The Deacon: An Original Comedy Drama in Five Acts

=Scene.=--_MRS. THORNTON'S sitting-room, same as Act IV. MISS AMELIA seated on sofa, the DEACON beside her; PETE looks in upon them from behind curtain C., grinning._

=Deacon.= In a short time, my love, Helen will be the happy bride of Mr. Wheeler. Oh, that I could persuade you to become my blushing bride at the same time. (_places arm around her, and looks at her fondly_)

=Miss A.= (_half-playfully_) I declare, Deacon, the more one sees of you the more impressive your silliness becomes. The bare idea of a man of your age desiring to marry, is simply ridiculous.

=Deacon.= Perhaps it is, my darling, but let me enjoy the happiness of living over my youth again. I feel fifty years younger this morning than I did last night before I obtained your consent to bless my declining years with your sweet smile. But when we come to consider our age, and the subject of marriage in connection with it, it certainly does appear as though _both_ of us were silly geese.

=Miss A.= (_amazed and offended_) Sir!

=Deacon.= (_confused_) I beg your pardon. I did not mean to refer to your age. I--I--meant my own. That was what I was thinking about. (_tenderly_) As I look at you, you appear as fresh and bright as a lass of sixteen.

=Miss A.= (_reassured, gushingly_) Oh, Deacon, I can't believe you mean that.

=Deacon.= I do though.

=Pete.= (_at D. C._) Look out, de parson am coming! (_MISS A. and DEACON start, then separate. PETE enters and goes R. At same instant_

Enter PARSON BROWNLOW, L. 2 E.

=Deacon.= (_rises, faces PETE, enraged_) How dare you enter my--our presence unannounced! What do I care if the parson has come! (_MISS A., catching sight of PARSON B., who stands L. amazed, with uplifted hands, tugs at the DEACON'S sleeve to attract his attention_) If a dozen of them come, are they any better than any body else? If ever you enter my presence again so abruptly, old as I am, I'll cane you within an inch of your life.

=Miss A.= Deacon, Deacon, do be still. You are disgracing yourself and mortifying me. Just look! There stands Parson Brownlow listening to every word you say.

=Deacon.= Hang the Parson! I'll--(_sees the parson_) I beg your pardon, sir, I was not aware of your presence. You must excuse my unseemly passion. I have been greatly irritated by that black rascal standing there. (_pointing to PETE_)

=Parson B.= What, Pete in trouble again! (_to PETE_) What have you been doing now?

=Pete.= (_in injured tone_) I weren't doin' nuffin'. De Deacon dar was a-spoonin', (_the DEACON frowns and starts for PETE, but is detained by MISS A. catching him by the arm. PETE starts to run up R._) an' cause I warned him of your approach to keep yo' from catchin' ob him, he got mad.

=Miss A.= There, Pete, that's enough. (_to PARSON B._) It was a little misunderstanding, that is all. (_DEACON manifests a desire to reach PETE. To DEACON_) Deacon, do be still. I think I hear the bride and groom coming.

Enter _MRS. THORNTON and guests, if any, R. 2 E. They take places. =Mrs. T.= down L., guests up L. and R.; MISS AMELIA, DEACON and PARSON cross R.; PARSON stands R. of MISS A.; PETE goes up R. near curtain. Orchestra plays a wedding march. After a few bars enter HELEN D. C., arrayed in bridal robes, leaning on the left arm of WHEELER. Take positions directly in front of L. 2 E. door. PETE makes a low salaam as they enter, but shakes fist at WHEELER as he crosses to position. PARSON takes book from pocket, steps in front of contracting parties, and proceeds with ceremony as music ceases. PETE peeps out D. C._

=Parson.= (_reading from book_) We are gathered together here in the presence of this company to join together this man and woman in the holy bonds of matrimony. If any man can show just cause why they may not lawfully be joined together, let him now speak, or else hereafter forever hold his peace--(_during the delivery of this, PETE manifests uneasiness and occasionally glances around at D. C. When GRAEF enters he displays joy by rubbing hands gleefully_)

Enter _GRAEF D. C.; goes down C. Speaks as he comes forward._

=Graef.= One moment, Parson. I forbid this marriage.

=Wheeler.= On what grounds?

=Graef.= Aunt--Helen--you are being imposed upon!

=Wheeler.= (_angrily_) What is the meaning of this interference, sir?

=Graef.= (_to HELEN_) That man has a wife living.

=Wheeler.= 'Tis false! As false as he who makes the accusation. (_to HELEN, angrily_) You will not allow yourself to be influenced by the base charge of a common thief, will you?

=Graef.= Helen, I ask no one to believe my simple word. I have proof amply sufficient to convince you of the truthfulness of my assertion. (_to WHEELER_) Do you deny my charge?

=Wheeler.= I do, and challenge you to produce your proof.

Enter MRS. DARRAH, D. C.

=Graef.= (_to WHEELER_) It is here. Do you know this lady?

=Wheeler.= (_surprised_) Minnie!

=Graef.= You know her then?

=Wheeler.= You here?

=Mrs. T.= (_to GRAEF_) Who is that woman?

=Graef.= Uncle's daughter, (_the DEACON'S back is turned toward MRS. D._) and your would-be son-in-law's wife.

=Mrs. T.= (_to WHEELER_) Is this true?

=Wheeler.= I cannot deny it. (_bows head. MRS. T. catches HELEN by arm and supports her to sofa as MRS. D. speaks. PARSON B. closes book and crosses to R. of MISS AMELIA_)

=Mrs. D=. Alas, it is too true! But I remain such only until the courts sever our relation. (_goes to sofa and helps comfort HELEN, after casting a longing glance at the DEACON who still stands with back toward her_)

=Wheeler.= (_hisses through clenched teeth, to GRAEF_) So I have _you_ to thank for this humiliation, have I?

=Graef.= Yes, and it is a pleasure I have been anticipating for the past two days.

=Wheeler.= Then you prepared this plan for my exposure?

=Graef.= I did.

=Wheeler.= Have you the effrontery to tell me to my teeth that you deliberately prepared my downfall?

=Graef.= (_coolly_) I have.

=Wheeler.= Then, you miserable cur, I'll be revenged. (_rushes at GRAEF who retreats a little. PETE draws huge butcher knife and runs to GRAEF'S side_)

=Pete.= Pull on him, Massa George, pull on him, I'se wid yo'! (_holding knife aloft dramatically. At sight of knife MISS AMELIA has slight attack of hysterics, throws both arms around the DEACON'S neck and chokes him. The DEACON struggles to release himself. PARSON B. stoops behind MISS A. and tries to make her dress shield him. =Wheeler= stops suddenly_)

Enter _OFFICER, L. 2 E.; approaches WHEELER softly_.

=Graef.= He's not worth the effort, Pete. Officer, arrest that man.

=Officer.= (_seizing WHEELER from behind_) George Darrah, I arrest you for the crime of theft. (_WHEELER struggles. GRAEF helps OFFICER handcuff him. The DEACON unloosens MISS A.'S arms, when her head falls upon his right shoulder. The DEACON supports her drooping form by placing his right arm around her waist. MRS. T. rises_)

=Wheeler.= What is the meaning of this indignity?

=Graef.= You will soon know. (_to MRS. T._) Aunt, there stands the George Graef who stole your diamonds!

=Pete.= Say, Massa George, what do yo' think his picture will look like now, arter it's took, eh? (_GRAEF smiles. PETE crosses to PARSON B. and makes feint to stab him with knife. PARSON sinks almost to knees, manifesting great fear. Aside_) He kin teach others how to die bravely, but he skeers when deff comes nigh him.

=Mrs. T.= (_to GRAEF_) I don't understand you.

=Graef.= George Darrah, there, known to you as Mr. Wheeler, is the thief you thought was myself. (_to WHEELER_) Do you require _proof_ to that effect?

=Wheeler.= Yes, if you possess it.

=Graef.= (_taking watch charm from pocket_) Do you recognize that charm?

=Wheeler.= No, I never saw it before.

=Pete.= Dat's a whopper!

=Graef.= (_taking paper from pocket_) Perhaps you will deny also ever having seen this note with your name attached to it. (_folds note so that signature only is seen, and shows it to WHEELER_) Is that your signature?

=Wheeler.= No, it's a forgery.

=Pete.= By crickitees! I'se not a circumstance to dat feller in lyin'.

=Graef.= Aunt, this charm and note were found by Pete just outside of your dressing-room door the morning after the robbery. He, thinking they might lead to a clue, brought them to me. From the contents of this note I learned who committed the theft and where the diamonds were secreted.

=Wheeler.= Will you let me see that note?

=Graef.= With pleasure. (_walks to WHEELER, unfolds note and holds it up for him to read, talking as he does so_) Pete visited the place where the diamonds were hidden, and brought them to me. I will give them to you in a moment. Are you through? (_to WHEELER. Takes small package from pocket and hands it to MRS. T._) There they are.

=Wheeler.= Mrs. Thornton, that note is supposed to be written by me. In it I am made to state the _hour_ I was to commit the robbery, and the _place_ where I would hide the diamonds, so that my confederate could find them. Now, do you think if _I_ planned the affair and had an accomplice, I would be likely to write him a tell-tale note, and allow it to fall into an interested party's hands to be used against me?

=Pete.= Did yo' eber hear de like?

=Mrs. T.= Well, hardly, but how do you account for the note explaining where the diamonds were hidden?

=Wheeler.= That's plain enough to me. There stands the man (_looking at GRAEF_) who _took_ the diamonds; there stands the man who _returned_ them, and _there_ is the man who wrote that note and trumped up this charge to shield himself at my expense.

=Graef.= You infamous scoundrel! (_advances upon WHEELER_)

=Pete.= (_excitedly_) Pin him, Massa George. I'd nebber stand dat, suah!

=Mrs. T.= (_looks reproachfully at GRAEF_) Can it be possible!

=Graef.= Aunt, for heaven's sake, believe not that black-hearted villain. In one moment I'll convince you of his guilt beyond question. This morning, Davis the pawnbroker, came to my room of his own free will, and told me that that man (_pointing to WHEELER_) was the one who left one of your jewels at his shop, and that he was to pay Davis three hundred dollars to keep that fact a secret. Is that sufficient for you?

=Pete.= (_aside_) Ob his own free will, did he? I guess I skeered ole Davis nigh about to deff. I tole him we knew who gave him dat diamond an' I was on my way to git an officer to 'rest him as a 'complice.

=Wheeler.= The lying scoundrel! I'll get even with him for that, and with _you_ (_to GRAEF_) and you, (_to MRS. T._) and with all of you.

=Mrs. T.= Off with you. I no longer doubt your guilt. Officer, remove him instantly from our presence. (exeunt _OFFICER and WHEELER, L. 2 E. MRS. T. goes to GRAEF_) George, can you ever forgive me for my unjust suspicions? I will do anything in my power to make retribution to you for your sufferings.

=Graef.= Then extend to Minnie, there, your niece, a welcome worthy of her. (_MRS. T. goes to sofa, grasps MRS. D.'S hand, takes seat beside her and engages her in conversation. HELEN rises and approaches GRAEF_) Innocence requires no retribution from those who suspect her.

=Helen.= Cousin, no one can ever be more grateful to you than I am for the life of misery you have saved me from. What could have been that _fiend's_ motive in trying to bring disgrace upon us all, baffles my comprehension.

=Graef.= His desire to be revenged upon Minnie and all her relatives, for the fancied insult he received in uncle's disinheriting her for marrying contrary to his wishes, has been the motive that actuated him. (_PARSON, MISS AMELIA and DEACON cross to GRAEF_)

=Parson.= (_shaking GRAEF'S hand_) Bless you, my son, bless you.

=Miss A.= George, you are a son worthy of your mother. I always said you would yet make a man of yourself----

=Graef.= (_interrupting_) There, there! you are all showering your thanks upon me and forgetting Pete, to whom most of the glory belongs.

=Pete.= Yo' just bet it does. I'se done my share ob keepin' up de 'spectability ob de family.

=Helen.= Yes, Pete, you have, and we are all very grateful to you for it.

=Pete.= (_bowing_) T'ank yo'.

=Deacon.= (_advancing and extending hand_) George, my boy, you will at least let me extend to you my hearty congratulations. You have acted nobly.

=Graef.= (_refusing hand_) Excuse me uncle, but----

=Deacon.= Why! why! what's the matter? Refuse to shake hands with me? Why--ah--I can't understand it.

=Graef.= Pardon me, uncle for my plainness of speech. But I'll never shake hands with a father who has disowned his motherless child, until he forgives her and acknowledges her as his own flesh and blood.

=Pete.= (_aside_) Dat's de noblest t'ing he ever said or done.

=Minnie.= (_rising_) George!

=Graef.= I can't help it, Minnie. I mean it. (_the DEACON turns back_)

=Pete.= Dat's right, Massa George, make him toe de scratch.

Enter NELLIE, D. C.

=Nellie.= Where's mamma? Oh, there you are! (_runs to her_)

=Graef.= (_approaches DEACON; lays hand upon his left shoulder_) Uncle, your daughter and child await your forgiveness.

=Deacon.= (_doggedly_) I have no daughter!

=Pete.= Miss 'Melia, please come here a minnit. (_MISS A. goes to PETE, who is down R._) Yo' tackle de Deacon, he'll refuse yo' nuffin'.

=Miss A.= Go long with you! (_returns to former position_)

=Parson.= Brother, the good book says, "Forgive, and we shall be forgiven." (_MRS. D. and NELLIE approach DEACON and kneel at his L. side_)

=Mrs. D.= Father, I ask your forgiveness, not for myself, but for this innocent child's sake.

=Pete.= Now, go for him, Miss 'Melia, an' yo'll fotch him, suah.

=Deacon.= Rise, my child, for inhuman would be the man who could refuse the pleadings of a kneeling child. You are forgiven. (_tenderly kisses the brow of MRS. D. She and NELLIE rise_)

=Miss A.= Oh, Deacon, Deacon!

=Pete.= (_aside_) She's jealous!

=Miss A.= How noble you are.

=Pete.= (_elevating eyebrows and opening mouth_) Oh, dat's what she means!

=Graef.= (_grasping the DEACON'S hand_) Now, uncle, I'll shake hands with you and thank you, too, for the nobility of character you have shown. Though there will be no marriage bells ringing in this house to-day, yet I'm sure there will not be a happier gathering of loved ones to be found in this wide, wide world.

=Pete.= But t'ink ob de good things we'll miss!

=Deacon.= (_gleefully_) Who says there will be no marriage-bells sounding in this house to-day? Parson, step right down. (_motioning down C. Enter BILLY, D. C., with huge piece of cake in hand, eating. His disfigurements are slightly less than in Act 4. Stands up C._) Where are you, Amelia, my love?

=Miss A.= Oh, Deacon, don't be so silly! (_holding back. All smile_)

=Deacon.= Come along, my love. Don't keep the Parson waiting, come along. (_take positions down C. PETE runs to NELLIE and places her beside MISS A., while he goes to DEACON'S side. MRS. T. and HELEN up L.; GRAEF and MRS. D. up R.; BILLY up C., eating_)

=Pete.= Let de band play fo' we's all ready fo' de dance. (_PARSON opens book and steps in front of MISS A. and the DEACON as the curtain falls_)

CURTAIN.

[Illustration]

SAVED FROM THE WRECK.

_A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO._

PRICE, 15 CENTS.

Eight male, three female characters: Leading comedy, juvenile man, genteel villain, rough villain, light comedy, escaped convict, detective, utility, juvenile lady, leading comedy lady and old woman. Two interior and one landscape scenes. Modern costumes. Time of playing, two hours and a half. The scene of the action is laid on the New Jersey coast. The plot is of absorbing interest, the "business" effective, and the ingenious contrasts of comic and serious situations present a continuous series of surprises for the spectators, whose interest is increasingly maintained up to the final tableau.

Synopsis Of Incidents. ACT I. THE HOME OF THE LIGHT-HOUSE KEEPER.--An autumn afternoon.--The insult.--True to herself.--A fearless heart.--The unwelcome guest.--Only a foundling.--An abuse of confidence.--The new partner.--The compact.--The dead brought to life.--Saved from the wreck.--Legal advice.--Married for money.--A golden chance.--The intercepted letter.--A vision of wealth.--The forgery.--Within an inch of his life.--The rescue.--TABLEAU.

Act Ii. SCENE AS BEFORE; time, night.--Dark clouds gathering.--Changing the jackets.--Father and son.--On duty.--A struggle for fortune.--Loved for himself.--The divided greenbacks.--The agreement.--An unhappy life.--The detective's mistake.--Arrested.--Mistaken identity.--The likeness again.--On the right track.--The accident.--"Will she be saved?"--Latour's bravery.--A noble sacrifice.--The secret meeting.--Another case of mistaken identity.--The murder.--"Who did it?"--The torn cuff.--"There stands the murderer!"--"'Tis false!"--The wrong man murdered.--Who was the victim?--TABLEAU.

Act Iii. TWO DAYS LATER.--Plot and counterplot.--Gentleman and convict.--The price of her life.--Some new documents.--The divided banknotes.--Sunshine through the clouds.--Prepared for a watery grave.--Deadly peril.--Father and daughter.--The rising tide.--A life for a signature.--True unto death.--Saved.--The mystery solved.--Dénouement.--TABLEAU.

BETWEEN TWO FIRES.

_A COMEDY-DRAMA IN THREE ACTS, BY THOMAS K. SERRANO._

PRICE, 15 CENTS.

Eight male, three female, and utility characters: Leading juvenile man, first and second walking gentleman, two light comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers; leading juvenile lady, walking lady and comedienne. Three interior scenes; modern and military costumes. Time of playing, two hours and a half. Apart from unusual interest of plot and skill of construction, the play affords an opportunity of representing the progress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up, and a startling phase of the slavery question is sprung upon the audience in the last act.

Synopsis Of Incidents. ACT I. AT FORT LEE, ON THE HUDSON.--News from the war.--The meeting.--The colonel's strange romance.--Departing for the war.--The intrusted packet.--An honest man.--A last request.--Bitter hatred.--The dawn of love.--A northerner's sympathy for the South.--Is he a traitor?--Held in trust.--La Creole mine for sale.--Financial agents.--A brother's wrong.--An order to cross the enemy's lines.--Fortune's fool.--Love's penalty.--Man's independence.--Strange disclosures.--A shadowed life.--Beggared in pocket, and bankrupt in love.--His last chance.--The refusal.--Turned from home.--Alone, without a name.--Off to the war.--TABLEAU.

Act Ii. ON THE BATTLEFIELD.--An Irishman's philosophy.--Unconscious of danger.--Spies in the camp.--The insult.--Risen from the ranks.--The colonel's prejudice.--Letters from home.--The plot to ruin.--A token of love.--True to him.--The plotters at work.--Breaking the seals.--The meeting of husband and wife.--A forlorn hope.--Doomed as a spy.--A struggle for lost honor.--A soldier's death.--TABLEAU.

Act Iii. BEFORE RICHMOND.--The home of Mrs. De Mori.--The two documents.--A little misunderstanding.--A deserted wife.--The truth revealed.--Brought to light.--Mother and child.--Rowena's sacrifice.--The American Eagle spreads his wings.--The spider's web.--True to himself.--The reconciliation.--A long divided home reunited.--The close of the war.--TABLEAU.

=> _Copies mailed, postpaid, to any address, on receipt of the annexed prices._ <=

UNCLE TOM'S CABIN (NEW VERSION.)

_A MELODRAMA IN FIVE ACTS, BY CHAS. TOWNSEND._

PRICE, 15 CENTS.

Seven male, five female characters (some of the characters play two parts). Time of playing, 2¼ hours. This is a new acting edition of a prime old favorite, so simplified in the stage-setting as to be easily represented by dramatic clubs and travelling companies with limited scenery. UNCLE TOM'S CABIN is a play that never grows old; being pure and faultless, it commands the praise of the pulpit and support of the press, while it enlists the favor of all Christians and heads of families. It will draw hundreds where other plays draw dozens, and therefore is sure to fill any hall.

Synopsis Of Incidents. ACT I.--_Scene I._--The Shelby plantation in Kentucky.--George and Eliza.--The curse of Slavery.--The resolve.--Off for Canada.--"I won't be taken--I'll die first."--Shelby and Haley.--Uncle Tom and Harry must be sold.--The poor mother.--"Sell my boy!"--The faithful slave. _Scene II._--Gumption Cute.--"By Gum."--Marks, the lawyer.--A mad Yankee.--George in disguise.--A friend in need.--The human bloodhounds.--The escape.--"Hooray fer old Varmount!"

ACT II.--St. Clare's elegant home.--The fretful wife.--The arrival.--Little Eva.--Aunt Ophelia and Topsy.--"O, Golly! I'se so wicked!"--St. Clare's opinion.--"Benighted innocence."--The stolen gloves.--Topsy in her glory.

ACT III.--The angel child.--Tom and St. Clare.--Topsy's mischief.--Eva's request.--The promise.--Pathetic scene.--Death of Eva.--St. Clare's grief.--"For thou art gone forever."

ACT IV.--The lonely house.--Tom and St. Clare.--Topsy's keepsake.--Deacon Perry and Aunt Ophelia.--Cute on deck.--A distant relative.--The hungry visitor.--"Chuck full of emptiness."--Cute and the Deacon.--A row.--A fight.--Topsy to the rescue.--St. Clare wounded.--Death of St. Clare.--"Eva--Eva--I am coming."

ACT V.--Legree's plantation on the Red River.--Home again.--Uncle Tom's noble heart.--"My soul ain't yours, Mas'r."--Legree's cruel work.--Legree and Cassy.--The white slave.--A frightened brute.--Legree's fear.--A life of sin.--Marks and Cute.--A new scheme.--The dreadful whipping of Uncle Tom.--Legree punished at last.--Death of Uncle Tom.--Eva in Heaven.

THE WOVEN WEB.

_A DRAMA IN FOUR ACTS, BY CHAS. TOWNSEND._

PRICE, 15 CENTS.

Seven male, three female characters, viz.: leading and second juvenile men, society villain, walking gentleman, eccentric comedian, old man, low comedian, leading juvenile lady, soubrette and old woman. Time of playing, 2¼ hours. THE WOVEN WEB is a flawless drama, pure in thought and action, with excellent characters, and presenting no difficulties in costumes or scenery. The story is captivating, with a plot of the most intense and unflagging interest, rising to a natural climax of wonderful power. The wit is bright and sparkling, the action terse, sharp and rapid. In touching the great chord of human sympathy, the author has expended that rare skill which has given life to every great play known to the stage. This play has been produced under the author's management with marked success, and will prove an unquestionable attraction wherever presented.

Synopsis Of Incidents. ACT I.--Parkhurst & Manning's law office, New York.--Tim's opinion.--The young lawyer.--"Majah Billy Toby, sah!"--Love and law.--Bright prospects.--Bertha's misfortune.--A false friend.--The will destroyed.--A cunning plot.--Weaving the web.--The unseen witness.--The letter.--Accused.--Dishonored.

ACT II.--Winter quarters.--Colonel Hastings and Sergeant Tim.--Moses.--A message.--Tim on his dignity.--The arrival.--Playing soldier.--The secret.--The promise.--Harry in danger.--Love and duty.--The promise kept.--"Saved, at the loss of my own honor!"

ACT III.--Drawing-room at Falconer's.--Reading the news.--"Apply to Judy!"--Louise's romance.--Important news.--Bertha's fears.-- Leamington's arrival.--Drawing the web.--Threatened.--Plotting.-- Harry and Bertha.--A fiendish lie.--Face to face.--"Do you know him?"--Denounced.--"Your life shall be the penalty!"--Startling tableau.

ACT IV.--At Uncle Toby's.--A wonderful climate.--An impudent rascal.--A bit of history.--Woman's wit.--Toby Indignant.--A quarrel.--Uncle Toby's evidence.--Leamington's last trump.--Good news.--Checkmated.--The telegram.--Breaking the web.--Sunshine at last.

=> _Copies mailed, postpaid, to any address, on receipt of the annexed prices._ <=

TOWNSEND'S "AMATEUR THEATRICALS."

_A Practical Guide for Amateur Actors._

PRICE, 25 CENTS.

This work, without a rival in the field of dramatic literature, covers the entire subject of amateur acting, and answers the thousand and one questions that arise constantly to worry and perplex both actor and manager. It tells how to select plays and what plays to select; how to get up a dramatic club--whom to choose and whom to avoid; how to select characters, showing who should assume particular _rôles_; how to rehearse a play properly--including stage business, by-play, voice, gestures, action, etc.; how to represent all the passions and emotions, from Love to Hate (this chapter is worth many times the price of the book, as the same information cannot be found in any similar work); how to costume modern plays. All is told in such a plain, simple style that the veriest tyro can understand. The details are so complete and the descriptions so clear that the most inexperienced can follow them readily. The book is full of breezy anecdotes that illustrate different points. But its crowning merit is that it is thoroughly PRACTICAL--it is the result of the author's long experience as an actor and manager. Every dramatic club in the land should possess a copy of this book, and no actor can afford to be without it. It contains so much valuable information that even old stagers will consult it with advantage.

HELMER'S

ACTOR'S MAKE-UP BOOK.

_A Practical and Systematic Guide to the Art of Making up for the Stage._

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CONTENTS.

Chapter I. THEATRICAL WIGS.--The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly.

Chapter II. THEATRICAL BEARDS.--How to fashion a Beard out of Crêpe Hair. How to make Beards of Wool. The growth of Beard simulated.

Chapter III. THE MAKE-UP.--A successful Character Mask, and how to make it. Perspiration during performance, how removed.

Chapter IV. THE MAKE-UP BOX.--Grease Paints. Grease Paints in Sticks; Flesh Cream; Face Powder; How to use Face Powder as a Liquid Cream; The various shades of Face Powder. Water Cosmétique. Nose Putty. Court Plaster. Cocoa Butter. Crêpe Hair and Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes.

Chapter V. THE FEATURES AND THEIR TREATMENT.--The Eyes: Blindness. The Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste on eyebrows; How to regulate bushy eyebrows. The Eyelashes: To alter the appearance of the eyes. The Ears. The Nose: A Roman nose; How to use the nose putty; a pug nose; an African nose; a large nose apparently reduced in size. The Mouth and Lips: a juvenile mouth; an old mouth; a sensuous mouth; a satirical mouth; a one-sided mouth; a merry mouth; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails: Finger-nails lengthened. Wrinkles: Friendliness and Sullenness indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy.

Chapter VI. TYPICAL CHARACTER MASKS.--The Make-up for Youth: Dimpled Cheeks. Manhood. Middle Age. Making up as a Drunkard: One method; another method. Old Age. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns.

Chapter VII. SPECIAL HINTS TO LADIES.--The Make-up. Theatrical Wigs and Hair Goods.

=> _Copies of the above will be mailed, post-paid, to any address, on receipt of the annexed prices._ <=

HAROLD ROORBACH, Publisher, 9 Murray St., New York.

Transcriber's notes:

The following is a list of changes made to the original. The first line is the original line, the second the corrected one.

author. Threatrical Managers wishing to produce it should apply to author. Theatrical Managers wishing to produce it should apply to

JAMES REED, _a friend of Darrah's_, H. C. Lewis. JAMES READ, _a friend of Darrah's_, H. C. Lewis.

and played by Reed. Officer in Act IV, by Violinist. and played by Read. Officer in Act IV, by Violinist.

life would be beset by the harrassing knowledge of being surrounded life would be beset by the harassing knowledge of being surrounded

I'll let the precious booty remain in it's hiding place until I I'll let the precious booty remain in its hiding place until I

=Daisy.= Oh, Mr. Wheeler, I forgot----(_percieves DEACON_) Oh! =Daisy.= Oh, Mr. Wheeler, I forgot----(_perceives DEACON_) Oh!

(_dicks up pin; conceals bent part, displaying point_) Daisy nebber (_picks up pin; conceals bent part, displaying point_) Daisy nebber

=Graef.= (_interrrupting her, grasps her by shoulder and anxiously_ =Graef.= (_interrupting her, grasps her by shoulder and anxiously_

=Miss A.= I fear your are a flatterer. Now, you don't think I'm =Miss A.= I fear you are a flatterer. Now, you don't think I'm

=Miss A.= That will do, Daisy. You are are a nice, well-behaved =Miss A.= That will do, Daisy. You are a nice, well-behaved

this morning than I did last night before I obtained you consent this morning than I did last night before I obtained your consent

=Officer.= (_seizing WHEELER from behind_) George Darrah, I ar- =Officer.= (_seizing WHEELER from behind_) George Darrah, I arrest