Part 2

He ends by chasing the rag dolls down-stage and around to the right and center, taking his place where they were. The rag dolls do a limp dance exactly alike, leaning against each other and flopping heavily at each step. They finish by dropping down up-stage right, with feet straight out before them.

Jack-in-the-Box pantomimes clapping and the tin soldier sends him into his box again by aiming his rifle. Then, wound up by French doll, he marches forward stiffly to center-stage. She works his arms and head and makes him embrace her, then winds him up for dance step of progressing across stage, toeing out with both feet, and then in. She does a ballet dance kick-step as she watches him. Finish off-stage.

Golliwog and Dinah try to imitate them in the same positions on stage, and burlesque the steps. They turn it into an old-fashioned cake-walk and as they finish up-stage right, Dinah waves her bandana and drops it.

The Chinese doll shuffles forward and picks bandana up, goes back to get his tub, scrubbing board and iron, and proceeds to launder handkerchief, center-stage, facing audience. He turns scrubbing board over for an ironing board. Finishes, folds handkerchief and hands it to Dinah with bow. Goes left.

The Dutch doll comes forward, sees imaginary water splashed onto the floor and holds up her hands in horror. She gets pail, and kneeling, scrubs vigorously, facing left center and then right, on knees in each new position. Then, trying the floor with her sabot, she puts away her pail and does a Dutch wooden shoe dance. Finishes right.

The Brownie, who has been mimicking everybody as he sat on the counter, right, hops down and does a clown dance, ending with a cartwheel, left.

As each doll finishes his stunt he takes his place in a semicircle at back-stage.

All swing into dance. As orchestra sounds cock-crow, all break line and scramble back to original places.

Tableau, as in the beginning.

Doll Dance

To the “Parade of the Wooden Soldiers” from the “Chauve Souris,” published by Ed. B. Marks Music Company, 223 West 46th Street, New York.

1. 8 measures.

Introduction--4 measures--dolls take places in line. (Omit 28 measures of music.) Starting R foot, kick in front, kick to side. 1 measure. Step R foot behind L, step L to side, step R in front and hold. 1 measure. Repeat, starting L. 2 measures. Repeat, starting R. 2 measures. Repeat, starting L. 2 measures.

2. 8 measures.

Point R heel forward, point R toe in back. 1 measure. Take 3 short steps forward, starting R, and hold. 1 measure. Repeat, starting L foot. 2 measures. Step back R and kick L. 1 measure. Step back L and kick R. 1 measure. Step back R and kick L. 1 measure. Step back L and kick R. 1 measure. (Omit 4 measures of music.)

3. 16 measures

Whole line moves to R, toeing in and out, as follows: With heels together and toes out, rise on R toe and L heel and swing both feet to R so that toes are pointing in; then step on R heel and L toe and swing feet to R so that toes are pointing out again. 1 measure. Repeat 7 times. 7 measures. Repeat, swinging feet to L instead of R so that line returns to original position. 8 measures. (Omit 24 measures of music.)

4. 8 measures.

Repeat 1.

5. 8 measures.

Repeat 2.

Interlude. 4 measures.

With knees bent and feet together, jump on both feet, making one half-turn to R. 1 measure. Jump back to place. 1 measure. Jump on both feet, making one half-turn to L. 1 measure. Jump back to place. 1 measure.

6. 8 measures.

Move to R with following step: Step R to side, step L, toe beside R heel, step R to side, step L, toe beside R heel. 1 measure. Repeat. (Keep R foot on floor and knees stiff, as though being pushed by L foot.) 1 measure. Turn in place with same step. 2 measures. Move back to place with same step, using L foot and R toe. 2 measures. Turn in place with same step. 2 measures.

7. 6 measures.

Step back R and kick L. 1 measure. Step back L and kick R. 1 measure. Step back R and kick L. 1 measure. Step back L and kick R. 1 measure. Step back R and kick L. 1 measure. Step back L and kick R. 1 measure.

8. 8 measures.

With very small steps run to front of stage. 4 measures. Throw kisses to audience on all sides. 4 measures.

A JAPANESE PARTY

A Japanese Party may be made very attractive and picturesque if Japanese costumes, properties and music are featured.

Write the invitations on Japanese paper fans and ask the guests to come in Japanese costume. Light the room with low-hanging Japanese lanterns and decorate it with Japanese screens, hangings and flowers. Artificial cherry blooms, which look surprisingly like the real ones, can be made in the following way. Out of pale pink French tissue paper cut little circles about one and a half inches in diameter and make a pin hole in the center of each circle. Slip these circles on bare branches, creasing them around the branch so as to give the effect of a budding blossom. The hostesses, who are in Japanese costume, should preside over the tea trays. Have the guests sit in small groups on the floor and be served tea and rice cakes in Japanese fashion. By way of entertainment the story of Puccini’s opera, “Madame Butterfly,” can be told in some such charming way as the following.

THE STORY OF “MADAME BUTTERFLY”

A girl, dressed to represent Madame Butterfly, tells the story of the opera while appropriate bits of the score are being played.

Use an end or corner of the room and decorate it to represent a Japanese garden or interior. A Japanese screen as a background, one or two low-hanging lanterns, lighted, a rug and several vivid cushions on the floor, some cherry blossoms or a low bowl of Japanese flowers make a very suitable and effective setting. Madame Butterfly, dressed in a pale gray or wisteria Japanese kimono and brilliant obi (sash), enters with short, pattering steps. She wears a chrysanthemum in her hair and perhaps she carries a Japanese fan. She kneels upon the cushions and bows in oriental fashion to her audience. After the prelude to the opera, she begins the tale of Madame Butterfly. The story must be simply and vividly told, bringing out its pathos and charm. When she finishes she bows again to the audience, rises and makes her exit with the same little pattering steps.

Oriental bow: Kneel on both knees and bend directly forward so that the head almost touches the ground; then slowly assume an erect position.

If the narrator can sing one or two selections from the opera, especially the famous solo “One Fine Day,” of course it adds tremendously. It is very important that the music harmonize with the words, which necessitates careful selection and practice. Probably only an accomplished musician with a feeling for atmosphere can successfully do this.

The following song and dance can follow Madame Butterfly’s story.

JAPANESE SONG AND DANCE

Music. Geisha Dance, by Eduardo Marzo in “Dance Songs of the Nations,” John Church Company, publishers, New York. Words of the song by Margaret Lacy.

To be sung by the dancers themselves, or by one or more soloists while the dancers go through the steps.

In a forest of Japan a pretty maple grew. She coquetted morn and even with the strong bamboo; Maidens hung on her their lanterns when they came to dance, And she watched with exultation each admiring glance.

Then her leaves would gently whisper, nestling in the breeze, To the pretty maidens dancing there beneath the trees, “O! O! Dance, O pretty maidens, dance ye on the grass below, Forward bending, lightly swaying gently to and fro. Each of you will have a hero, loyal, brave and true, But not one will be more loyal than my strong bamboo.”

When the bamboo heard her singing he was filled with glee And he nodded to the maple, so that she might see That he loved her very dearly and was worthy, too, Of the trust that she confided in her strong bamboo.

And the maple peeping over saw his signal sweet, Sang again unto the maidens dancing at her feet. “O! O! Dance, O pretty maidens, dance ye on the grass below, Forward bending, lightly swaying gently to and fro. Each of you will have a hero, loyal, brave and true, But not one will be more loyal than my strong bamboo. O!”

Stage this song and dance in the same setting that was used for the Madame Butterfly story. Before the dancers appear, place bright cushions, one for each dancer, on the floor in a semicircle. Have eight or more dancers enter from each side with little pattering Japanese steps, take their places behind their cushions and bow in oriental fashion to the audience. They are dressed in bright-colored Japanese kimonos and sashes, with chrysanthemums in their hair. Each carries a fan which is held stiffly in front of her chest, with the forearm pressed slightly against the body. The head is held to the side in a prim little fashion such as one sees in old Japanese prints. Every gesture is formal and studied. (This is the Japanese pose referred to in the dance.)

Japanese Dance

For the introduction any number of measures may be played while the dancers enter and take their places.

_Figure 1_--16 measures.

Starting on the first word of the song, “In,” make the following motions, keeping time with the music.

(a) Sway to the R side. 1 meas. } Sway to the L side. 1 meas. } through word Sway to the R side. 1 meas. } “grew.” Body and head held erect. 1 meas. } 4 measures.

(b) The same motions, but starting L, that is, Sway to the L side. 1 meas. } Sway to the R side. 1 meas. } through word Sway to the L side. 1 meas. } “bamboo.” Body and head held erect. 1 meas. } 4 measures.

Repeat through word “glance.” 8 measures.

_Interlude--Japanese pose._ 4 measures.

_Figure 2_--16 measures.

Walk with the quick little Japanese pattering steps described above around the cushions to R, coming back to place on word “below.” 4 measures. Repeat (b) of Figure 1 through word “fro.” 4 measures. Walk in the same fashion as above around cushions to L, coming back to place on word “true.” 4 measures. Repeat (b) of Figure 1 through word “bamboo.” 4 measures.

_Interlude--Japanese pose._ 4 measures.

_Figure 3_--16 measures.

Repeat (a) of Figure 1 through word “glee.” 4 measures. Nod head slowly forward. 1 meas. } Raise head slowly. 1 meas. } through word Repeat. 2 meas. } “see.” 4 measures. Repeat (b) of Figure 1, through word “too.” 4 measures. Same nodding motion repeated twice, through word “bamboo.” 4 measures.

_Interlude--Japanese pose._ 4 measures.

_Figure 4_--8 measures.

Repeat (a) of Figure 1, through word “sweet.” 4 measures. Repeat (b) of Figure 1, through word “feet.” 4 measures.

_Interlude_--All dancers kneel slowly forward and down on both knees without losing balance or bending body, and slowly sit back on their heels in oriental fashion.

_Figure 5_--16 measures.

Repeat (a) of Figure 1, through word “below.” 4 measures. Repeat nodding motion of Figure 3, through word “fro.” 4 measures. Repeat (b) of Figure 1, through word “true.” 4 measures. Turn head slowly to R side. 1 meas.} Turn head slowly to L side. 1 meas.} through word Hold head, face forward. 2 meas.} “bamboo.” 4 measures.

As the dancers sing the prolonged “O” of the last two measures they bend their bodies forward so that their heads almost touch the floor. Repeat the music until they rise and exit with the same little pattering steps.

PANTOMIME OR PLAY

“Cat Fear,” a fanciful Japanese comedy in pantomime by Marion N. Gleason,[A] or any other Japanese play or pantomime, may be added in order to make a complete evening’s entertainment.

FOOTNOTES:

[A] The Womans Press. Price 50 cents. Royalty of $5.00; $2.50 to Y.W.C.A. groups.

COLONIAL OR WASHINGTON’S BIRTHDAY PARTY

The guests are invited to come in Colonial costumes. The host should be dressed to represent George Washington; the hostess, Martha Washington. Feature these two people as much as possible in the receiving line, as leaders of the minuet and grand march, and as master and mistress of the ceremonies throughout the evening. When it is time for the program to begin, have George Washington himself announce that he is going to present to his guests all the various types of American girls who live or will live in this country.

The music then swings into a plaintive Indian tune and an Indian girl dressed in a striking costume of brown leather enters. She bows to George Washington, to his lady and to his guests and passes down the center of the room and away. George Washington then announces that a Puritan girl will be presented next. The music changes to “Auld Lang Syne,” and a lovely girl in Puritan costume enters, bows shyly to her host and passes in a demure manner down the center of the room. A Colonial girl and her escort come next. They dance the minuet for the guests. One by one the various types of girls who have lived in this country present themselves. The program can be made elaborate or simple, depending upon the number of characters used. The modern American girls may be omitted or others substituted, according to occasion. Those suggested are described below in detail. If one wishes to add others, see the Fashion Review, “Down Petticoat Lane,” published by The Womans Press, from which the idea of this party has been taken.

AMERICAN GIRLS

_Character_ _Music_ American Indian Girl 1500 “The Chattering Squaw”

Striking brown Indian costume, beaded and fringed; brown stockings, leather moccasins, and beaded head-band with bright red feather at the back. Stands at opening in characteristic Indian pose, head up, body erect, arms folded across chest. Comes down room with familiar Indian loping step, bows to guests and exits.

Puritan Girl 1650 “Auld Lang Syne”

Simple gray Puritan costume; white cap, kerchief, cuffs and apron, white stockings and black shoes.

Bows shyly to the audience, walks forward with hands demurely clasped, makes a quaint courtesy to George Washington and exits.

Colonial Girl and Man 1750 Mozart’s Minuet from “Don Juan”

Girl in Colonial costume of bright satin: tight bodice, lace kerchief, pannier skirt; white stockings, black pumps with silver buckles; powdered hair or wig.

Gentleman in brocade or satin coat, vest, ruffled stock and frill, knee breeches, white stockings, black pumps with Colonial buckles, and powdered wig.

They enter together, bowing to each other, then to audience, and come to the center of the room. They dance the Colonial minuet,[B] and exit at farther end of the room.

Empire Girl and Partner 1800 “Glow Worm”

Girl in high-waisted costume of Empire period: short, puffed sleeves, neck cut low off shoulders, long train; poke bonnet of satin to match gown, either worn or carried by streamers; high-heeled satin slippers to match gown; hair parted and done high in back with curls at each side.

Gentleman in tight-fitting satin trousers, satin coat of darker color, brocaded vest, ruffled stock and high silk hat.

They enter and dance Gavotte.

Hoopskirt Girl 1850 “Believe Me, If All Those Endearing Young Charms”

Girl in wide, old-fashioned hoopskirt costume; tight basque, lace kerchief, ruffled pantalettes, poke bonnet, white lace mitts and small parasol.

Gentleman in light broadcloth trousers, long-tailed coat, plain double-breasted vest of a contrasting color, high stock, high silk hat and burnsides.

They stroll in together. When they reach the center of the room the music changes to Jump Jim Crow from “Maytime” by Victor Herbert. The man sings the song to the girl and they dance together.[C]

Bustle Girl 1875 “When Johnnie Comes Marching Home Again”

Girl in old-fashioned bustle costume of silk: long full skirt with very stiff petticoats underneath, tight bodice, leg-o’-mutton sleeves; elaborately trimmed hat of the period, perched high on the head; black silk mitts and parasol.

She enters with quick steps, courtesies to host and hurries down the room.

Southern Girl “Dixie”

Girl in light, ruffled dress and large floppy leghorn hat covered with flowers. She carries a ruffled parasol and flowers in her arms.

She enters, smiling left and right, courtesies in a rather flirtatious manner, presents a flower to her host and saunters down the room.

Western Girl “Cheyenne”

Girl in short khaki riding skirt and blouse, red handkerchief around neck, broad-brimmed western hat, high boots, belt and pistol.

She dashes in, waves hat to the audience and to host and rushes out through audience.

Debutante and Dancing Partner Any popular waltz

Lovely girl in dance frock; stockings and evening slippers to match. Carries a bouquet of flowers.

Enters with partner as if entering a ballroom and bows to the host. They dance some of the latest steps.

Modern Gym Girl Any suitable music

Girl of athletic type in gym costume of dark blue bloomers, white middy, black tie, black stockings and white sneakers.

She carries a basket ball which she dribbles down to center of room.

Evening Girl Any popular song

Tall striking-looking girl in handsome evening gown with stockings and slippers to match; bright velvet evening wrap with handsome fur collar. Carries huge black ostrich fan.

She enters with great poise and assurance, displays her gown like a manikin and exits down the center.

Bride and Her Attendants Wedding March from “Lohengrin”

Beautiful girl in white satin bridal gown with long court train and white tulle veil caught with orange blossoms. Carries huge shower bouquet of white roses and lilies-of-the-valley.

Attendants in organdie dresses of pastel shades; tarlatan hats to match gown; small nosegays of pink roses.

Bridesmaids enter by twos, followed by the bride. The wedding procession passes down the center to the end of the room, where the bridesmaids group themselves in a semicircle around the bride. The other performers enter and come forward to congratulate the bride. The music changes to a march. George Washington gives the bride his arm and together they lead everyone, performers and guests, in a grand march. At the close of the march George Washington may make a little speech to the guests, saying that he hopes everyone has enjoyed his party and that they will come again next year to help him celebrate his birthday.

FOOTNOTES:

[B] For description of dance see “Ten Timely Dances,” The Womans Press.

[C] “Ten Timely Dances,” The Womans Press.

A CIRCUS PARTY

A Circus Party may be made just as elaborate or just as simple as one wishes. If one is planning to give an elaborate affair, detailed suggestions can be found in “A Circus,” published by the Womans Press.[D] The following plan has been worked out to meet the demands of those who wish to give a rather simple circus party.

A typical circus barker stands at the outer door. In professional lingo he invites the guests to come inside. “Ladies and gentlemen, right this way, right this way! The cleverest collection of comical characters that ever came to town! Right this way, ladies and gentlemen, right this way! Nothing finer in the world! Don’t fail to see it. Right this way!”

The room in which the circus is held should be decorated to look like a circus tent, if possible. Stretch a piece of old canvas across the ceiling so that it gives the effect of a tent roof. At each end of the room arrange booths where refreshments are served. Pink lemonade and ice-cream cones should be in one, and perhaps “hot dogs” in another. Have peanuts distributed by venders throughout the crowd. Try to arrange all sorts of side shows. Display in one the freaks, such as the armless woman, an Albino, the dog-faced boy, the bearded lady, the tallest man in the world and others of Barnum and Bailey fame. Be sure that there is a good barker to “ballyhoo” them and to point out the peculiarities of each. Have one or two fortune-telling booths, perhaps a Gypsy palmist and a Turkish crystal gazer.

All sorts of throwing contests can be arranged to attract and amuse the crowd. For instance, in one booth have a row of cocoanuts suspended from the ceiling on strings. Give everyone three chances at hitting a cocoanut. If anyone succeeds he may keep the cocoanut as a prize. Or have a broken china booth where each person may take three chances at breaking any bit of crockery he wishes.

Or a game known as “Hoop-la” amuses people immensely. In the center of a roped-off ring place several prizes on small blocks of wood. The object of this game is to ring these blocks with ordinary embroidery hoops, which should exactly fit over the blocks. The person who throws a hoop so that it circles the block completely, gets the prize on that block.

Or have a tub or watering trough full of water, on which small shallow dishes are floating. The object of the game is to throw coins onto these dishes. The money that lands in the dish is doubled and returned to the person but any which falls in the water he loses. (Of course this game should not be played if the party is an invitation affair.)

A dart contest is always popular. Tack at the back of a booth a pack of playing cards. Give each player five small wooden darts with a sharp point in the end of each. The object of the game is to hit with these darts three cards of the same kind, that is, three Jacks or three Queens. If a player hits the three cards of the same kind in five trials he is given a pack of playing cards as a prize. Such games always attract people, especially if at each booth there is a lively barker who will amuse the crowd and keep things going.

To add atmosphere have all sorts of comical circus characters wander through the audience--clowns, a rube and his wife, a big fat Irish policeman, Charlie Chaplin, Sis Hopkins and others. Let them play all sorts of tricks on each other and on the crowd. Have balloon and confetti venders everywhere, dressed in bright costumes.

THE BIG SHOW

Of course no circus party can be complete without a Big Show. This also may be made just as simple or as elaborate as one wishes. Suggestions for a few acts are briefly described. If one wishes to give a more elaborate program, detailed directions can be found in “A Circus” mentioned above.