PART I

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HOME FUN

HOME FUN

BY

CECIL H. BULLIVANT

[Illustration: AM I RIGHT?]

NEW YORK

DODGE PUBLISHING COMPANY

214-220 EAST 23RD ST.

COPYRIGHT, 1910, BY

DODGE PUBLISHING COMPANY

PREFATORY NOTE

NOT to produce workers of wonders or exponents of marvelous mysteries;

not to launch on an already over-crowded market a host of professional

or semi-professional entertainers--but rather to give to those who can

find real pleasure in amusing others, such knowledge as shall enable

them to transform the lagging winter hours into periods of sheer

delight, has this book been written.

While in no sense does it claim to be an exhaustive guide to home

amusements, it represents a serious effort to bring within the scope of

one volume almost every form of popular home diversion.

The subjects have been dealt with from a simple but perfectly practical

point of view. In addition to the different accomplishments being so

explained as to be easily comprehended and acquired, the successful

presentment of them is made possible at a minimum of expense. The

greatest difficulty which formerly faced the amateur entertainer was the

heavy cost of production, but even the most expensive form of amusement

explained in the following chapters comes well within the modest

“pocket-money bounds” of the average boy.

It is hoped that in “Home Fun” will be found much that is entirely new

concerning subjects about which little or nothing has hitherto been

written. Whereas the paths so well trodden by authorities on

entertaining are here more or less passed over, excursions are made into

equally fascinating by-ways, an acquaintance with the delights of which

cannot fail to win success and widespread approval for the promoter of

entertainments at home.

That those who follow the many chapters on subjects so amusing and

diverse may obtain from them as great pleasure as he who has compiled

them is the sincere wish of the author.

CECIL HENRY BULLIVANT.

CONTENTS

CHAPTER PAGE

I. AMATEUR THEATRICALS 11

II. MYSTERIES OF MAKE-UP 26

III. THE QUICK-CHANGE ARTIST 34

IV. CHARACTER IMPERSONATIONS 41

V. THE UNIVERSAL HAT 50

VI. NIGGER MINSTRELSY 56

VII. SOME SUGGESTIONS IN BLACK 62

VIII. TABLEAUX VIVANTS 68

IX. CHARADES 76

X. THE POSSIBILITIES OF THE MUSICAL SKETCH 86

XI. VAMPING SIMPLIFIED 92

XII. AN EVENING AT THE PHONOGRAPH 97

XIII. MUSICAL GLASSES 101

XIV. HAND-BELL RINGING 105

XV. THE ART OF DRAWING-ROOM SINGING 111

XVI. DRAWING-ROOM RECITALS 116

XVII. THE ART OF WHISTLING 123

XVIII. BUNKUM ENTERTAINMENTS 127

XIX. VENTRILOQUISM IN A MONTH 140

XX. CONJURING FOR ALL 158

XXI. SOME KNOTTY POINTS 169

XXII. BLACK STAGE MYSTERIES 174

XXIII. CONCERNING GHOSTS 183

XXIV. SOME STAGE ILLUSIONS 189

XXV. THE ROOM OF MYSTERY 201

XXVI. MECHANICAL SECOND-SIGHT 211

XXVII. PAPERGRAPHY 220

XXVIII. JUGGLING 225

XXIX. PLATE-SPINNING AND WALTZING 233

XXX. THE TIGHT-ROPE 240

XXXI. CLOG DANCING 244

XXXII. SHADOW SHOWS 250

XXXIII. LIGHTNING CARTOONS AND “FAKE” SKETCHING 263

XXXIV. FRICTIONAL FUN 272

XXXV. SOME ELECTRICAL EFFECTS 285

XXXVI. SAFE SCIENTIFIC EXPERIMENTS 297

XXXVII. SAFE CHEMICAL EXPERIMENTS 312

XXXVIII. ODD EXPERIMENTS 320

XXXIX. MORE EXPERIMENTS 329

XL. PHOTO PASTIMES 341

XLI. HOW TO MAKE AND WORK MARIONETTES 354

XLII. LIVING MARIONETTES 363

XLIII. THE HOME CIRCUS 367

XLIV. HOW TO MAKE AND WORK A PEEP-SHOW 378

XLV. THE “MECHANICAL” PEEP-SHOW 383

XLVI. HOW TO MAKE AND WORK A PUNCH AND JUDY SHOW 387

XLVII. DISSOLVING VIEWS 396

XLVIII. INDOOR FIREWORKS 400

XLIX. HOW TO MAKE A TELEPHONE 405

L. TELEGRAPHY AT HOME 410

LI. ELEMENTARY HYPNOTISM 416

LII. THE POWERS AND MYSTERIES OF CLAIRVOYANCE 426

LIII. TABLE-TURNING 434

LIV. PALMISTRY 437

LV. PHRENOLOGY 445

LVI. TELLING FORTUNES BY CARDS, DICE, DOMINOES, ETC. 452

LVII. GRAPHOLOGY 465

LVIII. A SUCCESSFUL CHILDREN’S PARTY 472

LIX. PARLOR GAMES 475

LX. PARLOR TRICKS AND PUZZLES 490

LXI. “HOW WOULD YOU----?” (PUZZLES) 510

LXII. SOME OPTICAL ILLUSIONS 519

LXIII. CIPHERS AND CRYPTOGRAMS 527

LXIV. SECRET SIGNS 533

LXV. GAMES AND AMUSEMENTS FOR THE BLIND 538

INDEX 545

HOME FUN

CHAPTER I

AMATEUR THEATRICALS

STAGE CONSTRUCTION AND HOME-MADE SCENERY

A GREAT many people are deterred from embarking on the sea of amateur

theatricals for the reason that the expense and trouble incurred in

providing an adequate stage, and in finding plays suitable for amateurs,

seem to outweigh other considerations.

The following hints and suggestions, then, are not intended for the

lordly Thespians who would aspire to flaunt their histrionic powers in

public assembly-room or civic town-hall. For them there are those who

make it their business to erect stages, provide “swell” scenery, and all

the paraphernalia required.

It is, of course, possible to act without a stage proper at all,

especially if you happen to live in a house that boasts a double

drawing-room with folding doors, in which case a curtain would also be a

superfluity, for the doors could be closed and thrown open when the

audience are in their places, though if a curtain should be deemed

necessary it would be an easy matter to fix a rod from door to door.

But before going on to the description of how to erect a stage of a more

pretentious character, it might be as well to offer a word or two of

warning. Remember that private theatricals are rather apt to turn a

house upside-down, so that before the performance is given it is of

importance to see that all breakables are stowed away, and that

superfluous furniture is disposed of.

If you are going to turn your drawing-room into a theater, take care

that your guests can enter without having to pick their way in and out

of needless chairs and tables. Details such as these may seem trivial.

They are, nevertheless, just the things that may make or mar an

entertainment.

Above all, let there be harmony. Once having chosen your stage-manager,

see to it that his word is law. Nothing is more galling or disastrous

than for every one to try and “boss the show.” And if expense has to be

considered, do not try to be too elaborate with your accessories.

It is, nevertheless, possible for any one to erect in any drawing-room

of average dimensions a stage that will be found perfectly adaptable to

plays made adequate for it, and that without calling in the aid of any

professional carpenter or stage furnisher.

The stage can be constructed in the following simple manner:--Hire a

number of ordinary benches or stout boxes of equal dimensions, and on

these superimpose lengths of scaffold-boarding or planks. These latter

should be of equal thickness throughout, in order that a perfectly level

staging may be obtained. The whole may be made quite secure by the

judicious use of nails, although care should be taken that no damage is

done to the benches, or this will have to be paid for when they are

returned. A floor covering of felt or linoleum will also prove

serviceable.

THE DROP CURTAIN

An essential piece of stage furniture for amateur theatricals is the

drop curtain. It can be made from two equal widths of some serviceable

material such as dark cretonne, supported by brass rings on a stout

bamboo rod, to either end of which are attached large steel eyes (A, A,

Fig. 1).

[Illustration: FIG. 1.--Back view of drop curtain.]

The bamboo rod should be cut to such a length that when the eyes have

been added, the whole can be fixed to steel hooks screwed into the

picture-molding on either side of the room. Should any difficulty be

experienced in procuring a rod of sufficient length, the difficulty may

be overcome by the use of two shorter pieces joined at the middle by

iron sockets.

In the case where it is intended to give the performance in either a

schoolroom or a small hall, a curtain of much greater size and of

stouter material would be required, and this latter can be supported on

a length of strong gas pipe held in position by brackets nailed to the

wall at each end.

The arrangement for raising or lowering the curtain is shown in the

diagram, in which A A is the rod. A number of small brass rings are then

sewn to the back of the curtain, as at A X and A E. Top rings, much

larger, are also attached to the curtain and passed along the rod. Cord

is next run from X and E respectively through the rings at A, and

allowed to hang loose as at D. The bottom of the curtain should be

weighted with shot.

Four screens, two on each side, can also be requisitioned for the wings,

and a small steady table placed in each recess (Fig. 1_a_) for moderator

lamps--preferably of the self-extinguishing pattern, in case they should

be upset by an untoward accident--to make up for the deficiency of

footlights, though these can be provided by the aid of a little

ingenuity, _e.g._ candle reading-lamps with shades and reflectors begged

or borrowed from accommodating neighbors. Tin cans cut in half, and

night-lights will serve the purpose equally well. Here, again, the

inventive genius of the promoters of the enterprise will have to be

called into play.

[Illustration: FIG. 1_a_.--Showing arrangement of screens for exits and

entrances.]

All risk of fire should be obviated as much as possible, and appliances

for the swift extinction of a blaze near at hand.

By the judicious arrangement of the screens it will be possible to

provide for exits and entrances on both sides of the stage.

HOME-MADE SCENERY

Scenery, as a rule, proves a great barrier to the would-be promoters of

amateur theatrical enterprises. The purchase of suitable surroundings

for the presentation of various scenes is a luxury only to be indulged

in by the well-to-do. In fact, to carry out an ordinary play on these

lines involves the expenditure of many dollars. It is hoped that the

practical instructions given here will not only avoid such unnecessary

and perhaps unwarrantable expense, but will also tend greatly to

increase the interest of those taking part in the work.

Where scenery is required, it is as well to confine oneself to a play

that takes place indoors, though, of course, it is possible even without

a back-drop to give a praiseworthy presentment of an open-air scene by

means of a plain background, against which are fastened boughs of trees,

while the judicious grouping of greenhouse plants can be used at the

sides, plus a plain green felt underfoot to add to the effect. However,

even these small items run away with money. Cut boughs fade and need

replacing, and this mode of constructing scenery will often be found by

the would-be economist to cost more than he can reasonably afford.

Of course, for those who care to do so, proper mounted scenery all ready

for use may be purchased, but undoubtedly the better plan is for the

stage-manager to endeavor to find from amongst the members of his

company one or two who are expert in the use of tools. Generally there

are many such available, and by the aid of the following diagrams and

explanatory notes a most useful interior box scene (comprising five

“flats” which fit together and form the whole) can be constructed at a

cost certainly not exceeding $5.00.

By repapering and making other obvious alterations, such scenery can be

transformed as necessity demands to suit any particular play--that is to

say, the addition of a few hangings and pictures, and the substitution

of other appropriate furniture will speedily change a poor man’s kitchen

or parlor into quite a presentable stage drawing-room.

HOW TO MAKE THE “FLATS”

To deal first with the “flats” or separate parts of the scenery. The

primary essentials for these are a number of lengths of 2¹⁄₂-inch

battening; other requisites being a plenitude of nails of all sizes,

glue, brown paper or canvas, powdered color, and size. The purpose of

this latter commodity is for painting the wood-work or any other desired

article, such as a sideboard, dresser, or fireplace.

Cut the battening to lengths appropriate to the dimensions of the stage,

or, in other words, with due regard to the height of the room and the

width and depth of the platform.

Fig. 2 shows the general arrangement of the five “flats,” placed in the

order shown, with the largest one, consisting of the double doors, in

the center.

Now, as the width of these “flats” depends entirely upon the space they

occupy when put into the position indicated by the diagram, the stage

carpenter must commence his plan of construction with this fact clearly

in mind. Should a particularly large stage be available, then it may be

desirable to extend the scenery, in which case one or more straight

“flats,” similar to that numbered 4 in Fig. 2, can be added at each end

or where desired.

[Illustration: FIG. 2.--Showing usual arrangement of flats.]

[Illustration: FIG. 3.--Construction of “flat” containing door.]

[Illustration: FIG. 4.--Flat for window opening.]

The frame-work for the respective “flats” appears in Figs. 3, 4, 5, and

6, the method of joining corners being indicated by the elevation and

sectional drawing depicted in the corner of Fig. 5. The vertical and

horizontal supports are merely fitted in flush and glued. For doors and

window openings a slightly stouter battening will be found necessary.

Fig. 3 gives a clear idea of the main lines of construction of a

practical door, which is to be fixed to the “flat” by means of hinges.

When hingeing doors, take particular care so to place the hinges that

the doors swing outwards--that is, from the point of view of the

audience. This precaution obviates the necessity of painting both sides

of the doors.

A reference to Fig. 4 shows a window opening which can be used either as

a lattice, working on the same principle as the door, or as an ordinary

window, which can be suggested by gluing a strip of wood horizontally

across the center.

[Illustration]

[Illustration: FIG. 5.--Flat for double doors.]

[Illustration: FIG. 6.--Plain flat.]

In Fig. 5 the central opening (the double doors of the plan) serves for

curtains fixed to rods by means of sliding rings, or merely as French

windows. Of all the “flats,” this is the most valuable, because it is

capable of utilization in a multitude of ways. For instance, should the

scene be an elaborate drawing-room, the opening will lend itself to

French windows, through which can be seen park-land or gardens in the

distance. Again, for the presentment of a humble apartment, it has only

to be covered with a dresser or any other commonplace article of

furniture. Should an opening be required to another room, curtains of

course can be hung.

Fig. 6 depicts a plain “flat.”

The next operation is the covering of the frames, accomplished by the

use of brown paper, or, should expenses permit, of canvas. The brown

paper is first cut to the size required, and then glued to the frames,

only the openings for windows and doors being left. If canvas is chosen

for the covering, nailing will be found necessary. To prevent sagging,

and to preserve the flat appearance of the material, coat thinly and

evenly with a solution of size and water.

PAPERING

The next item for consideration is papering. A visit to almost any

paperhanger’s will reveal the fact, that the shopman possesses

quantities of certain designs, perhaps not quite large enough to be of

practical service to him for papering a room. In this circumstance the

stage carpenter should be able, by the expenditure of a few cents, or a

quarter at the outside, to obtain quite enough for his purpose. Next, he

can procure from any builder’s yard a few lengths of architrave or

beaded edging for doorways and windows. This will have to be mitered and

fixed to the frames. A few slips of board, with beading along one edge,

should also be purchased at the same time for fixing to the bottom of

the frames to form the skirting. Now paste the wall-paper to the frames.

[Illustration: FIG. 7.--Complete door with section.]

[Illustration: FIG. 8.--Flat 1 or 5 converted into exterior cottage

door.]

Having satisfactorily constructed all the “flats,” fix them together in

the order shown in the plan--_i.e._ each to each--by means of pieces of

bent zinc and screws. Additional supports are often required, such as

iron brackets screwed to the bottom of the “flat” and the floor, as

indicated by the crosses in Figs. 3 and 5.

To give a finished effect, paste brown paper over the whole of the door

frames, and produce the appearance of panels by the addition of mitered

thin beading or slips of wood (Fig. 7). The door panels may then be

painted according to taste with a mixture of any powdered color and

dissolved size. The fixing of a knob or handle with a long screw renders

the thing complete.

Reference to the plan marked Fig. 2 reveals the fact, that the two end

“flats” (1 and 5 respectively) are alike. Now, while one of these

“flats” may be utilized for an interior door (Fig. 3), it may be found

extremely useful so to prepare its fellow that it represents an exterior

cottage door, and to use it as a wing at one side of the stage in

another scene. It should then appear as in Fig. 8. To obtain this

result, a section of scenery has to be covered with brown paper or

canvas, as already described for the interior door. Should canvas be

decided upon, first prepare it by adding a coating of mixed size and

whiting, to form a background for the painted design. In this case the

door itself is covered on the outside with paper, and lines are drawn

down to give an idea of planks nailed vertically together. A

latch-handle can either be purchased and fixed for a few cents, or an

imitation one painted in.

The lintel and doorposts are constructed by gluing or nailing battening

of a sufficiently stout nature, that it projects to the degree indicated

by the section in Fig. 8. The purpose of this latter projection is to

allow for the addition of a latticed porch, which will give that

picturesqueness so essential to stage scenery.

MAKING A PORTABLE PORCH

A glance at Fig. 9 will put the amateur stage carpenter in full

possession of all details relating to the construction of this latticed

porch. Of course, it will be found necessary to make two pieces of the

part numbered 1--_i.e._ the batten frame and cross-pieces--as one will

be fixed on either side of the door to support the roof. The

lattice-work may be purchased in a length, or made from laths, and

nailed to the frame. Fix the sides of the porch close up to the

doorposts by means of zinc brackets and pins, as indicated by the two

crosses. Next pin on the roof, as at 4, Fig. 9. Paint the finished porch

bright green and the roof red.

A second reference to Fig. 8 shows that it suggests a design of bricks,

covered with creeper or a tree. If necessary, treat the other side of

the window “flat,” by painting it in similar fashion, and fix it

alongside the door to form an additional wing.

A PORTABLE FIREPLACE

A very useful adjunct to the plain “flat” (Fig. 6) is a portable

fireplace, which is depicted in detail in Fig. 10. To make this, buy a

length or so of ³⁄₄-inch planking, one length of which should be cut for

the mantelpiece, according to the size required. Next cut two supports

of equal dimensions to form the sides (A, A, in elevation). These are

nailed to the “flat,” and the mantelpiece is kept in position by two

solid wooden brackets (D, D). Two slips are also added to the base of

the supports at E, E. The piece C is let in flush with A, A.

[Illustration: FIG. 9.--Construction of portable porch.]

[Illustration: FIG. 10.--Portable fireplace and grate.]

Below this, to the back of the rectangular opening, attach a piece of

very stout blackened cardboard, of the shape shown, leaving an opening

for a real or a painted grate (F). Should the former be preferred, it

may be produced from pieces of thin battening, as shown in the elevation

and section.

To obtain a realistic effect, fill the grate with non-inflammable metal

tinsel (C, C), and further to enhance the realism, support a small

galley-pot on a blackened bracket or block of wood (A), the galley-pot

being filled with cotton-wool soaked in methylated spirit. The

application of a match produces a flame at B (see section of grate, Fig.

10).

A MOVABLE COUNTER OR SIDEBOARD

Fig. 11 gives the front and back view of this very useful piece of stage

furniture, which may be utilized either as a counter, sideboard, or

bottom of a dresser; or, appropriately draped and surmounted by a

looking-glass, it may serve as a dressing-table.

[Illustration: FIG. 11.--Portable counter or sideboard.]

[Illustration: FIG. 12.--Detached parts of counter or sideboard.]

The sections are illustrated in Fig. 12, the pieces marked 1 forming the

sides, 2 the top, and 3 the front. Steel eyes are numbered 4, and their

purpose is to hold the sides, front, and top together by strong cord,

attached as in the back view of Fig. 11. 5 in Fig. 12 is a projecting

panel, also seen in the front view of Fig. 11. 6 (Fig. 12) indicates the

back supports to which the front joined boards are nailed. The beading

which is fixed along three sides of the top is seen at 7 (Fig. 13).

Having thoroughly grasped the details outlined above, commence to make

the sideboard from ³⁄₄-inch boarding.

To each of the side-pieces add a bottom support of stouter material,

marked with a cross in Fig. 12. The front is next placed across the

supports in such a position that the top fits down on them and holds all

three pieces in place. (See dotted line at 7, Fig. 13; this diagram also

depicts the separate pieces in elevation.)

It is not worth while “spoiling the ship for a ha’p’orth o’ tar,” or, in

this instance, the sideboard for a coat of paint. Before applying this

latter, paste the structure over with brown paper, and then give it a

coating of yellow ochre and size. A grained appearance may be produced

by utilizing an old coarse comb, the fine grain being attained with the

thin teeth and the coarse grain with the stout. To obtain the graining,

proceed as follows: on the dry coating of yellow ochre put a second

coating of dark brown ochre, mixed with size as before, and whilst wet

comb in zigzag lines.

[Illustration: FIG. 13.--The separate pieces in elevation.]

The great advantage attaching to all the scenery and artificial

furniture described is that it can be easily fitted together, taken to

pieces, and packed flat, thus occupying a minimum of space. For

practical purposes it will be found quite equal both in appearance and

for durability to that for which many dollars are charged at a

theatrical supply dealer’s.

A BACK-CLOTH

The construction of home-made theatrical effects may be closed with

brief hints regarding the much-needed and ever-useful back-cloth, which

plays a part in most exterior scenes, such as park lands, gardens, &c.

It consists of several lengths of calico joined together to form a

square of the size required. This is then fixed on a large wooden roller

with a similar roller at the bottom to weight it, and prepared with a

coating of size and whiting.

A friend of unquestionable artistic ability should be asked to paint in

a view or other scenery.

In scene-painting bear in mind that only the brightest and most vivid

colors are to be used. The colors are made from powder mixed with size,

and must be applied with broad touches for distant effects. The

back-cloth can be fixed according to the means available.

For the proscenium, three pieces of wood to suit breadth and size of

stage must be requisitioned, the portion destined for the top being

gently sloped from an arch or apex in direct line with the center of

the curtain, and covered with some tastefully-colored paper which gives

the appearance of heavy satin panels.

A sewing bee should be formed among the ladies interested in the

company, and she who has sufficient prowess with her scissors should be

chosen to cut the garments and superintend the needlework of her

friends. This will prove a profitable way of spending the long winter

afternoons.

Imitation hair wigs, beards, &c., may be procured at various prices.

The best plan to adopt in finding a play suited to the limitations of

material of an embryo company is to spend a small sum on some “Guide to

Selecting Plays.” In these pages will be found abundant suggestions and

explanations of specimens, dealing from the simplest one-act, thirty

minutes’ production to the five-act, three hours’ drama. The outline of

each plot is given, and a summary of the _dramatis personæ_ required.

Miss Keating’s “Plot of Potzentausend,” for example, is an excellent

one-act play, in which only male characters are required. Interest in

the fair sex is, however, cleverly maintained, for the four swains have

each a lass to occupy their affections.

The costumes, a description of which is given on the front page, are of

the time of Louis XIV., and the scene is a small frontier village in

Germany. This is an admirable, amusing, and not too ambitious

performance for boys home for the holidays.

_Grindstone_ is a miller of a sour and unfriendly disposition. He is

secretly involved in small political intrigues, and, in order to meet

the Chevalier d’Espion without the knowledge of the villagers, refuses

to allow the lads and lasses their usual yearly privilege of dancing in

his barn, to which they naturally take exception. Grindstone’s

personality and physical appearance are as gray, grim, and cold as the

substance after which he is named. He is tight of lip, thin of figure,

and possessed of a countenance which expresses a miserly cunning,

dislike of frivolities, and hypocritical semblance of virtue. Although

vastly respected, he is not overwhelmed with the affections of his

fellow-men, and is termed, even by his servant Sacks, to be something of

a rogue.

_Sacks_, his man, is a thick-set hunchback, with a round, jolly face and

optimistic temperament, which presents a strong contrast to his master’s

saturnine character.

_Max_, a young sergeant, of smart demeanor, is weighted by a sense of

his own importance, insipid of face, and overbearingly superior in

manners.

_Louis_, a lawyer’s clerk, pale and meek, rat-faced and rather wily,

grasping in disposition, and something of a flirt.

_Fritz_, a young peasant, whose sentences generally terminate with “as a

body may say,” shows a priggish and cautious attitude to preserve his

own skin at any cost. His expression is a delightful mixture of rustic

placidity and guileless cunning.

The _Chevalier d’Espion_, a smart, condescending person of uncertain age

and carefully preserved complexion; his gold lace and feathers lend him

as irreproachable an aloofness and pride as the peacock demonstrates

towards the jackdaw.

[Illustration: _Plan of Room in Grindstone’s House_]

The table should be covered with a cloth sufficiently long to touch the

ground on all sides. The rear of the high-backed chair and

window-curtain are to be used as hiding-places, and must be practicable

for the purpose. Small chairs and an old stool are also required. Except

for a small lighted lamp which Sacks, the first to enter, places on the

table, the stage is in darkness.

This play takes thirty-five minutes. The plot is built on the

misunderstanding that arises between the four swains--who have

unconsciously chosen the same place and hour to meet their ladies--and

the Chevalier d’Espion, who, expecting to find a quartette of

fellow-conspirators, mistakes them for such in disguise. Soldiers appear

to arrest the Chevalier, who manages to escape. Sacks proves the

identity of the rest, and so all ends happily.

The dialogue must be brisk and the action kept interesting. Acted in the

right spirit, it cannot fail to produce roars of merriment. It has a

further advantage of not being too great a strain on the memorizing

powers of those who have never previously essayed to learn prose by

heart.

A reliable prompter, concealed from the audience, should be close at

hand. His business is to follow the dialogue intently, giving aid when

necessary in a clear, low voice. Words should never be whispered, nor

too loudly spoken. A happy medium is acquired by experience.

The make-up required by the characters is as follows:--

_Sacks_ (florid flesh tint), grease paint (red) No. 2¹⁄₂; a slight

cobweb of good-natured wrinkles and crowsfeet, such as would be caused

by laughter. Red, black, or gray wig, according to taste.

_Grindstone_ (sallow flesh tint), chrome grease paint; peevish and

discontented lines about the mouth, furrowed forehead, peruke slightly

gray, nose paste to enlarge nose, sparse ruffled eyebrows.

_Louis_ (sallow flesh tint), chrome grease paint; peruke any color

fancied, premature wrinkles, small white. A few front teeth in upper gum

stopped out with small noir.

_Max_ sunburnt. _Fritz_ ruddy. The _Chevalier d’Espion_ bronzed. Officer

and guard, 2¹⁄₂ medium flesh.

Another fascinating play for boys is “The Poor Relation,” also written

by Miss Keating, and included with “The Plot of Potzentausend” in “A

Series of Original Comedies.”

Grease paints should be composed of pure chemical fat and colors free

from lead, otherwise they will make havoc with sensitive skins.

Artificial complexions should never be scrubbed from the face by means

of soap and water.

Cocoa butter gently applied on the corner of a soft dry towel will

rapidly erase every mark, and is an excellent tonic for the skin.

Grease paints, rouge powder, cocoa butter, spirit gum, sponge-towel,

puff, crêpe hair, hare’s foot, patches, tongs, hairpins, joining paste,

brush and comb, lip salve, liquid blanc de perle, scissors, mirror,

mustache, vanquisher, needles, cotton, soap, sponge, &c., can be

purchased in compact make-up cases at prices from $15.00 down to $2.50.

Amateurs are sometimes prone to stiffness and artificiality of gesture

and exaggeration of expression, also to too much or too little movement.

A perfectly natural manner can only be gained by throwing oneself

whole-heartedly into the play, and uniting oneself with the other

dramatis personæ. Acting editions of both playlets mentioned above may

be obtained of Messrs. Samuel French, of 28 West 38th St., New York.

Each actor has, as it were, his little orbit of movement, but this

should not be circumscribed in a conventional, studied manner. Ease and

self-control should cover all mastered technique in voice, attitude, and

gesture. Words should be clearly delivered, and pronounced without any

pedantic phrasing or forced utterance; and this will only be achieved by

constant and careful rehearsing. The personality of each character must

be distinct and individual.

When an amateur company is formed, each member should pay a fee in

proportion to the strength of the casts and the drama they hope to

produce. The stage-manager’s choice of characters should stand

inviolable, providing, of course, he presents sufficient discretion and

insight to distinguish between the different trends of talent possessed

by his players.

In almost every company there are a few players who are inclined to

fancy that they can do justice to a rôle given to some one else, rather

than to the one they are studying. This is a form of very human

discontent which Quince, the stage-manager of the players in “A

Midsummer Night’s Dream,” had to battle against.

Flute bemoaned his fate, and excused himself from playing the woman’s

part, on the plea, “I have a beard coming.”

Bottom was torn between a desire to undertake Thisby and the lion. “I

will roar that I will make the duke say, ‘Let him roar again, let him

roar again.’ ... I will roar you as gently as any sucking dove.”

As adamantine as the sagacious Quince against these eloquent appeals

must be the modern stage-manager when the would-be tragedian importunes

him to play the heavy rôle, or the individual who believes himself

endowed with hidden genius, to portray the part of light comedian.

Thus only is success achieved.

CHAPTER II

MYSTERIES OF MAKE-UP

THE FOUNDATION

IT is necessary that the amateur who wishes to make his efforts at

private theatricals a success should have a fair knowledge of the art of

“make-up.”

While no great amount of money need be expended, at the same time the

best results can be obtained only from the use of good cosmetics. Grease

paints, obtainable from any purveyors of theatrical appliances, are

excellent and not very expensive.

There is no doubt that many people consider it quite sufficient to dab a

little paint on the face, smear it over carelessly with the addition of

some powder, and imagine, quite erroneously, that they are well made-up.

The outward signs of character are to be represented by “make-up,” and

it is quite essential that this effect should be produced; therefore,

with a slight knowledge of what is to be avoided, and what effected, the

home-actor should attain to some degree of success.

“Wig-paste,” No. 2¹⁄₂, is usually considered the best foundation for

pink complexions, and according to shade required, deeper colors can be

used, such as 3, 4, &c. Thus, if being made up for the part of a pretty

young girl, the first number is best; if for a middle-aged woman, No. 3;

while for elderly men of choleric temperament No. 4 would be more

suitable.

It must be borne in mind that the foundation of wig-paste should be

carefully put on, and well smoothed before the structure or blending of

colors to produce a natural appearance is commenced. Whether this is

done well or badly will make all the difference to the final results.

LINING

Lining is an important part of “make-up,” by its aid the lines of the

face being diminished or deepened, shadows created for sunken effects,

and “high lights” produced--_i.e._ touching up the cheek-bones to give

them prominence. By careful use of this latter branch of “make-up” the

whole character of the face can be changed. High lights are produced by

a lighter shade of grease paint than that used for the rest of the

complexion, being placed upon the feature to be emphasized; for

instance, if the actor wishes his nose to appear thinner, he will draw a

straight white line from the top to the tip, enhancing the effect with a

careful application of the gray paint (Fig. 1_a_). The cheek-bone, nose,

chin, and brow are parts of the face which are made up for high lights,

though if wrinkles are to be accentuated this is usually done by the

addition of a “high light” effect on each side of the existing dark line

(Figs. 1_b_ and 1_c_).

[Illustration: FIG. 1_a_.--High lights.]

[Illustration: FIG. 1_b_.--High lights.]

[Illustration: FIG. 1_c_.--High lights.]

To make cheeks appear hollow, gray-lining paint is used, the effect of

emaciation being produced by the careful blending of the last-named

paint with the grease paint previously put on.

[Illustration: FIG. 2.--Low lights.]

Shadows, or low lights, give the effect of hollowed cheeks and sunken

eyes, and instead of making features more pronounced, as is the case

with a careful “high light” make-up, decrease the prominence which

certain parts usually possess (Fig. 2). When making-up for a beldame, or

some other character which should appear more than usually haggard, a

striking effect is obtained by adding a spot of either dark-gray or

brown, and blending it outwards.

[Illustration: FIG. 3.--Before lining.]

[Illustration: FIG. 4.--After lining.]

The lining of the eyes requires special attention, more particularly as

their appearance depends so much upon the change of the eyelids (Figs. 3

and 4); eyelashes too, when properly treated, make a vast difference to

the usual expression.

When it is necessary that the eyelashes should be more pronounced, black

grease paint is put on to the end of an artist’s stump, melted very

slowly by being held over a candle or other flame, and so applied. Care

should be taken, however, that no grease paint goes into the eye, so

when melting it must not be allowed to become too soft. Black-lining

grease paint is the best for eyelashes, and the amount applied depends

entirely upon their natural thickness and darkness.

For darkening or lightening the eyebrows, grease paint “liners” are

indispensable, and much preferable to India ink. Sometimes it is

necessary to obliterate part of the eyebrow before the rest is

“drawn-in,” in which case it is first of all coated with soap and then

covered with the same grease paint as used for the groundwork of

“make-up.” This done carefully, and toned to the same shade as the rest

of face, leaves the actor free to “draw-in” any shaped eyebrow he

desires. For a very thin eyebrow a toothpick can be utilized to

advantage, a little melted grease paint being rubbed upon it, and the

line drawn with it (Figs. 5 and 6).

For Oriental effects the obliteration of the eyebrows is essential, and

fresh ones with an upward tendency can be drawn-in at will, when once

the natural ones have been made to disappear.

More often than not it is necessary to increase the eyebrows, making

them look thick and heavy, and if Nature has endowed the player with

massive ones, it is an easy matter to comb them up the wrong way and

apply a small quantity of grease-paint; but if they are naturally thin

the aid of false ones must be sought. Crêpe hair, which is an

indispensable accessory to the “make-up” art, can here be brought into

use, the ever-helpful “adhesia” being required as well.

[Illustration: FIG. 5.--Eyebrow before lining.]

[Illustration: FIG. 6.--Eyebrow after lining.]

The best plan is to model on a comb the eyebrow according to the shape

desired; then, placing the latter in position, make it fast with the use

of the adhesia, taking care that the gum is only on the edges and not on

the hair of the real eyebrow.

To obtain a sinister expression, eliminate the outer edges of the

eyebrows and paste a piece of crêpe hair over the eyebrows near the

nose, the Mephistophelian effect being gained in the same way, except

that the outer corners should curl upwards (Figs. 7 and 8). By fixing on

pieces of crêpe hair so that they meet over the nose, a stern and even

fierce expression is produced.

[Illustration: FIG. 7.--Natural eyebrow.]

[Illustration: FIG. 8.--Mephistophelian effect produced with crêpe

hair.]

“JUVENILE” MAKE-UP

In making-up for the character of a juvenile, the strength of light on

the platform or stage is to be taken into consideration. If a fairly

strong light, the make-up must not be too deep, but the player will soon

become experienced in this matter by taking the trouble to consider the

effect of different lights.

Before commencing with the grease paints the face is well rubbed with

cold cream or cocoa butter, and wiped with a towel, so that none of the

former remains visible.

[Illustration: FIG. 9.--Preliminary lining.]

The flesh-colored paint may now be drawn across the face several times,

the method of procedure being: two lines across forehead, two on each

cheek, one down the nose, and several on the neck (Fig. 9). With the

palms of the hands this is smoothed over carefully, and finally rubbed

quite lightly with a dry towel. The foundation is thus formed, and is

really the most important part of the make-up, for if not carefully done

the rest will be unsatisfactory. One of the chief facts to be borne in

mind is that very little paint should be used, so little as to be

scarcely seen.

Rouge is next applied, red-lining paint or paste lip-rouge being used

upon the cheek-bones, and carefully smoothed until it tones with the

flesh on the cheeks. After an application of powder, when the face feels

perfectly smooth, comes the task of lining-in, which has already been

described.

[Illustration: FIG. 10.--Natural lips.]

[Illustration: FIG. 11.--Lips accentuated by rouge.]

The lip-rouge accentuates the lips (Figs. 10 and 11), and should it be

necessary to make them of a more symmetrical appearance, this may be

accomplished by extending the rouge a trifle beyond the natural

outlines, though women need this little extra touch more often than men.

When it is required to make the chin more prominent, a touch of dry

rouge beneath the lower lip will accomplish the effect, still more being

added to the cheeks if they are not quite colored enough (Fig. 12).

[Illustration: FIG. 12.--“Juvenile” make-up.]

For juvenile darky parts, burnt cork will do instead of the grease

paints.

“MIDDLE-AGE” MAKE-UP

This is perhaps the most difficult make-up, for it is much easier to go

to one extreme from another, than to make a fairly young person look

like a middle-aged one (Fig. 13).

In the case of a man it is advisable to depend on the addition of

whiskers and mustache, and even glasses or spectacles lend age.

A sallow paint is usually required for middle-age make-up, and it can be

blended with a lighter paint for pale effects; but to produce a hearty

bloom or florid complexion, the application of a little red or brown is

recommended.

[Illustration: FIG. 13.--“Middle-age” make-up.]

[Illustration: FIG. 14.--“Old-age” make-up.]

The mid-gray wig is also an immense aid, but failing this, a small

amount of powder sifted over the hair will give a similar effect.

“OLD-AGE” MAKE-UP

If the character desired to be represented is carefully studied, notice

being taken of where there is a high light and where the shadows of the

face lie, there should be little or no difficulty in producing a

lifelike representation.

Particular notice should be taken of wrinkles and lines, and these must

be carefully blended as in Fig. 14.

The next essential is the wig, either gray or white being the most

useful. For the old age complexion it is better to get the grease paint

for that purpose; but when the necessity for it is but seldom, an

application of the sallow paint, or in the case of great emaciation, the

addition of a little blue, well blended, will create quite a good

effect.

[Illustration: FIG. 15_a_.--Natural features.]

[Illustration: FIG. 15_b_.--Putty applications.

A. Putty addition to forehead.

B. „ „ nose.

C. „ „ chin.

]

[Illustration: FIG. 15_c_.--Finished features.]

Sometimes it is required that the nose shall be made larger; then the

“nose putty” is called into play, carefully modeled on to the nose, and

with the aid of the same grease paint as is utilized for complexion,

made to correspond with the rest of the face (Figs. 15_a_, 15_b_, and

15_c_).

[Illustration: FIG. 16.--Hand made-up for “old age.”]

Dark shadows under the eyes can be produced by gray grease paint, but

for the formation of crow’s-feet, the brown will be found the best.

[Illustration: FIG. 17.--How to measure for a wig.]

The hands must receive careful attention when the face and neck are

finished, and “made-up” according to character. If juvenile, they

require coloring; if middle-age, a little of the sallow paint: the veins

accentuated, and the flesh made to look pale for old age parts (Fig.

16).

When measuring for a wig, take the various lengths and widths as

indicated by the numerals in Fig. 17.

BEARDS AND MUSTACHES

The most inexpensive of these necessary adjuncts to the home

entertainer’s make-up are undoubtedly those he models for himself from

crêpe hair, which can be bought in a plait and untwined as it is wanted,

a coarse-toothed comb being passed through it. With a few twirls it can

be made the desired shape and cut, and when wanted for a beard, opened

out until it has a hollow cone-shape appearance, and placed on the chin

after a thin coating of adhesia has been applied.

The same method applies to eyebrow and mustache making. When it is

desired to create an unshaven, unkempt effect, pieces of crêpe hair are

cut up exceedingly fine on to a newspaper, the chin covered with adhesia

and the finely-cut hair sifted evenly over the skin. These little pieces

are also useful for sprinkling where the false beard meets the face, in

order to take away the “abrupt” appearance that is often produced.

THE REMOVAL OF MAKE-UP

Having told how to put on make-up, a few instructions for its easy

removal may not be out of place. Whilst soap and water will take off the

grease paint, the simpler method is to remove it with one of the

following: Cold cream, cocoa butter, or olive oil. Vaseline is to be

avoided, as it will often cause a growth of hair; and for this reason

when purchasing cold cream it is advisable to procure the best, for in

the cheaper makes vaseline is largely employed. Pieces of cloth kept

specially for the removal of “make-up” are to be recommended, one for

taking the chief layer off and another of soft texture for final rubbing

before the much-needed wash is resorted to.

For dispelling traces of the prepared burnt cork used for minstrels and

negro burlesques, a pure vegetable soap is all that is required.

CHAPTER III

THE QUICK-CHANGE ARTIST

HOW IT’S DONE

THE machinations of the full-fledged quick-change artist afford the mind

of his amazed spectator much speculation and curiosity as to how his

marvels of dexterity and transformation are achieved. His velocity would

put summer lightning to the blush. His mind and body are as pliable and

elastic as his face; his very nature appears to undergo a swift

metamorphosis of changes in the adoption of the various manners,

idiosyncrasies, attitude, and gait of the character he portrays.

Although agile and unerring, he possesses something of the stoic calm of

the hedgehog, and is as natural in his art as when partaking of a

beefsteak in privacy.

He flashes before the vision on stage or drawing-room platform in dress

so immaculate that it would seem to the uninitiated that his toilet is

the result of hours of care and deliberation. In the costume of an

old-world dandy he struts about, swaying his long-laced sleeves with

exquisite grace over his snuff-box, the while he patters his part. A

moment after, like a shooting star, he has swung himself through a door,

reappearing almost instantaneously by means of another entrance,

transformed in wig and attire to a totally different individual in age

and character.

Thus he continues playing his many parts so nimbly that one can scarcely

believe he has not a bevy of actors hidden in the wings ready to fly

through doors and windows as quickly as a cork pops from a bottle.

That his agility is grounded on a studied method, and his versatile

acting the result of wheels within wheels, well-oiled, and precise as

the mechanism of a clock, is difficult to believe until his secrets of

manipulation are revealed.

“How is it done?” whispers the youth, palpitating with aspirations to do

likewise. Well, in only one way--that way simplicity itself, when once

practice has made it perfect.

I am dealing now with the man who produces a play in which each rôle is

played by himself, and will proceed to explain his proceedings from the

start, so that the ambitious amateur may, at the next Christmas party or

home gathering, try a humble imitation, and gradually achieve glory and

greatness in the eyes of his family.

AN INEXPENSIVE “STOCK IN TRADE”

Let us study the tools and qualities essential to the quick-change

artist. His stock and properties are all inexpensive, save the wigs. It

is not advisable to purchase cheap ones, as they soon show the signs of

wear; while hair in good condition, and carefully kept, lasts for years.

His wardrobe contains garments of the cheapest material, and here the

old clothes-bag of the house, in which articles doomed for a jumble sale

are placed, is invaluable. A clever needle and a little ingenious

manipulation result in splendid effects.

[Illustration: FIG. 1.--Front view of “one-piece” garment; dotted lines

denote springs.]

[Illustration: FIG. 1_a_.--Back view of “one-piece” garment.]

Every garment is made in one piece, and fastens at the back of the

performer by means of clock springs, which may be purchased from any

clockmaker (Figs. 1 and 1_a_). The springs are pliable bands of steel,

cut and rounded, according to the size required, and punched with small

holes, by means of which they are fixed with stitches to neck, waist,

legs and wrists. These springs should be carefully concealed in the

hem, with sufficient material over to hide the opening at the back.

There is no time for fastening of buttons, tying of strings, adjusting

of pins, or plastering of gum. Even the mustaches used are fixed by

means of small silver springs, which adhere to the interior of the

nostrils as firmly as the springs of eyeglasses pinch the top of the

nose (Fig. 2).

[Illustration: FIG. 2.--Back and front view of mustache fixed by

spring.]

The scenery required is also easily manufactured at home by the amateur

carpenter. Thick brown paper, light wooden frames, or, better still,

samples of wallpaper, fixed with small brass hinges, will serve

excellently as an interior.

Until the student is far advanced in dexterity, it is wisest to limit

his production to one environment.

The first thing, of course, is to choose a suitable piece. If you are

clever with your pen, you may compose a sketch to please yourself. This

is a good plan, for you will be governed in your production by what is

most suitable and easy to your limitations. If, however, no suitable

idea presents itself to you, go to any good dramatic firm, and spend a

morning in looking through plays until you alight on something answering

to your purpose.

In choosing a play, avoid an elaborate cast, complicated plot, or

speeches. Long monologues are wearisome and monotonous; while, on the

other hand, conversations of too rapid a character will be impossible to

manage satisfactorily, however skillful your manipulation.

The novice should begin with a curtain raiser, containing two or three

persons, and the movement should be brisk and interesting. Having fixed

on his play, he studies his scenery.

He must have sufficient entrances and exits. To use only one, so that

the audience always knows through which door he is about to appear,

spoils the effect of his cunning. It is far more dramatic to burst upon

them from a direction least expected, and, to do this successfully, as

many doors or windows are necessary, as in a production played by

several persons; but these should not be so placed as to be aggressively

prominent,--curtains, palms, screens, a sham cupboard or fireplace, by

means of which sudden comings and goings lend a thrilling reality to

every movement. Fig. 3 depicts a suggested plan.

The different costumes to be used should be numbered in the order

required, and this is where a cool-headed and reliable dresser is

absolutely essential.

[Illustration: FIG. 3.--Suggested plan of scenery arrangement for the

quick-change artist.]

To robe oneself by means of picking up garments and wigs from chair or

different pegs is slow work, and leaves the stage empty for too long a

time to keep the spectators interested in one’s movements. The swiftest

manipulation will be too slow to those awaiting the re-appearance, and,

unless the movement is kept jogging, there will be no semblance of

reality in the performance.

THE DRESSER

The dresser plays a part no less important than the artist. Upon leaving

the stage the latter immediately wrenches from his person the garment in

which he has just appeared. The dresser is close to the exit with

costume No. 2 held out widely. The performer walks straight into the

clothes, of which the clock springs are widely expanded. In a flash they

close round his person. Another dresser adjusts wig, beard, &c., as he

passes to his next entrance (Fig. 4), with the result that he appears

to answer the remark made by himself in the character No. 1 without any

break being perceptible to the audience. Whilst speaking the words in

the rôle of No. 2, the dresser is awaiting him at the next exit with No.

3 or No. 1 clothes, (if No. 1 and 2 are having a conversation), which he

has swiftly picked up from the floor when discarded.

It is obvious that in order to be of real service the dresser must be as

familiar with the words of the play as the performer. It is not enough

only to know the cues. He must, by his knowledge, calculate to a

hairbreadth how long No. 2 takes to reply, and be prepared upon the

instant of exit with the apparel of No. 1.

[Illustration: FIG. 4.--System of “changing” behind the scenes.]

A plan of modes of entrances and exits should be arranged beforehand

between actor and dresser, and never altered. Each sketch must be

founded on a different plan, and in each the movements should be so

carefully practiced that they become almost a habit. Any chance

alteration or mistake leads to bungling and loss of time, for, if No. 1

disappears through the exit fixed upon for No. 2, naturally the dresser

will not be there awaiting him, and this mischance will probably throw

all the succeeding movements into confusion.

The quick-change artist is employed in a race with time, and, time being

swift and fleet of foot, the human competitor cannot possibly afford to

loiter or blunder.

In a play or sketch in which several characters are to be impersonated

it does not make for speed to have installed as many dressers behind the

scenes. One, or at the most, two reliable and experienced assistants are

ample. A larger number will only hinder the artist’s and their own

movements.

That there is a certain amount of nervous strain about this mode of

performance cannot be denied, but, by constant practice and coolness,

the artist greatly facilitates the mental effort that accompanies his

portrayals.

A sketch should at most be of a half-hour’s duration. The actor needs

some knowledge of acting, and must be able to change his voice to the

different pitches required. It should range from the high-pitched

falsetto of the aggressive female type of uncertain years to the gruff

bass of the dogmatic father, while the cooing notes of the immaculate

heroine should be carefully cultivated.

[Illustration: FIG. 5.--Showing wig, eyebrow, nose, and mustache

combined.]

[Illustration: FIG. 6.--Another example, showing bonnet, wig, nose,

spectacles, and veil combined.]

The artist must of necessity be clean-shaven, so that he can adapt

beard, “mutton chops,” or mustache as required.

Figs. 5 and 6 show completed examples of one-piece transformations. Fig.

7 depicts coat and breeches combined.

Most important of all the quick-change artist must be self-reliant,

self-confident, and absolute master of emotions engendered by

nervousness, for these lead to loss of memory where words and modes of

entrance and exit are concerned. While on the stage his mind must be

concentrated on the part he is playing to the exclusion of everything

else, his attention as completely focused upon the impersonation as

though the other characters were being undertaken by different

individuals.

For many of these practical suggestions the writer is indebted to a

versatile quick-change artist, who willingly revealed some of the

secrets connected with his favorite form of entertainment. He emphasized

the fact that success is not achieved by means of numerous wigs and

costumes--a performer may possess the most elaborate wardrobe,

repertoire, and paraphernalia, and yet sadly fail to move the interest

and sympathy of his spectators.

As this artist remarked, the true art lies in facial expression,

gesture, attitude, and change of voice. These must be cultivated

assiduously before any one-man play is produced, for it is only when the

features are plastic as rubber, gesture and attitude the perfection of

mimicry, the voice containing every note in the range in which language

is expressed, that the steep ladder of success is scaled, and the timid

novice becomes transformed into the popular resourceful artist.

[Illustration: FIG. 7.--Breeches and boots, showing front and back

views; dotted lines indicate springs.]

CHAPTER IV

CHARACTER IMPERSONATIONS

TALENT _v._ MATERIAL AIDS

A VERY popular means of amusing a house-party is the impersonation of

various characters. It is an entertainment more suitable to the limits

of a drawing-room than tableaux or amateur theatricals, which of

necessity entail a certain amount of expense, scenery, lighting, and

much labor and anxiety in securing and drilling an efficient cast.

Although it is doubtless true that this art needs some natural talent,

skill, and mastery of detail, much can be done by practice and

self-reliance.

A clever man in the street amuses a long line of patient theater-goers,

his only paraphernalia being a soft, pliable disc of black felt.

The metamorphosis that article undergoes in his hands is a marvel.

Dexterously he wields it--a mere twist, and it is the three-cornered

biretta of a cardinal. Another, and it shades the villainous glare of a

brigand, who appears quite capable of cutting the throats of his

audience. A deft touch and a strut, and it tops the head of a swaggering

dandy. Next it shades the solemn, ascetic features of the priest. Tipped

to a different angle, and the cockney grins with happy-go-lucky

impertinence. Thus it is used to represent every grade of society from

the highest to the lowest of humanity.

But miraculous as that piece of felt seems, it is really the eyes and

gestures of the artist plying it that lend it personality, power, and

magic of transformation. In the hands of one ignorant of the tricks, it

is a futile and clumsy piece of mechanism.

A man may put a tea-cosy on his head and look absurd; another does the

same, and behold!--a living Napoleon stands before us. The greater the

artist, the simpler the preparations used, for the skilled

representative trusts to eyes, gesture, and figure rather than to the

material used.

Elasticity of feature is essential. Without this it is impossible to

produce a living likeness. One may possess wigs, beards, eyebrows, sham

noses, and skulls of every imaginable shape and size, and yet fail

through inability to assume the expression peculiar to the study

undertaken.

In rehearsing impersonations a mirror is as good and true a friend as in

reciting. Observe how faithfully it reflects every change in the human

countenance.

Supposing the character studied to be that of King Lear. First read your

Shakespeare and memorize the lines which reach the very crisis of the

agony and woe of love of that unfortunate monarch, as when, turning to

his ungrateful, malignant daughters, Regan and Goneril, he cries--

“I will do such things,--

What they are yet I know not,... but they shall be

The terrors of the earth. You think I’ll weep;

No, I’ll not weep:

I have full cause for weeping, but this heart

Shall break into a hundred thousand flaws

Or ere I’ll weep. O fool! I shall go mad!”

Understand the breaking, raging, heart-throbbing beneath them. Repeat

them aloud before the glass, with wild, burning eyes and quivering lips,

with shaking hands upthrown and tensely up-drawn figure, and by-and-by,

if not at once, you will see King Lear peering at you distraught.

When you have thoroughly gripped that image you may crown it with snowy

hair, pent brows, and ragged beard--but not till then.

And now, supposing, for a change--for there is nothing like variety--you

undertake so utterly different a character as that of his faithful fool.

Here no jingling bells and jester’s folly are needed to aid you, for

these may be, and frequently are, but the danger signals to discerning

eyes of incompetent treatment; you want his shrewd, loyal heart in your

breast, his pulse beating in your brain, your finger-tips. His cunning

grin must be a wavering crack in a wizened face as you memorize such

caustic saws as--

“Thou hast pared thy wit o’ both sides, and left nothing i’ the middle;

here comes one o’ the parings.”

This method of memorizing and voicing some sentiment characteristic of

the figure presented, is only for private use during rehearsals.

Costume performances are dumb, and, this being the case, it is easy to

realize how eloquent and exact the physical contour must be for faithful

similitude.

Regard the _idea_ as an object being photographed. When you have gripped

it, and, as it were, posed it before the camera of your brain, focus,

produce, and develop it on your features, which may well be likened to a

film.

KNOWLEDGE FROM NATURE

In order to master the idiosyncrasies, mannerisms, eccentricities, and

habits of characters, study is essential, and for this reason it is

probably best to acquire knowledge, not from imaginary heroes of fiction

or drama, but from the fount of Nature.

Popular statesmen, musicians, admirals, soldiers, prelates, scientists,

novelists, and famous actors walk our streets to-day, and each possesses

some anomaly of expression, feature, speech, gesture, or mannerism which

is distinctly his own, and distinguishes him from his kind. Just as no

two leaves of a tree or petals of a flower are exact duplicates, so in

mankind--no matter how subtle the anomaly--it exists, and must be

fathomed and included in the portrait; delicately if it is delicate,

proportionately broadly and ostentatiously as it is broad and

ostentatious.

For example, there are some persons whose peculiarities are as evasive

and subtle as the bouquet of a wine, the bloom of a grape. We feel their

influence, we realize them to be the essence of their individuality, and

yet we fail to catch and master them; while there are other persons we

meet whose eccentricities flare out at us in a moment, and illuminate a

character more fully and faithfully than any words.

The pouting lip, the flickering eyelid, the shrug, the drumming on the

table with the fingers, the stroking of nose or chin, the revolving of

thumbs, the pushing or patting of the hair, are eloquent signs that he

who runs may read, and make his own. These may be called ostentatious

mannerisms.

The subtle peculiarities are far more difficult to catch and convey

faithfully. One man suddenly narrows his eyes and looks introspectively

at you, or the mouth clinches unexpectedly over the teeth without any

apparent reason. A pulse suddenly quivers into sight at the temples, and

is gone again. The expression falls into repose, but that very stillness

indicates a perplexing and evasive expression of temperament and

individuality that you cannot catch to your own satisfaction. You may

note coloring of hair, beard, mustache, &c. You may purchase their exact

match, and find the likeness only a shell, because the essence that

lends delicate fragrance and character has escaped you, and without it

your representation, however flawless in coloring and texture, is as

unsatisfactory and unreal as the marble statue to the human face and

form.

Fundamental to the successful rendition of character impersonation is

the cultivation of dexterity and quickness. The dumb representative

must have all his regalia of wigs, beards, eyebrows, hats, helmets,

cloaks, &c., well arranged, and within easy reach.

In a sense he is a conjuror--a magician. His movements must be swift as

lightning. Indecision creates a jar; a pause or bungling spells failure.

A small velvet-draped stand or table placed behind him, and within easy

reach, with each article ready in the order wished, is essential. In the

center of this should be a mirror, with a good electric light over it,

but shaded as much as possible from the audience (Fig. 1).

[Illustration: FIG. 1.--Character impersonator’s stage table.]

The stand must be draped in dark colors, so as to obtrude as little as

possible on the audience. While in preparation, all other lights near

you should be turned off, and only switched on for a moment or two the

instant you are ready. The attitude should be struck in the dark, and

this must be sure and swiftly taken, and absolutely in keeping with the

character assumed. Avoid grease paints as far as possible.

A pianoforte or small orchestra playing some melody suitable to the

impersonation will prove a most valuable adjunct to the imagination of

artist and audience.

Avoid such hackneyed characters as Napoleon, the late Sir Henry Irving,

the German Emperor, and similar portrayals that may be witnessed any

evening at almost any vaudeville hall. An audience is frequently more

amused by the imitation of _types_ than of individuals.

[Illustration: FIG. 2.--The costermonger.]

[Illustration: FIG. 3.--The lady-killing curate.]

The fat saloonkeeper, the costermonger (Fig. 2), the _blasé_ gentleman

of fashion, the racetrack bookmaker, the ruddy countryman, the

lady-killing curate (Fig. 3), and the typical Soap King (Fig. 4), the

country rustic (Fig. 5), and many other such types are excellent studies

for representation.

[Illustration: FIG. 4.--The soap king.]

[Illustration: FIG. 5.--The country bumpkin.]

Although the character portrayals of the costumed and wigged

impersonator depend on wordless demonstrations between the items and in

ordinary evening dress, the artist may announce the name of the

personality to be represented, or have it worked in almanac fashion and

shown to the audience as it appears.

The former method, however, is quite usual, and perhaps more suitable to

drawing-room entertainments.

It may be kept in mind that this style of performance should not be

unduly long, and should never exceed twelve or fifteen minutes.

SPEAKING IMPERSONATIONS

Speaking impersonations are more difficult to achieve successfully, for

in them, as a rule, the artist has no regalia to depend upon. His hair,

his face, his voice, his limbs, his fingers are his only aids, but these

are more than sufficient for the talented and skilled performer. His

voice is as elastic as his features in power of mimicry.

He should be clean-shaven, but with a plentiful crop of hair, which he

can arrange and manipulate as he wishes with a mere twirl or pat of the

hand, and these must be sympathetic and convincing expressions of his

every movement. “There is no more expression in the back of the hand

than in the back of the head,” yet of what subtle demonstrations is it

not capable?

A whole epitome of human emotions may be demonstrated by the gradual

unfolding of the flexible, sensitive fingers. The first finger raised,

and intelligence and meaning begin to develop. The palms upturned, the

shoulders uplifted, and the head slightly bent, and you see the suave

helplessness typical of the Frenchman.

The arms flung outward, with the palms parallel, and the fingers falling

naturally, indicate sentiments of affection, welcome, and cordial

invitation. Stretched farther away, with fingers distended, and you have

entreaty, desire, passionate pleading, and supplication. The wrists

upturned, the fingers crooked, and grasping, and we see the

personification of rage and avarice, while the raising of the open hand,

what horror it indicates!

Yet the hand is only a part of the mechanism. Its soul is in the eye,

which combines in partnership and signifies calm, candor, liberality,

love, gentleness, meditation, resentment, boldness, defiance, wrath, and

fear, in complete accord with its dumb component.

The nostrils inflate in scorn, the head is proudly raised in dignity or

joy, and meekly bowed in humility; bent forward in shame, squarely

upright, with firm compressed features, for determination and will

power.

The artist must never be tempted to sacrifice his cultured discretion in

a portrayal. For instance, to give the cockney the musician’s hand, or

the priest the bookmaker’s wink, the sly housebreaker anxious to escape

notice the loud, boisterous guffaw of the countryman, is to be guilty of

the most insensate blunders.

Action and gesture should be skilled and practiced handmaidens to the

brain that molds the idea, and their service must be winged to respond.

“True ease in action comes from art, not chance,

As they move easiest who have learnt to dance.”

TEMPERAMENT

The psychological treatment of characters depends and is influenced in

no slight degree by temperament. The character the student is about to

study has its peculiar atmosphere of mind and body, which unconsciously

dictates and regulates its actions from head to foot. The most important

temperaments are:--

1. _The optimistic temperament_, embracing impulsive, warm-hearted,

sanguine, easily-pleased, tender, ambitious dispositions.

2. _The pessimistic temperament_, embracing nervous, timid, sensitive,

overwrought, peevish, unstable, irritable, depressed, neurotic,

restless, dissatisfied, cynical, morbid, self-conscious dispositions.

3. _The artistic temperament_, embracing extravagant, sympathetic,

imaginative, languid, reckless, turbulent, excitable, hot-tempered,

brooding dispositions.

4. _The commercial temperament_, which embraces the phlegmatic,

lymphatic, enigmatic dispositions.

Now, the first way of approaching a new study is to consider what

characteristics it possesses, and to what class of temperament it

belongs, and, when this is decided, the student asks himself, what

gesture will be the most symbolic and eloquent of that temperament?

This method, conscientiously adhered to, will provide a safe and firm

groundwork for the beginner.

With judgment and sense, he will soon be able to place his character in

its right niche, and to plan his actions in accordance, even if he has

never seriously studied gesture. The movements of an open-hearted,

liberal man are usually large, free, and liberal. He opens his arms

widely for an embrace. He gives you his hand in greeting warmly, and

with frank, cordial pressure. His eyes shine clear and steady below a

benevolent forehead. His walk, with its free, steady swing, is the index

of his generous and kindly disposition.

Now contrast him with the mean man, the usual type of which is pinched

in physical delineation, action, expression, and thought. His hair grows

sparsely on a skull, screwed as grimly to his face as the upper section

of a bicycle bell to the lower. His eye is squeezed in a narrow slit of

socket, roves backwards and forwards like a marble in a puzzle-box. His

mouth is withered in bitter antagonism for his fellow-men. To catch a

generous smile upon his colorless lips is to surprise a sunbeam at

midnight.

Of course, there are many shades in the scale between these extremes of

the very liberal man and the very mean one, and the artist who is

imitating the thrifty soul must remember the infinitesimal points of

difference which distinguish him alike from the benevolent and

avaricious.

And, in the wide margin of temperaments, an artist must be careful not

to label and pigeon-hole his characters as if they were bottles of

physic, for in the complex nature of one man there may be vast

contradictions, just as in many good medicines there is a minute

quantity of poison, so a disposition may be tinted with qualities not at

all worthy of admiration.

There are occasions when the most impulsive becomes cold and hesitating,

the most affectionate cruel, the most benevolent calculating, and the

most patient, hot-tempered and passionate.

CHARACTER AND CIRCUMSTANCE

The artist must never forget the important crucible of circumstances

which molds and forms each character, and sometimes is potent to change

the most optimistic temperament to one of pessimism and cynical

bitterness. Yet, while remembering this, one must probe beneath the

stamped envelope of environment to decipher the hieroglyphics of the

fettered soul inclosed.

One does not find the wild, untutored gestures of the stump orator in

the refined politician, nor the turbulent raving of the fanatic in the

sermon of the cultured ecclesiastic, while the expression natural to the

plebeian is such as the aristocrat never indulges.

There are many natures so complex as to defy all classification, and to

portray them successfully is an almost impossible matter unless one

masters the delicate mechanism of their nature. A grandfather’s clock to

outward appearance is a figured circle in a narrow wooden case, with

softly regularly-moving pendulum, but get behind that exterior to the

revolving wheels, and see what an amount of intricacies are involved. So

the man who presents a calm, self-possessed exterior to the world, may

in reality seethe with qualities not at all phlegmatic or level-headed.

In conquering the technicalities of character, one must, as far as

possible, grip the crisis the personality has reached in his lifetime,

and this is one reason why a historic character is easier to grasp than

one contemporaneous. For example, he who portrays Napoleon in the flush

of success and victory, does not represent him as he who images him at

the end of his career--broken-hearted, alone, and in despair, suffering

the calumny and scorn of those who exhibited most faith and admiration

of his sanguinary achievements.

Correct attitude and pose are extremely important, and should be

carefully studied. The old man has tottering bowed knees, but the youth

stands firmly.

The reverberation of the interior gestures rules and gives to the torso

or trunk the inspiring grace of truth and beauty. It is only when a

soldier or sailor on duty is being represented that the artist may stand

bolt upright and move automatically. At all other times the torso should

be held with flexible ease, ready to combine with eye, face and gesture,

in the emotion and force of the impersonation. To portray the child with

mature and abandoned gesture is to present a caricature of nature, and,

in like manner, to represent the adult with the careless gestures of the

child, is to convey the impression of one inane and undeveloped.

In attitude, remember the maxim of Cresollius: “Without the hand, no

eloquence.”

To imagine a boy stealing jam with the wild eye and hand-clawing

attitude of the miser snatching at gold is to exaggerate grossly and

confuse the human emotions, and to paint comedy as the burlesque of

tragedy. The hands are capable of such a vast amount of expression that

they have been considered “numerous and copious as words themselves.”

While imitating characters, never be bound by the representations of

other artists you have seen. See with your own eyes, study with your own

brain, avoid that conventionality of fashion and ideas that cripples

progress. Let your maxims be your own, and, when they are mastered, be

not ashamed to demonstrate them with grand and self-reliant

originality.

CHAPTER V

THE UNIVERSAL HAT

MARVELS OF CHAPEAUGRAPHY

EVERY entertainer must have felt at some time or other the need of a

short “gag” to fill up that awkward gap which so frequently occurs

between the conclusion of one long piece and the commencement of

another.

The mind of an audience is of a flighty nature and requires to be kept

continually amused, or it will wander into paths of boredom; and many a

good entertainment has failed for the simple reason that the ball has

not been kept rolling.

It is during one of these uncomfortable pauses that the Universal Hat

may be appropriately introduced, and, if worked well, it cannot fail to

gain approval.

You can either buy or make a Universal Hat, and as to do the former will

cost a dollar or more, whilst the latter can be done for less than half

that sum, it is well to be your own hat-maker.

Obtain a piece of fairly strong black felt, measuring 24 inches square,

and cut it into a ring, the diameter of the whole circle being 24

inches, with a hole in the center 7 inches across. That is all that is

required as far as the hat is concerned, and the success of your piece

will now rest entirely with yourself.

Arrange a screen behind which to retire, and have a good-sized mirror,

so placed that you will be able to see in a moment how your head-dress

suits. Keep a little rouge ready, as well as a burnt cork for blacking

eyebrows, making mustaches, &c. Remember that quickness is a necessity,

for the smarter you are in changing your hats the more the audience will

appreciate the effect.

Now to give a few examples of what can be done with the universal hat,

so arranged as to give scope for any amount of ingenuity in inventing

new ideas.

Before beginning your show step from behind the screen, raise the ring

of felt in your hand, and exhibit it to the audience. Then step back

under cover, put the hat on your head, giving it a tilt in front and a

rakish tip to one side, assume a stern expression, and, if you have a

dog-whip amongst the stage properties, grasp it firmly in your hand, and

make an appearance before the spectators in the character of Buffalo

Bill. Take care always to face the audience as in Fig. 1, otherwise the

top of your head will be seen through the hole in the hat.

[Illustration: FIG. 1.--Buffalo Bill.]

Remember that in this, as in all the other characters, a lot--indeed,

almost everything--depends upon your expression, which should be

entirely in keeping with the person you represent. Buffalo Bill must not

wear a grin, but must appear as grimly in earnest as though he were

hastening to the relief of the Deadwood stage.

Another point to bear in mind, is that you must not make a long

appearance. A minute for each character is ample, and, as you appear

before your audience, announce who you are in a tone suggestive of the

person you are representing. A few remarks in keeping with the character

will greatly add to the realism of your make-up, but let your words be

like your appearances--brief and effective.

POPULAR CHARACTERS

Napoleon makes a good character to represent, and his hat is very easily

made. Draw two sides of the felt through the hole in the center, and

pull the hat firmly down about your ears, as in Fig. 2. Assume a stern

expression, suggestive of Waterloo, thrust your left hand into your

breast, hump your shoulders, and look fiercely at the audience as though

you could see Wellington at the farther end of the room.

Later on in the performance you can represent Bonaparte’s great

antagonist by making the hat in the same way, but wearing it with the

peak forward as in Fig. 3.

[Illustration: FIG. 2.--A hat suggesting Napoleon.]

[Illustration: FIG. 3.--The Iron Duke.]

General Wolfe is another easy character to assume. His hat is made in

this way. Lay the felt ring flat on the table, lift up one side, draw it

towards you and then pass it downwards through the hole. Pull back the

piece that you have passed through the hole, in the direction from which

you took it in the first place, and you will find it has made a hat of

the shape shown in Fig. 4. When you fit it on your head pull it firmly

down towards your ears, but not too tightly, and the effect will be

complete. A little practice will serve to perfect you in making the

twists necessary for this and other hats, and patience will soon reward

you. To heighten the resemblance to General Wolfe, whiten your cheeks

with a little chalk and draw them slightly in, to give the appearance of

being haggard and wan. If you can get a sword, point to the ceiling with

it enthusiastically, as one can imagine the General did when he

encouraged his men to climb the Heights of Abraham.

As a contrast to these more exalted personages, you can now appear as

the coal driver; although if you wish to increase the realism by

smearing your face into a state of suitable dirtiness with burnt cork,

it would be advisable to leave this character to the last. To make the

hat, lay your felt flat as before and draw up a piece from the rim as

was done in the case of General Wolfe. Now, instead of passing it

completely through the hole, push it only halfway through, giving it

what may be called a half twist. It will then appear as in Fig. 5, ready

for wear. Draw it tightly over your head, and slouch upon the scene,

putting your hand to your mouth and shrieking “Coal O!” in a cracked

voice.

[Illustration: FIG. 4.--General Wolfe.]

[Illustration: FIG. 5.--The Coal Driver.]

[Illustration: FIG. 6.--A Priest’s Biretta.]

[Illustration: FIG. 6_a_.--A Priest.]

You may now appear as a priest in a biretta. Place the felt upon the

table and then draw a side from below, up through the hole, exactly the

reverse way from that in which Wolfe’s hat was made. When you have drawn

it right through, bend it down and pass it up through the hole once

more, thus making two twists. It then resembles Fig. 6, and if you draw

it upon your head with the broad brim flush against the forehead, the

impersonation will be striking. Tuck a little lapel of white into the

collar, raise your right hand with two fingers extended, and face the

company with as pious an expression as you can assume.

[Illustration: FIG. 7.--The Pied Piper.]

As a last example, an effective appearance may be made as the famous

Pied Piper of Hamelin. Having laid the felt flat, make a twist from

below upwards, as you did in the former hat--the priest’s biretta. But

for this hat only one twist is required, so when you have done this, the

hat will appear as in Fig. 7. You must now put your hands in the opening

and stretch it as wide as possible, thus making the rolls very taut and

firm. Turn the felt over and fit it on the head as shown in the picture.

Draw your collar up, take a tin whistle in your hand, and pipe a few

notes before making your appearance. Then slink into view with a cunning

smile upon your lips, reciting these lines from the poem:--

“Please your honors, I am able

By means of a secret charm to draw

All creatures living beneath the sun,

That creep or swim, or fly or run,

After me so as you never saw!

And I chiefly use my charm

On creatures that do people harm,

The mole, the toad and newt and viper;

And people call me the Pied Piper.”

Of course these are but hints. An ingenious person will soon discover

endless other ways of adapting the Universal Hat in such a manner as to

keep the audience amused for some considerable time. Always remember,

however, these two axioms--

Let your make-up be done quickly.

Let your appearances be short.

CHAPTER VI

NIGGER MINSTRELSY

THE COMICAL END-MEN

SOME people imagine that a black face, a pair of large check trousers

and a rather dilapidated hat, are all that’s necessary to make a nigger

minstrel. This is, however, a great mistake, and whosoever feels the

stirring of an ambition to amuse his friends with a nigger

entertainment, must not be discouraged if he finds the road harder than

he expected. Its difficulties, however, are far from insurmountable.

[Illustration: FIG. 1.--Seating arrangements of nigger minstrel troupe.]

For a really successful nigger entertainment seven persons are

necessary; the interlocutor--usually known as Mr. Johnson--one bass and

one tenor singer and four “end-men.” The troupe should be arranged as

shown in Fig. 1. Now, before describing what to do, a few words as to

how you should arrange yourselves will not be out of place. The stage

should be raised, if possible, to enable any member of the audience to

see the performers. Unless you are performing a farce or drama, such as

will be described later, a curtain is not absolutely necessary, provided

the troupe can get to the stage without having to pass right through the

assembled company.

MINSTRELS’ “MAKE-UP”

As far as “make-up” is concerned, this should present no difficulty

whatever. Many barbers, and some music shops, can supply “nigger black,”

which must be rubbed into the face and hands, after the skin has been

well washed and dried. When the performance is over the black can easily

be removed by means of soap and hot water. To redden the lips and

enlarge the mouth, use carmine or rouge; cover the lips and paint them

to appear as though stretching almost from ear to ear (Fig. 2). Cheap

wigs can be obtained for but a small sum from any hairdresser. Those of

Mr. Johnson and the sentimentalists should be as shown in Fig. 3, while

each of the “end-men” should provide himself with one similar to that

depicted in Fig. 4. The “interlocutor” and sentimentalists usually wear

ordinary evening dress, the “end-men,” however, wearing frilled collars,

cuffs and fronts, as shown in Fig. 5. A complete outfit comprising

stockinette face, head, eyes, teeth, and hat can be purchased for about

$2.50.

[Illustration: FIG. 2.--Showing how the lips are painted.]

[Illustration: FIG. 3.--Interlocutor and sentimentalist’s wig.]

[Illustration: FIG. 4.--End-man’s wig, showing workable tuft.]

Music is a necessity with a troupe, and you will accordingly require

another person to play the piano as an accompaniment to the songs and

choruses, as well as for the overture and instrumental pieces. It is

also presumed that the members of the troupe have fairly good voices and

are able to sing, not only in tune but in time with one another.

In serious or sentimental songs, such as “Swanee River” and other

favorites, the “end-men” must forego their love of mirth and take part

in all solemnity, reserving their facetious behavior for a more timely

moment. After these remarks the principal characters in the troupe may

be discussed.

[Illustration: FIG. 5.--Frilled collar, shirt front, and cuffs used by

end-man.]

The interlocutor is one of the most important persons upon the stage. It

is his duty to introduce each number of the programme to the audience;

to be the butt of the “end-men’s” jokes; and to assume upon every

occasion an air of the utmost ignorance and simplicity, that shall prove

an admirable foil to the exuberant humor of his companions. He must

appear absolutely innocent of any idea of the answers to the riddles and

conundrums asked, and must reply to the occasionally personal remarks of

his friends with the utmost suavity and good humor. In short, what with

helping the others to sing and keeping the ball rolling generally, Mr.

Johnson is responsible, to a large extent, for the success or failure of

the entertainment.

FROM FAILURE TO SUCCESS

The “end-men,” with whom lies the task of producing most of the fun of

the nigger entertainment, must be possessed of a ready wit--able to tide

over awkward pauses, prepared with some “gag” when the fun is beginning

to flag, and capable of turning disaster into a mighty success. From Mr.

Johnson’s placid obtuseness they will be able to draw much sport, and

bandying jokes at each other’s and the interlocutor’s expense, should

keep the audience shaking with laughter.

Whilst on the subject of jokes a note of warning may be struck. The

moment humor changes to vulgarity, it produces disgust in any

respectable audience. It is therefore well worth while to think over the

regular jokes you intend introducing into the performance, and if there

be any that are in the remotest way likely to offend the feelings of any

person in the company, cut them out.

There is another point worth remembering in the matter of jokes. It may

seem a truism to remark that a joke should be funny, yet the very

funniest of jokes will fall flat if it is not led up to suitably. Don’t

ask Mr. Johnson a conundrum in a meek tone as though you were requesting

him to tell you the time. His immovably suave ignorance will extract the

answer from you, it is true, but the chances are ten to one that the

audience have either missed the question or will fail to see the point

of the answer.

Jokes should be introduced by a certain amount of patter which serves to

engage the attention of the hearers in such a way that when the

inevitable fun really comes they are perfectly prepared to appreciate

it. Books can be bought containing numbers of these jokes with the

suitable patter, and these will prove very useful to the amateur, who

must nevertheless remember that success really depends upon the way in

which he springs the joke upon the audience.

COON SONGS

And now a word about the singing. It goes without saying that the larger

the troupe and the better trained the voices, so much the more enjoyable

will be the choruses. The number of songs from which to select is

legion; the best plan is to write to some leading musical publisher,

telling him what you want. He will be only too pleased to send his

catalogue with some advice as to what will prove suitable. Avoid any

comic songs with a double or doubtful meaning, and keep to strictly

characteristic songs as far as possible. Old favorites never fail to win

applause, and are always safe to fall back upon; but do not be too

conservative--try _some_ novelties.

SONGS AND “GAGS”

Nigger entertainments are usually divided into two parts, the first

consisting of songs and “gags,” as the short dialogues and impromptu

jokes are called, whilst the second is devoted to stump speeches and

one-act dramas or farces. So far as stump speeches are concerned,

excellent collections are published by the leading publishers of that

class of entertainment. Your bookseller will obtain a catalogue for you,

and a choice can then be made. The speeches should be very carefully

learnt by heart, together with the appropriate gestures (for which full

instructions are always given), and unceasingly practiced until you are

able to make your stump oratory bring down the house with delight.

Stump speeches are the province of the “end-men,” and properly

delivered, can be relied upon to prove one of the successes of the

evening.

ONE-ACT DRAMAS

With regard to one-act dramas and farces, a very exhaustive catalogue

can be furnished by publishers, with full instructions as to how they

should be performed. A word of advice, however, to the intending actors.

Too much care cannot be expended upon preparation and rehearsals.

Nothing will go of itself in this world, and least of all plays and

sketches; it is a fatal mistake to imagine that the smallest drama or

even “gag” will succeed by its own merits and with only a little help

from yourself. Endless trouble and care must be taken in preparing the

simplest joke, and boisterous as the fun may prove upon the stage, it

cannot be spontaneous, but must be diligently rehearsed again and again

before it can be presented to your audience.

Your great object is, not to enjoy the fun yourself but to make the

others enjoy it, and if this is borne in mind, you will not only amuse

them but have a delightful time yourself. Again, never forget that in a

play one actor relies upon another to repeat the actual words of the

“book,” as cues and stage directions depend upon verbal accuracy. Do

not, therefore, introduce any novelties of your own--learn the words and

keep to them, for any original introductions on your part may throw the

whole play into disorder, exasperate the other actors and disgust the

audience.

To keep to the “book” is easy enough, and if you act in earnest--and

this is essential for the most comic pieces--you will find no difficulty

in sustaining your part correctly and intelligently. Do not laugh at

your own jokes, unless you are instructed to do so, but keep a grave

face and appear as though to find yourself in the most farcical

situations were a matter of everyday life.

To give an idea of a reasonably simple programme which shall include a

farce, the following is suggested:--

PART I

_Overture on the piano._ A march.

_Chorus._ Some song in which all voices can join.

_Solo._ Preferably a sentimental song.

_Jokes._ Properly led up to by an end-man.

_Comic Song._ Also by an end-man.

_Solo._ Another sentimental song. And so on for ten or eleven turns,

after which comes the

_Interval._ During this the pianist can entertain the audience with

some operatic piece.