Please see the [Trancriber’s Notes] at the end of this text.

The cover image has been created for this text and is in the public domain.

HOME FUN

HOME FUN
BY
CECIL H. BULLIVANT

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

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]).

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. 1a]) 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.

Fig. 1a.—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.

Fig. 2.—Showing usual arrangement of flats.

Fig. 3.—Construction of “flat” containing door.

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.

Fig. 5.—Flat for double doors.

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.

Fig. 7.—Complete door with section.

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.

Fig. 9.—Construction of portable porch.

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.

Fig. 11.—Portable counter or sideboard.

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.

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.

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. 1a]). 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. 1b] and [1c]).

Fig. 1a.—High lights.

Fig. 1b.—High lights.

Fig. 1c.—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.

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.

Fig. 3.—Before lining.

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.

Fig. 5.—Eyebrow before lining.

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.

Fig. 7.—Natural eyebrow.

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.

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.

Fig. 10.—Natural lips.

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]).

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.

Fig. 13.—“Middle-age” make-up.

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.

Fig. 15a.—Natural features.

Fig. 15b.—Putty applications.

Fig. 15c.—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. 15a], [15b], and [15c]).

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.

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.

Fig. 1.—Front view of “one-piece” garment; dotted lines denote springs.

Fig. 1a.—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 [1a]). 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]).

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.

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.

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.

Fig. 5.—Showing wig, eyebrow, nose, and mustache combined.

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.

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.