New Century Speaker and Writer: Being a Standard Work on Composition and Oratory

JOAN OF ARC AT THE STAKE.

CHARACTER AND COSTUME.

Maiden.—Loose, white robe, wing-like sleeves, displaying arm; hair long, loose, and flowing over shoulders.

THE TABLEAU.

A large post in centre of stage, around which are piled fagots. Fastened to the post by means of a chain around the waist stands the maiden, with eyes cast upward, and the whole attitude that of exaltation. A strong red light suddenly thrown upon the lower part of the picture, from both sides, will produce the effect of ignited wood.

Music, if any, triumphant.

WINTER IN THE LAP OF SPRING.

CHARACTERS AND COSTUMES.

Winter.—Black, loose dress to the feet, fur cap, white wig, and long white beard; dress flecked with bits of cotton, to represent snow; face full and florid. The part may be taken by a lady.

Spring.—Trailing loose dress of white, sleeves draped so as to show arm to elbow; scarf and sash of pink; long, flowing, yellow hair; sprays of roses and other flowers gracefully fastened on the dress; wealth of flowers on the head.

THE TABLEAU.

Spring is seated on a chair, over which may be thrown a covering of white or pink, upon which are scattered profusely sprays of flowers. She holds at her side a golden sceptre.

Winter is seated in the lap of Spring holding extended in his right hand a sceptre of black.

THERE’S NO ROSE WITHOUT A THORN.

The scene is a parlor.—Standing in the foreground is a young girl, simply dressed. In her left hand she has a rose, and holding out her right hand shows to her companion the scratches made by the thorns (a little carmine paint, put on with a fine camel’s-hair pencil, makes very painless scratches.) Her companion, a young man dressed as a mechanic’s apprentice (a carpenter’s, butcher’s, shoemaker’s or any other trade), is, with a look of sympathy, raising the wounded hand to his lips. Behind the young man stands his employer, with an expression of rage, raising a rope about to strike the apprentice. He is not perceived by either of the young people.

In the background is a child, with a look of great glee, putting its fingers into a jar, marked jam, while the mother, behind the child, is raising her hand to box its ears.

A NUN AT HER DEVOTIONS.

It hardly needs description. A background of dark brown gauze, very faintly lighted at the upper right-hand corner; a dress of black serge or stuff, with black veil and white coif; a crucifix and rosary—these are the very simple materials needed. Let the light fall from the left-hand upper corner in front. Choose your nun for the beauty of her eyes, the regularity and refinement of feature, and the elegance of her hands.

TABLEAU WITH RECITALS.

Characters.

Poet.—A young man with long hair and wide linen collar turned down over coat collar.

Statue.—Personated by a young woman in white, with arms bare.

CINDERELLA’S SLIPPER.

(This beautiful tableau may be represented in three or four scenes, with fine dress effect.)

SCENE I.

Cinderella meanly clad, the sisters and Prince in costliest attire. One of the sisters is eagerly bent on forcing her foot into the slipper.

A very large shoe, which she has just vacated, is on the floor beside her. The other, her face and attitude showing keenest disappointment, has just put on her shoe. These shoes, while nicely made, should be the largest that can be had. The slipper may be of white satin, small and handsome.

SCENE II.

Cinderella, having begged permission to try on the slipper, has just seated herself, withdrawn her shoe and placed a dainty foot on the cushion beside the slipper. The sisters give her a scornful and reproachful look.

SCENE III.

Cinderella, having put on the slipper, has just drawn from her pocket its mate. The sisters, bewildered and dumfounded, have thrown themselves at her feet. This scene makes a fitting conclusion to the performance, and the next two scenes should not be attempted unless the appliances are at hand to make Cinderella imagination’s richest queen.

SCENE IV.

The fairy has touched her clothes with the magic wand, and Cinderella has become a being of marvelous beauty. Her gorgeous splendor dazzles the eyes of the Prince. She helps her sisters to their feet, and shows, as before, no resentment for past insult.

SCENE V.

Cinderella and the Prince, arm in arm, prepare to leave the stage, followed by the sisters.

LISTENERS HEAR NO GOOD OF THEMSELVES.

The scene is a parlor.—In the foreground are two young girls, one of whom holds a miniature out to the other, who puts it aside, with an expression of angry contempt. The first girl is laughing heartily, and pointing her finger at the second, as if teasing her about the picture.

Peeping out from behind a window-curtain is a young man, who, with an expression of perfect rage, is shaking his fist at the ladies.