_The Yule Log._
Young people should costume themselves in grotesque apparel. They may
be Twelfth Night characters, Viola, Olivia, Sir Andrew Aguecheek, Sir
Toby, Sebastian, sea-captains, lords, priests, officers, musicians,
etc., or assume any disguise indicative of Christmas.
Early in the evening, several of the company should disappear, but with
great hilarity return, drawing in the Yule log. This is nothing more or
less than a rugged log. Knotted at each end with long strong ropes, by
which it is pulled. As the young people draw it they should sing,
Welcome be ye that are here,
Welcome all and make good cheer;
Welcome all another year,
Welcome Yule.
This verse should be sung over and over until the Yule log lies on the
hearthstone.
_Christmas Pie._
Two people, each wearing interesting costume, and with masked faces,
walk in, rolling before them on a wheelbarrow an enormous pie. It is
made after the fashion of a Jack Horner pie, being in a deep dish
covered with diamond-dusted white paper, with tiny ribbons exposed.
The first performance is to roll the pie all around the room, and then
to the centre, where they will sing,
Who’ll have a bird from this Christmas pie?
Whoever guesses me may answer I.
For a few minutes all the company keep quite still, then the guessing
commences; when the correct names are mentioned, the couple unmask, and
at once the correct guesser draws a ribbon. He will find on the end of
it a candy bird,—perhaps a robin redbreast made of candy and stuffed
with sugarplums. As soon as the bird is drawn, one of the parties who
has rolled in the wheelbarrow imitates a bird-song on a harmonica.
This is easily effected without discovery, as everybody’s attention is
directed to what has been drawn.
_Tableaux Vivants._
A catchy tableau series would be Mother Goose and her children
celebrating Christmas.
_Tableau First._—Mother Goose in her tall, cone-shaped hat, riding on
an enormous goose. Copy her and all the other costumes from Mother
Goose’s book.
_Tableau Second._—Her children faithfully charactered. Little Jack
Horner should be sitting in a corner, eating his Christmas pie. The
King in his parlor should be dressed to represent a king. Simple Simon
should meet a pieman going to the fair, etc.
_Tableau Third._—A sleeping apartment, Mother Goose and her family in
bed. Great prominence must be shown to Mother Goose, whose bed is in
front, and near her some of her more notable children. This scene may
be readily arranged by putting small cots on the stage; the children
can lie down dressed, the coverlets hiding their clothing. Near each
bed put that which would indicate their character, as example, the big
pie for the pieman.
_Tableau Fourth._—Santa Claus at home about time to start. Interior of
a room, simply packed with all sorts of hobby-horses, dolls—big and
little, dressed and undressed—musical birds, woolly sheep, sleighs,
drums, tenpins, everything in the toy line that could be imagined or
described; while in a large easy-chair before the lighted grate-fire
sits old Santa himself, as gray-bearded, fat, and jolly as ever.
_Tableau Fifth._—Little Bo-Peep fell fast asleep and dreamed—
Show Santa Claus again, this time out-of-doors, on his sled drawn by
swift reindeer; but the reindeer have stopped, for Bo-Peep stands
before them, her shepherd’s crook leaning over her shoulder, her sheep
all around, and they, as also Bo-Peep, gazing at the presents—sled,
Santa Claus’s pack, at hat, beard, miniature tree, full stockings, and
all. Bo-Peep wears a regular shepherdess costume, the sheep are toy
sheep on wheels. The bells should jingle loudly until Bo-Peep appears.
_Tableau Sixth._—The Christmas tree.
A large tree filled with toys; leaning against it is a ladder, which
Mother Goose climbs, and then unfastens the various gifts. Her children
are all grouped around the bottom, and impatiently await the arrival of
their presents.
_Tableau Seventh._—The Christmas dance.
Mother Goose and her children dance around the Christmas tree. Waltz
music is played; they dance once around, when the curtain is drawn.
_Tableau Eighth._—Mother Goose’s children eating their Christmas
supper. A long table covered with a white cloth, and decorated with
lighted candelabra, flowers, bonbons, fancy cakes, china, silver, and
cut glass. All the children are seated around, Mother Goose at the
head, and to her right her son Jack, then Jack’s wife, then a boy, then
a girl, and so on around. Each child is in the act of eating, drinking,
lifting a cup, a candy, or indicating some natural movement at a supper
table; their heads should be turned as though they were in conversation.
_Tableau Ninth._—Mother Goose and her family in a well-arranged group
now stand and sing a jolly good-night song. This song may be acted by
those on the stage, but the singing is done by an unseen chorus.
Follow this with two tableaux, opposite in meaning.
_Tableau One._—The empty stocking. A poverty-stricken looking room—bare
floor, a hard-wood chair and table (on the table stand a few pieces of
cheap china), a window with a broken pane, in which a bunch of paper or
canton matting is stuffed to keep out the snow; a small kerosene lamp,
the light from which comes dimly. A poorly clad and as poorly fed
appearing little girl; one of her thin hands rests on the table, while
the other holds an empty stocking, on which the child sadly gazes.
_Tableau Two._—Bless you honey-bugs! Yo’ feels gay.
This also is a plainly furnished room, but it is trimmed with Christmas
greens, a large star and tree being particularly conspicuous. There
are several colored children running around, some dancing, with toys
in one hand and a full stocking in the other, others taking things
off a little tree, others again eating sugarplums, or striding across
the bare floor in eager pursuit of a dropped cornucopia or cinnamon
cake. Their dusky-faced mammies, meanwhile, laugh at them through the
half-open doorway.
And thus tableau might be described after tableau. But a few hints may
be helpful.
Carefully study scenic effect. “How beautiful!” is so often the
exclamation regarding a well-dressed stage, even before any person
appears or one word is spoken. Remember to use harmonizing colors, and
to throw on different-colored lights. The latter may cost a little
money, but it will repay a hundredfold. A white light changing to pink,
again to yellow, rose or green, as the scenery may require. In every
way catch the eye.
Remember, the tableau is but for a minute; let that minute be
perfection.
Sometimes, for example, let a fountain play in the large grounds or
garden. This can be easily arranged by the proper management of a hose.
You can surely place a piece of oilcloth under the moss over which the
water flows, and have sponges conveniently near.
Be careful to select pretty and noticeable toilettes. If you are taking
the character of a queen at a drawing-room, dress as the queen, not as
her maid; but should you be a maid, wear jaunty, gay attire, and do not
costume yourself in a severely cut brown-cloth tailor suit.
Use all the accessories possible—music, song, recitation, as either may
be given off the stage as an accompaniment to a tableau. Be sure there
is no catch in the stage curtain, and that the prompter understands all
his duties. Every one should be punctual at rehearsals; and the night
of the entertainment all the cast should be ready thirty minutes ahead
of time, as that will prevent worry and nervousness. And if everybody
is calm, and understands his part, there is no question as to success.
“The Birds’ Christmas Carol” would make a pleasing tableau.
_The Annunciation._
The angel greets the Virgin mild;
Hail, Mary, full of grace! thy child
The Son of God shall be.
This tableau represents an interior: the room has a deep frieze drapery
over the mantel, before which Mary kneels on a low cushion; to her
left, and considerably before her, is a large jardinière filled with
ascension lilies; and directly before her is a table, on which is a
roll of parchment partly unfastened. By the table stands the angel with
hands outstretched towards her.
_Tableau Second._—The shepherds see the angels bright.
Scene out of doors, with shepherds in their usual costume, each
shepherd holding a crook, while back of them, huddled close together,
stand the herds of sheep. Before the shepherds, and a trifle to their
right, is the angel, with outstretched hands, indicating the way.