expressions to the faces, a box of good water colors, some fine chalk
powder, camel’s hair pencils, and rouge saucers, are wanted. To make
frowns, scowls, or comical expressions, such as a broad grin, smirk, or
simper, stand before a mirror and assume the desired expression; then
trace the wrinkles produced, with a fine brush of the brown tint; this
will fix the required expression on your face. Rouge is best applied
with the finger. Burnt cork is excellent for darkening eyebrows, and
making moustaches, also for representing leanness, which will be done
by applying a faint tint just under the eyes, on the sides of the
cheeks, and under the lower lip. A strong mark running from the corner
of the nose down towards the corner of the mouth on each side, marks
age or emaciation.
A few directions may be of use in regard to the preparation of
theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or
gray colored horse hair; beards and moustache of the same, or a piece
of buffalo skin. Ermine can be made of cotton flannel with tags of
lion skin cloth sewed on, or black tags painted. Pelisse wadding is
sometimes used.
Crowns and sceptres are easily made of pasteboard and gold paper.
Velvet talma cloaks, capes, or even the loose velvet sack, can be
converted into cavalier cloaks (the arm-holes in the sack must be
fastened up on the inside), by fastening them gracefully over one
shoulder. Then put on a large old-fashioned lace collar, ruffles
around the hand, a Kossuth hat, looped up on one side with a paste pin
or buckle, fastening a white or black plume, (taken from some lady’s
bonnet), stockings drawn over the pantaloons and fastened at the knees
with bows and buckles; and lo! with but little trouble, you have a fine
cavalier of the olden times. With old finery and a little ingenuity, a
theatrical wardrobe can be quickly made, if all are willing to do their
part, but the larger share of the work is generally done by a few.
Rocks can be made by throwing plain gray blanket shawls over ottomans,
tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder
by rattling sheet-iron, lightning by means of a tin tube, larger at one
end than the other, and filled with powdered resin. The smaller end of
the tube should be open, the other end so managed that the resin may
sift through. Shake the tube over a lamp, or blow the resin through a
plain tube into the flame of a lamp, and you will have a good imitation
of lightning.
Dissolve crystals of nitrate of copper in spirits of wine, light the
solution and it will burn with a beautiful emerald green flame. Pieces
of sponge, soaked in this spirit, lighted and suspended by fine wires
over the stage of theatres, produce the lambent green flames, now so
common in incantation scenes. Strips of flannel saturated with it, and
wrapped around pieces of copper, will form the swords and fire-forks
brandished by the demons in such scenes. Devices like the above are
very simple, and add much to the general effect.
The following is a list of plays which are easily and often acted in
private theatricals:
Comedies.
The Rivals. │ London Assurance.
Fashion. │ Lady of Lyons.
Farces.
The Loan of a Lover. │ Bombastes Furioso.
The Widow’s Victim. │ Lend Me Five Shillings.
Perfection. │ Phantom Breakfast.
Sketches in India. │ Rough Diamond.
Morning Calls. │ A Pretty Piece of Business.
Swiss Cottage. │ Old Guard.
My New Wife and My Old Umbrella. │ A Game of Romps.
Kill or Cure. │ Betsy Baker.
Poor Pillecody. │
DRAMATIC READING CLUBS.
THESE clubs are far more agreeable to their members and less likely
to cause unpleasant rivalries, which, it is to be regretted, are apt
to arise among even private actors. Human nature, alas, is weak! Some
clubs read Shakspeare alone. It is most certainly a noble study, and
one we can never weary of. Few can hope ever to excel in delineating
Shakspeare. Therefore it is well, if we meet together for social
enjoyment as well as improvement, to have a variety of plays. I have
known of very successful clubs, and I will give the general manner of
proceeding adopted by one of them, as it may assist in the formation of
others. The club was started by some young ladies with a view of making
home and winter evenings agreeable to their brothers; a committee was
chosen to form a code of laws. Each one was to subscribe a small sum
to purchase the “librettos” of their plays. The following rules were
signed by all the members:
1. Each member of the club must take his or her turn in choosing a
play, and in giving out the rôle of characters.
2. Every member must take the characters given him, and do his best,
unless he can exchange parts with some other member, with the consent
of the one who selected the play.
3. The one who selects the play has a right to the best character.
4. The club shall meet once a week at the houses of members, in
alphabetical rotation.
5. Whenever any member is unable to take his part and cannot attend the
meeting, he must provide some one to take his character.
6. No new member can be admitted without the vote of the majority.
7. Each member must study his or her part well, before meeting with the
club. If any two, or several, should have difficult parts together,
they must meet privately and practise them.
At first, they merely read the plays; but soon, they partially acted
them, and found them increased in interest thereby. They always had
their little librettos by them. Those who had ready memories rarely
referred to them; or a mere glance would be sufficient. Finally they
dressed in character, and admitted an audience composed of their
relatives.
There is not necessarily anything awkward in having the books in hand.
Such little pamphlets can be easily rolled up, and will scarcely be
noticed. Under these rules they became familiar with the best plays,
without wearying of them; and each member had an opportunity of
consulting his own taste.
I sincerely recommend this as an amusement. Persons who read French and
German will find this an admirable way of learning to converse with
ease in either of those languages.
Sheridan Knowles’ plays and Shakspeare are among the best to select
from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are
excellent plays to be read in this way.
CHARADES.
THERE is no game that can afford so much amusement to a circle of
friends as that of acting charades. It affords a scope for the exercise
of both wit and ingenuity.
A word must be chosen, in which the syllables may be rendered into some
kind of a lively performance, and the whole word must be capable of
similar representation. Then the plan of action must be agreed upon.
Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons,
gowns, &c., must be looked up for the occasion, and speedily converted
into various and grotesque costumes, suited to the representation to
be made. By exercising a little ingenuity, very fine charades can be
acted “impromptu.” Speed, in all preparations, is quite necessary to
success, as an audience is always impatient. If it is determined to
have charades at a party, the lady of the house should arrange dresses,
plan of action and subjects, beforehand. She can generally tell who
can assist her best. If all the arrangements can be made without the
knowledge of her guests, the effect will be greatly increased. This is
also an improving game for a family of children. Write the plot and
a simple dialogue, and let them learn it; it will be a good exercise
for the memory, and teach them ease of manner; but let them only act
before a home circle.
A few directions for acting certain words, and a short list of words
easy to be acted may be of service to my readers. If a word or syllable
can be represented by action, it should be seldom spoken, but syllables
must be spoken in some cases to give an idea of the word:
PENITENT.—“Penny” sufficiently expresses the first division of the
word. It can be represented by dressing in old clothes, torn hats,
bonnets, &c., to appear as street hawkers, common in cities. One can
sell “Lucifer matches—penny a bunch!” another, “Apples, fine red
apples—penny apiece!” another, “Oranges, fine fresh oranges—penny
apiece!” and so on. In this way a motley group can be contrived. A
policeman, rushing in and dispersing the group, may close the scene.
“Tent” can be represented by throwing a sheet or table-cloth over two
chairs (high-backed chairs would be preferable), in the style of a
gypsy tent. In front should be grouped some gypsies, in gay shawls,
handkerchiefs, looped dresses, &c. A lady and gentleman can approach
and ask to have their fortunes told, &c. Some one of the gypsies
singing, “In the days when we went gypsying,” would close this act
well. “Penitent” can be easily represented in a variety of ways. If it
is not guessed, the charade could be repeated and acted differently.
BRIDEWELL.—“Bride” is usually represented by a wedding, which can be
arranged to suit the tastes of the parties acting, and can be either
simple or elaborate, as they may please. The common way is to have a
dress ceremony; bride in full costume, with bridesmaids, but for a
change, one might arrange a justice’s office, and have a couple come
in to be married, the bride conspicuous in white bows and ends, and
cheap finery. Let her be the chief speaker, the man appearing awkward
and shy. After the ceremony, let her drive a sharp bargain in paying
the fee. “Well:” Take a large tub and cover it with a gray shawl, so
arranged as to look like stone, and if you have any green fleecy mats,
arrange them to represent grass. A dark-complexioned gentleman, (any
one can stain his face for the occasion,) with a turban, and dressed
in shawls skillfully arranged, may represent an Eastern Emir. He
should be seen seated Turkish-fashion by the well. A lady, dressed as
Rebecca, with a crimson scarf about her waist, having her arms bare,
and a handkerchief bound around her head, should come in, holding with
one arm a pitcher on her head. Let her seem to fill her pitcher at
the well. Then Eliezer must ask her to give him drink. After she has
handed him her pitcher (which she must have placed on her head after
having appeared to fill it), he must take from his bosom a casket of
jewels, and exhibit bracelets and ear-rings. She can feign astonishment
and admiration. He must kneel at her feet and present them. She
should express surprise and delight. Then Eliezer must fasten on the
bracelets, and the scene of Eliezer and Rebecca at the _well_ will be
represented.
To act “Bridewell:” Arrange a prison cell; take screens or
clothes-frames, and hang them with gray or black shawls, and cover
the carpet. Put in a common wood table and a kitchen chair, and let a
dim-lighted lantern be the only light. Some gentleman, meanly clad,
with hair all on end; and clenched hands resting on his knees, must be
seated in the chair, with eyes bent sullenly on the ground, and with
a scowling brow. Let chains hang from his wrists and ankles, and as
he moves clank together. Acted in this way, the word would be easily
guessed.
FAREWELL.—“Fare:” A gentleman dressed as a hackman can come in, whip
in hand. Then a gentleman and lady and a child should appear, dressed
for a journey. The hackman must address them in the usual manner,
offering to take them to any place, &c. The gentleman must then ask,
“What is the _fare_?” and bargains for it, refusing to pay _fare_ for
the child, &c. “Well:” Two ladies enter with shawls and bonnets on,
and appear to meet accidentally; each asks anxiously if the other is
_well_, and if all the family are _well_, &c.
“Farewell” can be acted in various ways. A party with bandboxes and
baskets, on their way west, may be bidding _farewell_ to friends; or a
lover, going to California, may be taking leave of his lady-love, &c.
RAILWAY.—“Rail:” Take two chairs, and place a strong cane, stick or
broom, with one end resting on each chair. Then some boy or girl may
come in and jump on the stick, swing over it, and talk about “riding on
a _rail_.” An elderly lady or gentleman should come in and talk to him
about breaking his neck on the rail, &c., &c. “Way:” a gentleman with
a carpet bag in his hand may inquire the _way_ to the depot, or an old
lady may ask which is the _way_ to the menagerie, &c. “Railway:” Let
a party of people come rushing in, some limping and groaning, others
wondering where their bandboxes have gone to! all talking of the “smash
up” on the _railway_, bringing in the word in all possible ways.
CARPET.—“Car:” several persons may pass in and out dressed in
character, as a Yankee peddler, a country girl never before from home,
a man of business, a fine lady with servants, &c., all appearing to be
waiting for the _cars_, and talking about them. Suddenly let a bell
ring, and the conductor call out, “Cars start for,” etc. All then rush
forward in character. “Pet:” Let a lady come in with a cat, dog or any
_pet_ animal, fondling it as absurdly as possible, pretending it is
sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange
a table as a counter. Some one must act as shopman. Let a lady enter
with a simpering air, her intended husband following, and ask to look
at _carpets_. Have in readiness under the counter several pieces of
_carpets_ or rugs, which the shopman should display, while the lady
consults the taste of her future lord, &c.
LUNATIC.—“Luna:” A gentleman, dressed as a young collegian,
enters with a young lady on his arm; they pretend to be walking by
_moon_-light. He speaks of the moon by its latin name, _Luna_, and
talks in a high-flown style. The lady may ask in a flat and awkward
style, “Who is Luna?” saying she never heard of her, &c., &c. The
young man explains, in a bombastic style, who _Luna_ is. “Tic:” A lady
represents an old woman, and goes about offering to make over old
_tics_, as good as new, and also says she has some geese feathers to
sell, carrying on of course other conversation, so that the word to
be guessed may not be too apparent. “Lunatic:” The best actor of the
company feigns the part of a _lunatic_, in any way he sees fit.
LAMENTABLE.—(French charade.) “L’amont” can be acted well in
pantomime, by representing an old deaf man, and his young wife; the
old man with spectacles on nose, sitting in a large chair, reading
the newspaper, his young wife standing behind the chair. A low tap is
heard at the door. She starts and listens; the door opens slily and
discovers a young man. She starts with delight, but points to the old
man, motioning the young man to go. He makes gestures of despair; then
appears to have a sudden thought, bows and retires. Soon a loud knock
is heard, she goes to the door, and returns with a letter, giving it
to the old man; he reads, shakes his head, and hands it to her; she
looks at it, runs for his hat and coat and motions him to go. He leaves
at one door, while _L’Aman_ enters at another. Then they act a lover
like scene and the curtain drops. “Table:” She again appears with
sleeves rolled up, apron on, rolling-pin in hand, making cakes; the
young lover standing by, and now and then eating one of the cakes. They
hear a heavy step and the lover runs for a hiding-place. At last he
springs under the table, and she pulls a table-cloth down around it,
and goes on rolling cakes. In comes the old man, hobbling along. He
looks around and suspects something, and begins a strict search. Thus
ends that scene. “Lamentable:” The same actors appear, but the table is
turned over, and behold! the old man has seized the young lover, and is
brandishing aloft a heavy cane, while the young wife appears, weeping
bitterly.
WARLOCK.—(A male wizard.) “War:” A wounded soldier is seen prostrate
and dying. “Lock:” An old woman with a long tow wig, sits mumbling to
herself, and knitting. A young man appears and pretends entire devotion
to her, and begs for a _lock_ of her hair. She refuses at first, but
he coaxes it from her. She then takes out a large pair of shears and
cuts off a long _lock_, rolls it up and gives it to him. He pretends
ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as
an old wizard, appears and offers to tell fortunes, &c.; this can be
performed as the actor thinks best.
The following words are easy to be acted:—
Back-bite. Bond-age. Brace-let.
Com-fort. Ann-ounce. In-firm.
In-fan-tile. Sin-cere. Spec-tacles.
TABLEAUX VIVANTS.
TABLEAU vivants, as commonly represented, are so well understood
that no directions are necessary, but some of my readers may not
have heard of the illustration of poems, &c., by a series of living
pictures. This is far more interesting than simply to personify some
one picture. Still another way is to represent the different scenes
in a song, while at the same time some one who is a good musician
sings the verses of the song as they are represented. For instance,
“The Mistletoe Bough,” first represent a room decorated with green, a
company assembled gaily dressed and dancing, while a lady or gentleman
behind the scene sings the verse represented in distinct tones, and so
on through the whole song; the last scene representing children in a
lumber-room opening an old chest and exposing a skeleton, old flowers,
&c. “Auld Robin Grey,” and “The Three Fishers” are easily represented.
Still another variety of tableaux is a song represented in pantomime,
for instance, the song of “Blue Beard,” or “O, they Marched through the
Town,” &c.
[Illustration]
The Sibyl.
FORTUNE telling, as a practice, is morally wrong, and they who
intentionally deceive credulous people commit a sin; the effects of
such deception on sensitive minds are often lasting, and in some
instances have been attended with very sad results. Almost all persons
have a little superstition in their natures, and naturally relish
mystery.
But as a game and pastime, fortune telling is harmless and amusing.
The old fashioned fate lady has afforded much amusement and profit at
fairs. The following is a more modern and graceful method: Cut green
enameled paper in the shape of oak leaves, and on the white side
write some simple oracle. The person who represents the sibyl seats
herself, dressed in character, under a tasteful canopy, with a table
in front, and her sibylline leaves scattered over it, with the green
side upwards. Then as individuals enquire their fate of the oracle, let
her move about the leaves, muttering some incantation, and let each
one select his or her own leaf. Another way is to hold the leaves in a
cornucopia and scatter them around from it. Care must be taken not to
expose the white side of the leaves.
THE FIAT OF FATE.
[Illustration]
MAKE twelve flat pin-cushions, heart-shape, and all of different
colors, such as blue, variegated, white, scarlet, green, lilac,
checkered, brown, slate, purple, yellow and pink. Have a loop of narrow
ribbon fastened to each, and stick small pins all around them as in the
design. Take some narrow ribbon and string them all upon it; they are
then ready to be used, with the following oracles:
The Fiat of Fate.
To all who wish their fate to know,
These hearts will future fortunes show;
With shaded eyes then touch and name—
The _color_ will thy lot proclaim.
BLUE.
If fortune favors thee, wish blue,
Thou couldst not wish a brighter hue;
On life’s dark disc this shade portrays
Truth, happiness, and length of days.
VARIEGATED.
These variegated colors show
A pleasing mixture here below,
To those whose lot it is to name,
This emblem, of both joy and pain.
WHITE.
This lovely white then touch with joy,
And gain a fate without alloy;
Fair, pure and spotless is the life
Thus singled out from future strife.
SCARLET.
With caution this gay color name,
For wide and evil is its fame;
Inflammatory, it taints the air,
Portending strife and civil war.
GREEN.
This cool, inviting, lovely green,
Has to the single ever been
An emblem of their future state,
Their peaceful, though forsaken, fate.
LILAC.
The lilac tint betokens life
Of every hope, and plans are rife;
Of love and friendship, holy, true,
The pink is tempered by the blue.
CHECKERED.
The many colors here portrayed,
Of every hue, and every shade,
Portends a checkered changing lot,
From palace to the humble cot.
BROWN.
This sombre brown denotes a calm
And pleasing life, devoid of harm;
An innocent and simple mind,
A temper meek and well inclined.
SLATE.
This pale and melancholy shade
Betokens ills that never fade;
But prey upon the tainted power,
Embittering each succeeding hour.
PURPLE.
This royal color, rich in pride,
A splendid fate may well betide;
Exalted rank and riches great,
Vanity, power, pomp and state.
YELLOW.
Beware of yellow, ’tis a color
Speaks of misery, grief and dolor;
Of jealousy, and broken vows,
And many nameless, endless woes.
PINK.
A life of innocence and mirth
Will be thy portion here on earth;
With reason, then, you may rejoice,
The modest pink has been your choice.
FLOWER FATE.
PROCURE a quantity of cards, each with a separate flower painted
upon it. In a book write the meaning of each flower, and then let a
person choose any number of cards. You must look out the meaning of
each, and ingeniously combine the whole into one sentence. A more
beautiful design for a fair or a social party is the arrangement of
natural flowers in small fate bouquets, some one person arranging their
accompanying oracles beforehand. Then let the person seeking to know
his fate select a bouquet.
FATE BOX.
WRITE a number of fates and fill a box, made with an opening just large
enough to admit the hand. Then, as the person seeks his fortune, shake
up the box, and let him draw out his fate.
[Illustration]
The Puzzler.
THE following conundrums, riddles, etc., are given merely as
suggestions. The conundrums most productive of amusement are those made
in the course of general conversation. A happy party, in the course of
a long and stormy evening, may make more and better ones than are to be
found in any one book. If those given here attract the attention and
excite the ingenuity of the boys and girls who read them, a great deal
of home pleasure will be the result.
CONUNDRUMS.
1. IF a man’s son had told a lie, and he wished to order him, in the
shortest way possible, to leave him, what Scripture name would he use?
2. What relation would a man be to a person he visited in jail, if, on
being asked, he said, “Brothers and sisters have I none, yet this man’s
father is my father’s son?”
3. Why had the children of Israel plenty of food in the desert?
4. Why were there plenty of sandwiches in the desert?
5. Why is a short negro like a white man?
6. Why do we all go to bed?
7. Why is a room full of married people like an empty room?
8. Why is an angry person like a hard baked loaf of bread?
9. When is a door not a door?
10. Why is a man in love like a lobster?
11. Why is an avaricious man like one with a short memory?
12. Why is a pair of pantaloons too big every way like two populous
towns in France?
13. You are requested to ask the following question in three letters:
“Are you the person?”
14. What sea would make the best bedroom?
15. Which are ladies most in favor of, tall or short men?
16. Why is a speech, delivered on the deck of a man-of-war, like a
lady’s necklace?
17. Why is the letter D like a sailor?
18. Why is grass like a mouse?
19. Why is a bald head like heaven?
20. What two letters make a County in Massachusetts?
21. Why is an angry man like a lady in full dress?
22. Why is a good wife like the evil one?
23. Why is a good story like a parish bell?
24. Why were the brokers of 1857 like Pharaoh’s daughter?
25. Why is there but little difference between a light in a cavern and
a dance in the hall of a tavern?
26. By what three Bible names would a mother call her three sons, in
telling them to go home with some young ladies in a carriage? The first
she spoke to in an enquiring tone; the second, entreating; the third,
commanding?
27. Who was the fastest woman in the Bible?
28. How did Adam and Eve leave Paradise?
29. Why was not Noah a good mouser?
30. Why are camel’s hair shawls in this country like a stone deaf
person?
31. In what way would you ask a Doctor of Divinity to play on a violin,
in the shortest possible way?
32. Why is an odd walker easiest recognized at his own door?
33. Why is the gray hair of a person who has had many trials like a
plated spoon?
34. Why is a sword like lager beer?
ENIGMAS, CHARADES AND RIDDLES.
1. My first is a common London cry,
My next an insect; now try
To guess my whole; a clue I’ll give, though slight,
It oft emits my first, a glorious sight.
2. We are twin brothers, and in vain,
We never meet but to complain.