Pete.(aside) Ob his own free will, did he? I guess I skeered ole Davis nigh about to deff. I tole him we knew who gave him dat diamond an' I was on my way to git an officer to 'rest him as a 'complice.
Wheeler.The lying scoundrel! I'll get even with him for that, and withyou(toGraef) and you, (toMrs. T.) and with all of you.
Mrs. T.Off with you. I no longer doubt your guilt. Officer, remove him instantly from our presence. (exeuntOfficerandWheeler,L. 2 E.Mrs. T.goes toGraef) George, can you ever forgive me for my unjust suspicions? I will do anything in my power to make retribution to you for your sufferings.
Graef.Then extend to Minnie, there, your niece, a welcome worthy of her. (Mrs. T.goes to sofa, graspsMrs. D.'shand, takes seat beside her and engages her in conversation.Helenrises and approachesGraef) Innocence requires no retribution from those who suspect her.
Helen.Cousin, no one can ever be more grateful to you than I am for the life of misery you have saved me from. What could have been thatfiend'smotive in trying to bring disgrace upon us all, baffles my comprehension.
Graef.His desire to be revenged upon Minnie and all her relatives, for the fancied insult he received in uncle's disinheriting her for marrying contrary to his wishes, has been the motive that actuated him. (Parson,Miss AmeliaandDeaconcross toGraef)
Parson.(shakingGraef'shand) Bless you, my son, bless you.
Miss A.George, you are a son worthy of your mother. I always said you would yet make a man of yourself——
Graef.(interrupting) There, there! you are all showering your thanks upon me and forgetting Pete, to whom most of the glory belongs.
Pete.Yo' just bet it does. I'se done my share ob keepin' up de 'spectability ob de family.
Helen.Yes, Pete, you have, and we are all very grateful to you for it.
Pete.(bowing) T'ank yo'.
Deacon.(advancing and extending hand) George, my boy, you will at least let me extend to you my hearty congratulations. You have acted nobly.
Graef.(refusing hand) Excuse me uncle, but——
Deacon.Why! why! what's the matter? Refuse to shake hands with me? Why—ah—I can't understand it.
Graef.Pardon me, uncle for my plainness of speech. But I'll never shake hands with a father who has disowned his motherless child, until he forgives her and acknowledges her as his own flesh and blood.
Pete.(aside) Dat's de noblest t'ing he ever said or done.
Minnie.(rising) George!
Graef.I can't help it, Minnie. I mean it. (theDeaconturns back)
Pete.Dat's right, Massa George, make him toe de scratch.
EnterNellie,D. C.
Nellie.Where's mamma? Oh, there you are! (runs to her)
Graef.(approachesDeacon; lays hand upon his left shoulder) Uncle, your daughter and child await your forgiveness.
Deacon.(doggedly) I have no daughter!
Pete.Miss 'Melia, please come here a minnit. (Miss A.goes toPete, who is downR.) Yo' tackle de Deacon, he'll refuse yo' nuffin'.
Miss A.Go long with you! (returns to former position)
Parson.Brother, the good book says, "Forgive, and we shall be forgiven." (Mrs. D.andNellieapproachDeaconand kneel at hisL.side)
Mrs. D.Father, I ask your forgiveness, not for myself, but for this innocent child's sake.
Pete.Now, go for him, Miss 'Melia, an' yo'll fotch him, suah.
Deacon.Rise, my child, for inhuman would be the man who could refuse the pleadings of a kneeling child. You are forgiven. (tenderly kisses the brow ofMrs. D.She andNellierise)
Miss A.Oh, Deacon, Deacon!
Pete.(aside) She's jealous!
Miss A.How noble you are.
Pete.(elevating eyebrows and opening mouth) Oh, dat's what she means!
Graef.(grasping theDeacon'shand) Now, uncle, I'll shake hands with you and thank you, too, for the nobility of character you have shown. Though there will be no marriage bells ringing in this house to-day, yet I'm sure there will not be a happier gathering of loved ones to be found in this wide, wide world.
Pete.But t'ink ob de good things we'll miss!
Deacon.(gleefully) Who says there will be no marriage-bells sounding in this house to-day? Parson, step right down. (motioning downC.EnterBilly,D. C., with huge piece of cake in hand, eating. His disfigurements are slightly less than in Act 4. Stands upC.) Where are you, Amelia, my love?
Miss A.Oh, Deacon, don't be so silly! (holding back. All smile)
Deacon.Come along, my love. Don't keep the Parson waiting, come along. (take positions downC.Peteruns toNellieand places her besideMiss A., while he goes toDeacon'sside.Mrs. T.andHelenupL.;GraefandMrs. D.upR.;BillyupC., eating)
Pete.Let de band play fo' we's all ready fo' de dance. (Parsonopens book and steps in front ofMiss A.and theDeaconas the curtain falls)
CURTAIN.
A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO.
PRICE, 15 CENTS.
Eight male, three female characters: Leading comedy, juvenile man, genteel villain, rough villain, light comedy, escaped convict, detective, utility, juvenile lady, leading comedy lady and old woman. Two interior and one landscape scenes. Modern costumes. Time of playing, two hours and a half. The scene of the action is laid on the New Jersey coast. The plot is of absorbing interest, the "business" effective, and the ingenious contrasts of comic and serious situations present a continuous series of surprises for the spectators, whose interest is increasingly maintained up to the final tableau.
Act I. The Home of the Light-house Keeper.—An autumn afternoon.—The insult.—True to herself.—A fearless heart.—The unwelcome guest.—Only a foundling.—An abuse of confidence.—The new partner.—The compact.—The dead brought to life.—Saved from the wreck.—Legal advice.—Married for money.—A golden chance.—The intercepted letter.—A vision of wealth.—The forgery.—Within an inch of his life.—The rescue.—Tableau.
Act II. Scene as before; time, night.—Dark clouds gathering.—Changing the jackets.—Father and son.—On duty.—A struggle for fortune.—Loved for himself.—The divided greenbacks.—The agreement.—An unhappy life.—The detective's mistake.—Arrested.—Mistaken identity.—The likeness again.—On the right track.—The accident.—"Will she be saved?"—Latour's bravery.—A noble sacrifice.—The secret meeting.—Another case of mistaken identity.—The murder.—"Who did it?"—The torn cuff.—"There stands the murderer!"—"'Tis false!"—The wrong man murdered.—Who was the victim?—Tableau.
Act III. Two Days Later.—Plot and counterplot.—Gentleman and convict.—The price of her life.—Some new documents.—The divided banknotes.—Sunshine through the clouds.—Prepared for a watery grave.—Deadly peril.—Father and daughter.—The rising tide.—A life for a signature.—True unto death.—Saved.—The mystery solved.—Dénouement.—Tableau.
A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO.
PRICE, 15 CENTS.
Eight male, three female, and utility characters: Leading juvenile man, first and second walking gentleman, two light comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers; leading juvenile lady, walking lady and comedienne. Three interior scenes; modern and military costumes. Time of playing, two hours and a half. Apart from unusual interest of plot and skill of construction, the play affords an opportunity of representing the progress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up, and a startling phase of the slavery question is sprung upon the audience in the last act.
Act I. At Fort Lee, on the Hudson.—News from the war.—The meeting.—The colonel's strange romance.—Departing for the war.—The intrusted packet.—An honest man.—A last request.—Bitter hatred.—The dawn of love.—A northerner's sympathy for the South.—Is he a traitor?—Held in trust.—La Creole mine for sale.—Financial agents.—A brother's wrong.—An order to cross the enemy's lines.—Fortune's fool.—Love's penalty.—Man's independence.—Strange disclosures.—A shadowed life.—Beggared in pocket, and bankrupt in love.—His last chance.—The refusal.—Turned from home.—Alone, without a name.—Off to the war.—Tableau.
Act II. On the Battlefield.—An Irishman's philosophy.—Unconscious of danger.—Spies in the camp.—The insult.—Risen from the ranks.—The colonel's prejudice.—Letters from home.—The plot to ruin.—A token of love.—True to him.—The plotters at work.—Breaking the seals.—The meeting of husband and wife.—A forlorn hope.—Doomed as a spy.—A struggle for lost honor.—A soldier's death.—Tableau.
Act III. Before Richmond.—The home of Mrs. De Mori.—The two documents.—A little misunderstanding.—A deserted wife.—The truth revealed.—Brought to light.—Mother and child.—Rowena's sacrifice.—The American Eagle spreads his wings.—The spider's web.—True to himself.—The reconciliation.—A long divided home reunited.—The close of the war.—Tableau.
☞Copies mailed, postpaid, to any address, on receipt of the annexed prices.☜
A MELODRAMA IN FIVE ACTS, BY CHAS. TOWNSEND.
PRICE, 15 CENTS.
Seven male, five female characters (some of the characters play two parts). Time of playing, 2¼ hours. This is a new acting edition of a prime old favorite, so simplified in the stage-setting as to be easily represented by dramatic clubs and travelling companies with limited scenery.Uncle Tom's Cabinis a play that never grows old; being pure and faultless, it commands the praise of the pulpit and support of the press, while it enlists the favor of all Christians and heads of families. It will draw hundreds where other plays draw dozens, and therefore is sure to fill any hall.
Synopsis of Incidents:Act I.—Scene I.—The Shelby plantation in Kentucky.—George and Eliza.—The curse of Slavery.—The resolve.—Off for Canada.—"I won't be taken—I'll die first."—Shelby and Haley.—Uncle Tom and Harry must be sold.—The poor mother.—"Sell my boy!"—The faithful slave.Scene II.—Gumption Cute.—"By Gum."—Marks, the lawyer.—A mad Yankee.—George in disguise.—A friend in need.—The human bloodhounds.—The escape.—"Hooray fer old Varmount!"
Act II.—St. Clare's elegant home.—The fretful wife.—The arrival.—Little Eva.—Aunt Ophelia and Topsy.—"O, Golly! I'se so wicked!"—St. Clare's opinion.—"Benighted innocence."—The stolen gloves.—Topsy in her glory.
Act III.—The angel child.—Tom and St. Clare.—Topsy's mischief.—Eva's request.—The promise.—Pathetic scene.—Death of Eva.—St. Clare's grief.—"For thou art gone forever."
Act IV.—The lonely house.—Tom and St. Clare.—Topsy's keepsake.—Deacon Perry and Aunt Ophelia.—Cute on deck.—A distant relative.—The hungry visitor.—"Chuck full of emptiness."—Cute and the Deacon.—A row.—A fight.—Topsy to the rescue.—St. Clare wounded.—Death of St. Clare.—"Eva—Eva—I am coming."
Act V.—Legree's plantation on the Red River.—Home again.—Uncle Tom's noble heart.—"My soul ain't yours, Mas'r."—Legree's cruel work.—Legree and Cassy.—The white slave.—A frightened brute.—Legree's fear.—A life of sin.—Marks and Cute.—A new scheme.—The dreadful whipping of Uncle Tom.—Legree punished at last.—Death of Uncle Tom.—Eva in Heaven.
A DRAMA IN FOUR ACTS, BY CHAS. TOWNSEND.
PRICE, 15 CENTS.
Seven male, three female characters, viz.: leading and second juvenile men, society villain, walking gentleman, eccentric comedian, old man, low comedian, leading juvenile lady, soubrette and old woman. Time of playing, 2¼ hours.The Woven Webis a flawless drama, pure in thought and action, with excellent characters, and presenting no difficulties in costumes or scenery. The story is captivating, with a plot of the most intense and unflagging interest, rising to a natural climax of wonderful power. The wit is bright and sparkling, the action terse, sharp and rapid. In touching the great chord of human sympathy, the author has expended that rare skill which has given life to every great play known to the stage. This play has been produced under the author's management with marked success, and will prove an unquestionable attraction wherever presented.
Synopsis of Incidents:Act I.—Parkhurst & Manning's law office, New York.—Tim's opinion.—The young lawyer.—"Majah Billy Toby, sah!"—Love and law.—Bright prospects.—Bertha's misfortune.—A false friend.—The will destroyed.—A cunning plot.—Weaving the web.—The unseen witness.—The letter.—Accused.—Dishonored.
Act II.—Winter quarters.—Colonel Hastings and Sergeant Tim.—Moses.—A message.—Tim on his dignity.—The arrival.—Playing soldier.—The secret.—The promise.—Harry in danger.—Love and duty.—The promise kept.—"Saved, at the loss of my own honor!"
Act III.—Drawing-room at Falconer's.—Reading the news.—"Apply to Judy!"—Louise's romance.—Important news.—Bertha's fears.—Leamington's arrival.—Drawing the web.—Threatened.—Plotting.—Harry and Bertha.—A fiendish lie.—Face to face.—"Do you know him?"—Denounced.—"Your life shall be the penalty!"—Startling tableau.
Act IV.—At Uncle Toby's.—A wonderful climate.—An impudent rascal.—A bit of history.—Woman's wit.—Toby Indignant.—A quarrel.—Uncle Toby's evidence.—Leamington's last trump.—Good news.—Checkmated.—The telegram.—Breaking the web.—Sunshine at last.
☞Copies mailed, postpaid, to any address, on receipt of the annexed prices.☜
A Practical Guide for Amateur Actors.
PRICE, 25 CENTS.
This work, without a rival in the field of dramatic literature, covers the entire subject of amateur acting, and answers the thousand and one questions that arise constantly to worry and perplex both actor and manager. It tells how to select plays and what plays to select; how to get up a dramatic club—whom to choose and whom to avoid; how to select characters, showing who should assume particularrôles; how to rehearse a play properly—including stage business, by-play, voice, gestures, action, etc.; how to represent all the passions and emotions, from Love to Hate (this chapter is worth many times the price of the book, as the same information cannot be found in any similar work); how to costume modern plays. All is told in such a plain, simple style that the veriest tyro can understand. The details are so complete and the descriptions so clear that the most inexperienced can follow them readily. The book is full of breezy anecdotes that illustrate different points. But its crowning merit is that it is thoroughlyPRACTICAL—it is the result of the author's long experience as an actor and manager. Every dramatic club in the land should possess a copy of this book, and no actor can afford to be without it. It contains so much valuable information that even old stagers will consult it with advantage.
A Practical and Systematic Guide to the Art of Making up for the Stage.
PRICE, 25 CENTS.
Facial make-up has much to do with an actor's success. This manual is a perfect encyclopedia of a branch of knowledge most essential to all players. It is well written, systematic, exhaustive, practical, unique. Professional and amateur actors and actresses alike pronounce itTHE BESTmake-up book ever published. It is simply indispensable to those who cannot command the services of a perruquier.
Chapter I.Theatrical Wigs.—The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly.
Chapter II.Theatrical Beards.—How to fashion a Beard out of Crêpe Hair. How to make Beards of Wool. The growth of Beard simulated.
Chapter III.The Make-up.—A successful Character Mask, and how to make it. Perspiration during performance, how removed.
Chapter IV.The Make-up Box.—Grease Paints. Grease Paints in Sticks; Flesh Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various shades of Face Powder. Water Cosmétique. Nose Putty. Court Plaster. Cocoa Butter. Crêpe Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes.
Chapter V.The Features and their Treatment.—The Eyes: Blindness. The Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste on eyebrows; How to regulate bushy eyebrows. The Eyelashes: To alter the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use the nose putty; a pug nose; an African nose; a large nose apparently reduced in size. The Mouth and Lips: a juvenile mouth; an old mouth; a sensuous mouth; a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. Wrinkles: Friendliness and Sullenness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy.
Chapter VI.Typical Character Masks.—The Make-up for Youth: Dimpled Cheeks. Manhood. Middle Age. Making up as a Drunkard: One method; another method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns.
Chapter VII.Special Hints to Ladies.—The Make-up. Theatrical Wigs and Hair Goods.
☞Copies of the above will be mailed, post-paid, to any address, on receipt of the annexed prices.☜
HAROLD ROORBACH, Publisher, 9 Murray St., New York.
Transcriber's notes:The following is a list of changes made to the original. The first line is the original line, the second the corrected one.author.ThreatricalManagers wishing to produce it should apply toauthor.TheatricalManagers wishing to produce it should apply toJamesReed,a friend of Darrah's, H. C. Lewis.JamesRead,a friend of Darrah's, H. C. Lewis.and played byReed. Officer in Act IV, by Violinist.and played byRead. Officer in Act IV, by Violinist.life would be beset by theharrassingknowledge of being surroundedlife would be beset by theharassingknowledge of being surroundedI'll let the precious booty remain init'shiding place until II'll let the precious booty remain initshiding place until IDaisy.Oh, Mr. Wheeler, I forgot----(percievesDeacon) Oh!Daisy.Oh, Mr. Wheeler, I forgot----(perceivesDeacon) Oh!(dicksup pin; conceals bent part, displaying point) Daisy nebber(picksup pin; conceals bent part, displaying point) Daisy nebberGraef.(interrruptingher, grasps her by shoulder and anxiouslyGraef.(interruptingher, grasps her by shoulder and anxiouslyMiss A.I fearyourare a flatterer. Now, you don't think I'mMiss A.I fearyouare a flatterer. Now, you don't think I'mMiss A.That will do, Daisy. Youare area nice, well-behavedMiss A.That will do, Daisy. Youarea nice, well-behavedthis morning than I did last night before I obtainedyouconsentthis morning than I did last night before I obtainedyourconsentOfficer.(seizingWheelerfrom behind) George Darrah, Iar-Officer.(seizingWheelerfrom behind) George Darrah, Iarrest
Transcriber's notes:
The following is a list of changes made to the original. The first line is the original line, the second the corrected one.
author.ThreatricalManagers wishing to produce it should apply toauthor.TheatricalManagers wishing to produce it should apply to
JamesReed,a friend of Darrah's, H. C. Lewis.JamesRead,a friend of Darrah's, H. C. Lewis.
and played byReed. Officer in Act IV, by Violinist.and played byRead. Officer in Act IV, by Violinist.
life would be beset by theharrassingknowledge of being surroundedlife would be beset by theharassingknowledge of being surrounded
I'll let the precious booty remain init'shiding place until II'll let the precious booty remain initshiding place until I
Daisy.Oh, Mr. Wheeler, I forgot----(percievesDeacon) Oh!Daisy.Oh, Mr. Wheeler, I forgot----(perceivesDeacon) Oh!
(dicksup pin; conceals bent part, displaying point) Daisy nebber(picksup pin; conceals bent part, displaying point) Daisy nebber
Graef.(interrruptingher, grasps her by shoulder and anxiouslyGraef.(interruptingher, grasps her by shoulder and anxiously
Miss A.I fearyourare a flatterer. Now, you don't think I'mMiss A.I fearyouare a flatterer. Now, you don't think I'm
Miss A.That will do, Daisy. Youare area nice, well-behavedMiss A.That will do, Daisy. Youarea nice, well-behaved
this morning than I did last night before I obtainedyouconsentthis morning than I did last night before I obtainedyourconsent
Officer.(seizingWheelerfrom behind) George Darrah, Iar-Officer.(seizingWheelerfrom behind) George Darrah, Iarrest