HOME FUN

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).

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.

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.

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.

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.

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.

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.

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.

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.