HOW TO MAKE AND WORK A PUNCH AND JUDY SHOW
HIS HIGHNESS OF THE HUMP
MR. PUNCH and Mrs. Judy at one time held quite an exalted position among
forms of entertainment dear to the heart of the British boy. As far back
as the reign of Queen Anne, a well-known periodical devoted quite a
considerable space to a criticism of a Punch and Judy performance!
[Illustration: FIG. 1.--The framework.]
[Illustration: FIG. 2.--Frames hinged together.]
Moreover, in England, less than fifty years ago it was no unusual
occurrence for a traveling showman to hire a barn or large room and give
a whole evening’s performance with his Punch and Judy.
Punch is just as amusing indoors as out, and the boy who is interested
in giving different forms of home entertainment will find a Punch and
Judy an excellent addition to his other shows.
The stage upon which Mr. Punch performs his amusing antics is simple of
construction.
It will first be necessary to procure six uprights, each 7 feet long and
1 inch thick; and nine crosspieces each 2¹⁄₂ feet long and 1 inch thick.
Take a pair of uprights and join them together with three
crosspieces--one at each end and the other in the center. The result
will be a framework such as is shown in Fig. 1. The four remaining
uprights must be similarly treated.
Altogether three frames will have been constructed, and they must be
hinged together, as shown in Fig. 2.
[Illustration: FIG. 3.--The platform.]
This may be done with either strips of cloth or small metal hinges. The
latter may be purchased from any hardware store for a few cents.
It will be noticed that the framework has only three sides. The fourth
side is to be occupied by Punch’s platform, which merely consists of a
small board about 6 inches wide and 2 feet 6 inches long. An oblong nick
1 inch by ¹⁄₂ inch should be cut in each side of this platform, as shown
both in Fig. 3 and A, Fig. 4. A cut of similar dimensions must also be
made 5 feet 6 inches from the ground in both the front uprights of the
framework (B, Fig. 4). The incisions in the platform dovetail into those
in the uprights. To make all quite secure two small catches (A, Fig. 4)
are fitted to the ends of the platform, and these clamp round the
uprights, holding everything firmly in position.
[Illustration: FIG. 4.--Arrangement for supporting platform on frame.]
The framework is now complete, and with the exception of the small space
above Punch’s platform, should be covered with dark red or green paper
cambric, which may be purchased at five or six cents a yard. The width
of the cloth will be found just over 2 feet 6 inches, _i.e._ the same
width as a single frame. The best course, therefore, will be to cut the
cloth into seven-foot lengths and nail it with small tacks or brads over
each frame separately.
[Illustration: FIG. 5.--Front of show complete.]
The space below Punch’s platform, however, is covered in a different
manner.
A row of tacks or brads is driven into the front of the two uprights to
about three-quarters of their length. A corresponding number of small
curtain rings--to be obtained at any hardware store for 5 cents a
dozen--are then sewn down the sides of a piece of the cambric 5 feet 6
inches long. By this means the cloth may be hooked to the front of the
show, as illustrated in Fig. 5.
PACKING UP THE SHOW
When the Punch and Judy Show has to be packed away, it is merely
necessary to unhook the front cloth, take out the platform, and fold the
framework up as though it were a screen or a clothes’ horse.
But before this trial “pack up” is attempted, there are one or two small
but important additions to be made.
First of all, the top of the opening at which Punch presents his cheery
countenance must be decorated. This is easily done. Two small nails are
driven perpendicularly into the top of the front uprights, and a stout
piece of wire stretched between them. A frieze of cambric is then hemmed
round the wire (Fig. 5). The wire should be simply hooked on the nails,
so that it can easily be detached when the show is folded up.
A similar frieze must also be tacked along the edge of the platform.
With regard to the scenery! Mr. Punch is very modest in this direction,
for he requires only two wings with which to garnish his abode. These
generally take the form of a scene of the top window of a house, and the
front of a shop or a portico.
The front and back of one of these wings are shown in Figs. 6 and 6_a_
respectively.
It consists merely of a framework of wood, 1¹⁄₂ feet long by 9 inches
wide, over which a piece of white cardboard is nailed or glued. The
desired scene is then executed on the cardboard in either oil paint,
water color, or crayon.
The window itself should be cut completely out and hinged back again
with a strip of linen, so that Punch and the other characters may poke
their heads through (Fig. 6_a_).
The complete wings must then be hinged one on each side of the show, as
seen in Fig. 7. In this diagram the wings are illustrated as seen from
the inside.
[Illustration: FIG. 6.--Exterior view of window.]
[Illustration: FIG. 6_a_.--Back of wing.]
[Illustration: FIG. 7.--Swing-doors opening inwards.]
THE PUPPETS
The “stage” is now complete, and it remains but to make the grotesque
little puppets that perform upon it.
Pride of place must be given, of course, to the redoubtable Punch
himself.
The most difficult part of this puppet to construct is the head. There
are very few boys skillful enough to carve out the correct features from
an ordinary block of wood; therefore they must find some other
foundation upon which to work. A Dutch doll, to be purchased at any
toyshop for a few cents, serves splendidly. Whilst the reader is in the
toyshop buying the one doll, he may as well extend his order to about a
dozen more; not only are they useful for making Punch, but their stony
countenances can be transformed into those of Judy or any of the other
characters.
The dolls should all be decapitated, and have their hands and feet
removed as well. One of the heads must then be selected, and the little
snub nose taken off with a sharp knife. A semicircular line should next
be penciled right across the lower part of the face, and all the wood
below this line cut away to the depth of ¹⁄₈ inch or so (Fig. 8). A
“false” chin is to go here, whilst a “false” nose must adorn the spot
whence the original member was removed.
[Illustration: FIG. 8.--Preparing Punch’s face.]
[Illustration: FIG. 9.--Punch’s nose and chin.]
Both nose and chin can be whittled from separate pieces of wood--the
doll’s discarded body will do. Fig. 9 shows the shape they should
assume. When both have been carved to the reader’s satisfaction, they
must be glued firmly in their respective positions, and the joints
hidden by a few judicious touches of the paint-brush.
[Illustration: FIG. 10.--Pattern for Punch’s coat.]
[Illustration: FIG. 11.--Mr. Punch.]
In the case of the nose, a small tag of wood must be left, as in Fig. 9,
and a hole bored in the head to receive it. This will make the joint
more secure than if it were simply glued, and as Punch’s nose receives
more than its fair share of knocks, the precaution of having it firmly
fixed is not altogether an unwarrantable one.
The adjusting of the “false” nose and chin is by no means a simple task,
requiring, as it does, considerable ingenuity. But on the whole it will
be found much easier than having to carve the entire face.
The clothing of Punch is best left in the hands of the reader’s mother
or sister. Although it is astonishing what a boy can do with needle and
thread when necessity puts him to the trial, making the tiny suit of
scarlet calls for an amount of patience and a carefulness over detail
that only a lady can be relied upon to exercise.
Fig. 10 shows the pattern for Punch’s coat. The cloth selected for the
garment must be folded double, cut to the pattern given, then hemmed
round the edges as indicated by the dotted lines. The sleeves are made
separately, being afterwards sewn into position on the jacket.
When the reader’s mother or sister has finished the little scarlet coat,
Punch’s head must be glued by its neck into the collar, a lace frill
being afterwards attached to finish off the joint neatly. The hands from
the Dutch doll should next be glued into the sleeves, and smaller frills
similarly attached.
Before the head is stuck in position, however, a hole must be bored in
the base of the neck just large enough to admit the tip of the
forefinger.
For Punch’s nether garments two cylinders of cloth only are necessary.
The feet from the Dutch doll must be glued into one end of each
cylinder, whilst the other ends should be sewn individually inside the
front of the coat.
A conical hat must next be made, and either glued or tacked to the head.
After the hump has been well stuffed with wadding, Punch should have
assumed an appearance similar to that of the gentleman depicted in Fig.
11.
WORKING THE FIGURES
To “work” the figures the performer first puts his hand up the back of
the coat, and sticks the tip of his forefinger in the hole in the head.
He then places his thumb and second finger in the diminutive sleeves. By
this means the puppet can be made to fling his arms about, and move his
head in a most grotesque fashion.
The other puppets are constructed on practically the same lines; but in
the majority of cases it will be unnecessary to provide them with
knickerbockers and legs, as the audience see only the upper part of the
bodies above the platform. In these circumstances the attire can take
the form of a simple, long, loose gown, such as that worn by the Clown
in Fig. 12.
[Illustration: FIG. 12.--The Clown.]
[Illustration: FIG. 13.--Skull head for the Ghost.]
Judy’s prepossessing features may be made from another of the dolls’
heads by substituting a beaked nose for the original organ. The lady’s
dress consists of a gown made from some red spotted material.
By a judicious application of paint, and by gluing on colored tufts of
wood for hair, the remaining heads can be transformed into craniums
suitable for the other puppets.
THE GHOST
The Ghost, however, may receive a little special treatment. One of the
heads should be vividly painted in black and white to represent a skull.
Then attach it to a wooden stick, decorated with a series of black
rings, as shown in Fig. 13.
The body consists of a long white gown similar to the other dresses, the
only difference being that the head is left quite free in the collar.
When the mysterious visitor makes his first appearance his head is right
down upon his shoulders, as in Fig. 14.
Directly Punch becomes too familiar, however, the showman can make the
Ghost suddenly shoot out his long neck, thereby giving the old gentleman
a bad attack of the “nerves.”
There remains one other piece of “stage furniture” to be constructed.
This is the gallows--which plays such an important part in the exciting
scene where Punch turns the tables on Jack Ketch.
Take a piece of wood six inches long, half an inch wide, and an eighth
of an inch thick, and nail it at right angles to the extremity of
another piece the same width and thickness, only eight inches long. A
third strip of wood must then be nailed diagonally between the other
two. The completed article will have the appearance of Fig. 15.
The end of the longer arm must be whittled to a blunt point, and a hole
bored in Punch’s platform to receive it. Two small holes should also be
bored in the short arm. They must be about two and a half inches apart,
and a piece of string knotted in the first, then looped down and
threaded through the second, as shown in the diagram. It is into this
loop that the wily Punch persuades Jack Ketch to place his head, when
the old fellow gleefully gives a sharp pull to the other end and hangs
him.
[Illustration: FIG. 14.--Ghost as seen at first appearance.]
[Illustration: FIG. 15.--The gallows.]
To those readers who do not possess a dog, at first sight Toby presents
a difficulty which it seems impossible to overcome. But all that is
necessary is to cut the head from a wooden toy dog and attach it to a
stiff muslin gown, over which some black paint has been spotted to
represent the tight skin of a mongrel terrier. By placing the hand up
the gown, this “Toby” can be worked similarly to the puppets.
[Illustration: FIG. 16.--The squeaker.]
Many professional showmen use what is known as a “Punch squeaker” for
imitating Mr. Punch’s voice. Most boys, with their well-known genius for
mimicry, will find it much easier to assume the high-pitched tenor of
Punch without any artificial aid. However, for the benefit of those who
are anxious to cheer the neighbors with the dulcet notes of the
squeaker, instructions are given for making one.
First obtain a piece of tape six or seven inches long and half an inch
wide; also two pieces of tin about two inches long and half an inch
wide. Both pieces of metal must then be bent slightly in the center, and
a single layer of tape placed between them. The remaining tape is next
bound firmly round the outside, all being held fast with thread. The
finished squeaker is illustrated in Fig. 16. Before being used it should
be well soaked in water.
To produce the required sound place the squeaker between the teeth,
half speaking and half blowing the words through it.
The story of Punch is so well known that most boys will be able to work
out a performance of their own. But those who wish to give the correct
version of the adventures encountered by our Hero of the Hump will find
at any theatrical publishers’ a little book giving the complete
dialogue.