IN GRANDMA’S DAY.
Illustrated with Eight Tableaux. Directions at Close.
This is recited by the “Grandma,” who sits and knits as she talks, with pauses when the tableaux are shown. She speaks slowly, in a reminiscent way, adapting her actions to the words.
During the showing of the tableaux she leans her head on her hand, or looks ahead of her, not at them, as if dreamily thinking of the pictures her memory calls up.
DIRECTIONS.
- Characters—Seven Children, Five Adults.
- Children—Two Boys, Three Girls.
- Adults—Two Males, Three Females.
Group No. 1 signifies the boy and girl shown in tableau No. 1. Their costume is the old-fashioned style.
Group No. 2 signifies the boy and girl shown in tableau No. 2. Their costumes are modern.
By using these two groups and retaining the two styles of costume, the tableaux are much simplified, as group No. 1 retains the original costume, only putting a night dress or outdoor garments over it as required. Group No. 2 does not change.
Fewer can be used if necessary, but it will add greatly to the ease and quickness of presenting the tableaux if the full number indicated are used. By doing this very few changes in costume are required, and the characters, being all dressed, or requiring but little change, the tableaux can be quickly arranged.
STAGE.
- A-A-A—Curtains or screens.
- B-B—Frames.
- C-C—Curtains.
- G—Grandma’s chair.
- X and Z—Platforms.
One frame or setting can be used if the manager has her pictures well in mind; but as the illustrations or tableaux must be arranged quickly in order to be shown just at the proper moment, it will be easier and wiser to have two frames or settings, so that one picture can be placed while the other is being shown to the audience. The order of arrangement following will insure the best results.
Fig. 1. Fig. 2.
These settings should be frames of light timbers. See Fig. 1. The inner opening is seven feet high by eight feet wide and the outer dimensions two feet wider. This frame should be covered with a black cloth and a gray gauze stretched across the opening. The space behind the frame should be curtained or screened at the back and sides with black or dark gray. Fig. 2. The floor behind the frame should be raised two feet in order to bring it well into view of the audience, and of course the frame must correspond. The pictures are arranged between the frame and the screens.
The frame and gauze can be omitted, and the picture presented in the space surrounded by the screens or curtains; but of course the best way is the one indicated.
With all accessories ready, and some previous rehearsals, these tableaux can be easily and rapidly presented.
In front and to one side the Grandma sits in an easy chair. No other accessories. The tableaux are presented in the settings described above, either one frame in the middle of the stage and about four feet back, or two frames set as in Fig. 3.
Tableau 1—On platform X.
Young mother sitting, facing audience. Plain, dark dress, kerchief or lace crossed over bosom, hair in low knot at back of neck and brushed smoothly over the ears in the manner of ante-bellum days.
Boy of eight or ten stands at her left, his arm over her shoulder, her left arm around him. He is dressed in long, narrow trousers, white stockings and low slippers, frilled white shirt front, short jacket (to the waist only), wide collar and bow tie.
Girl of six or eight sits on stool or low chair, leaning on the mother’s lap, looking in the mother’s face as the mother looks down at her. Any dress with short “baby” waist and short sleeves. Hair in two smooth braids or loose curls.
Tableau 2—On platform Z.
Boy and girl from eight to twelve years dressed in extreme of modern style party costumes. He has her hand held high and they are in the attitude of some figure of the Lancers. Their bearing is sober and indifferent. These are children No. 2.
Tableau 3—
This is double and both curtains can be drawn at the same time. On platform Z sits “Son John,” a middle-aged man, gray, well dressed. He is in an office chair or an arm chair, his elbow on the table, his head on his hand. His attitude and face show weariness as he sits thinking.
On platform X, prepared while tableau No. 2 is being prepared and shown, children No. 1 kneel at the same mother’s knee in prayer. They are in white nightgowns and a small white bed is back of them. (This may be omitted.) If one frame only is used divide it by a movable screen, giving the single figure but one-third the space.
Tableau 4—Children with stockings. Platform X.
The back of the space represents a fireplace. Painted scenery can be used, or a framework to indicate it, with andirons in the fireplace. No fire needed. Two bulging stockings hang by the fireplace; one is small and has a doll showing in the top of it, and a very small child in nightdress is reaching up her arms to the doll.
The other girl in nightdress is sitting on the floor examining the contents of her stocking, with toys lying around her.
The boy, dressed as in tableau No. 1, is astride a rocking-horse in attitude of driving; or he is blowing a trumpet with one hand, while he drums with the other on a drum which is hung around his neck.
Tableau 5—Platform Z. Group No. 2.
Same costume as before. They sit facing each other (not too near). The boy has one hand in his pocket, leans lazily back in his chair and looks crossly at an open pocketbook held in the other hand.
The girl wears much jewelry and has an open jewel case in one hand and a watch and chain in the other, at which she looks scowlingly.
Tableau 6—Platform Z. Group No. 1.
Dress as in tableau No. 1, but with the addition of outdoor garments. These should be of the “Kate Greenaway” type, pictures of which can be seen in children’s books. They walk side by side, her hand in her muff, he holding out to her a candy heart. They are smiling shyly at each other.
Tableau 7—Platform X.
Wedding scene. Parson (who may be same one who personated “John” in tableau No. 3) in Episcopalian gown and bands, holding a prayer-book and looking at the couple before him. He stands at one side of the frame and close to it, slightly turned away from the audience, so that the bridal couple may partly face the audience.
The groom is tall and handsome, dressed in Colonial style, with white stockings, low buckled shoes, white satin knee breeches, long vest and long-skirted coat (color to choice), with wide lace ruffles at wrists and down the shirt front. He wears his hair long, powdered and tied behind with a black ribbon.
The bride is small and slender, dressed in full Colonial costume, with veil, etc. She either looks down or smiles up at him.
Tableau No. 8—
This is a double tableau, both platforms and curtains being used, and both pictures being shown at once.
On platform Z “Son John” stands just behind his children (group No. 2) and all look imploringly at Grandma and hold out their arms to her.
On platform X the bride and groom stand back at one side, his arm around her, both smiling at Grandma. A double gauze should hang before them inside the frame, so that they are but dimly seen.
Group No. 1 stand together at the right front of the space and both reach their arms to Grandma as they smile at her.
CURTAIN.