CHAPTER IX
CHARADES
AN OLD FAVORITE FOR INDOOR PARTIES
ONE of the most popular indoor entertainments for winter evenings, or indoor parties, both with children and “grown-ups,” is charades. Not only do they afford amusement to the audience, but the players themselves obtain a good deal of fun from their efforts to baffle those who are listening to them.
Suppose, for instance, that a “party” is composed of some twenty people. About five or six of them are selected to go outside, choose a word, which can easily be split into syllables, each making a word in itself.
The players must not waste too much time in planning how best to act the words, or the audience will show signs of impatience. This can also be averted by the hostess arranging for a musical, or other little “stop-gap” to fill up the time which must necessarily elapse between the moment when the players retire and their subsequent appearance.
Having thought of a little sketch which will take in all the several parts of the word chosen, the players arrange impromptu scenery and start the first act, taking care to bring in the first syllable, and yet not giving it undue prominence. This care must be observed all the way through the charade, as the fun is much greater when the listeners cannot guess the word too easily.
If the word chosen is “Indignation,” it is split into three syllables--IN, DIG, NATION.
These words having been acted, in the last scene the complete word is brought in, and as it is through this act the audience will listen most carefully for a clew, the players, if they wish to baffle them, should do their best to bring in a variety of words in order to mislead the listeners.
In many cases a little scenery adds considerably to the successful presentation of charades. A “window” frequently proves of service. But it may happen that the end of the room where the actual window is situated does not lend itself conveniently to the performance of the charade, and in this circumstance the best plan is to improvise an “artificial window,” which, being portable, can be used in any required position.
AN “ARTIFICIAL WINDOW”
A start can be made in construction by procuring a sheet of strong white paper of the requisite size. With India ink or chalk the thick black lines, as shown in Fig. 1, are painted in. The dotted lines represent the sheet of paper, the four holes the positions at which the nails fasten it to the wall, and the finished effect of an interior window is obtained by the draping of art muslin or curtains, as suggested by the diagram.
Oftentimes a little exterior scene is wanted. A simple way of improvising a cottage is that of using two screens placed as shown (A, A, Fig. 2). A plank or the shelf of a cupboard is placed across the top (D, Fig. 2), and kept in position either by nails or gimlets screwed into the top of the screens.
A tablecloth of any bright color, preferably red, is stretched from points (B, B, Fig. 3), slanting downwards and slightly over the edge of the screens.
Two “artificial windows” (C, C, Fig. 3) should be then pinned to the screens, and the exterior of cottage is complete, an additional artistic effect being produced by fixing flower-stands with ferns in positions as shown (E, E, Fig. 2).
“A SEASIDE SCENE”
At first sight it might seem out of the question to produce a really passable scene representing “the rolling deep.” This may be easily carried out, however, by a careful study of Fig. 4, and the requisitioning of such commonplace articles as a large white sheet, which is stretched and nailed to the wall, a few rolls of stout white-backed wall-paper, hassocks, boxes, and old brown or gray cloths.
The wall-paper is cut into three lengths corresponding with the width of the sheet, one about 18 inches in depth (A, Fig. 4), the next 28 inches (B, Fig. 4), and the third 34 inches (C, Fig. 4).
At each end a piece of wood is fastened (D, Fig. 4), behind which is glued a block of wood or small weighted box (E, Fig. 4).
The lengths of paper, marked A and B, are cut in zig-zag fashion at the top in order to produce the appearance of waves, the effect being enhanced by an application of blue paint used as shown in the diagram. The strip of paper marked C forms the horizon, therefore the top of this should be left straight and painted blue to a depth of about 10 inches.
To complete the effect, boxes, hassocks, and stools of different heights are grouped round and covered with the gray cloths to represent rocks (F, F, Fig. 4).
An empty barrel and a few coils of rope flung carelessly about help to make a more realistic scene, and well guarded lamps placed between the slips representing waves throw them up into necessary prominence.
A PORTABLE TENT
A portable tent is made from a few sheets of brown paper glued together to form a huge square (A, A, A, A, Fig. 5), the paper cut out to the shape described (B, B, B, B, Fig. 5), and folded at the dotted lines, C, C, C, C.
The whole is then arranged over three poles, crossed and tied together at the top, an opening or entrance being formed by the segment cut away.
OUTFIT FOR HIGHWAYMAN
A highwayman’s mask will prove easy of construction, and a thing of delight to the average boy. Moreover, it will often find a place in charades.
On a width of black sateen or any other suitable material a design is drawn as shown in Fig. 6, marked with chalk and cut away to fit the face. A piece of thin black tape is fixed to either side, so that the mask may be tied round the head just above the ears.
Amongst the highwayman’s outfit there must certainly be a pair of high boots, but as these are not found in every household, it may be as well to give a few simple directions for the making of them.
From several sheets of stout brown paper four pieces of the shape indicated at (A, Fig. 7), are cut. So that the tops of the boot shall not crack when the leg is bent, small pieces of paper are gummed at either side, as shown (B, Fig. 7).
Only the fixing of a piece of tape, or double fold of the paper for the instep, remains to be done (C, Fig. 7), and an excellent pair of highwayman’s boots is to hand.
An ordinary pliable felt or straw hat can be easily and quickly transformed into a three-cornered highwayman’s hat. A study of Fig. 8 will explain where the stitches are to be taken from the brim to the crown.
A POLICEMAN’S HELMET
Two hard felt derby hats properly treated make an excellent representation of a policeman’s helmet, which will very often be found useful for charade acting.
It is first of all necessary to cut off the brim of one of the hats at the point where the band comes. The crown of the second one is also cut off, but some three inches above the band.
The first crown is next carefully fitted over the brim portion of the other one, and tacked round firmly so that the two pieces do not slip.
The headgear now presents the appearance of an abnormally high derby hat.
The curved part of the brim is cut away, and the front shaped to a point, as shown in Fig. 9, and the brim at the back is nicely rounded.
The usual ornamentation may be suggested by the application of chalk, the addition of a large-sized wooden button mold glued to the top of the crown, a chin-strap of shiny black leather completing the article.
A CHINAMAN’S HEAD COVERING
A Chinaman is a character quite easily portrayed, and one which can be simply represented by pressing into service articles of everyday use.
From a piece of pale pink sateen the head covering (A, Fig. 10) is fashioned, a string run through at C to be drawn out or in at will; and a piece of rope or twist of darning cotton, B, sewn on at the back for a pigtail.
Then if the would-be Chinaman wishes to cover his head still further, the lid of the linen basket provides him with a hat, when a piece of braid or black paper has been fixed to the rim, and a string sewn on for the chin-strap.
A highly-colored dressing jacket and a pair of rather loose white trousers complete the Chinaman’s outfit.
ADVERTISEMENT CHARADES
Whilst some people consider the ordinary charades the best fun, there are others equally ready to admit that they prefer the “dumb” representation of words chosen, one of the most popular of these being the “advertisement” charade, wherein some well-known poster is chosen and acted in silence.
A well-known soap advertisement which has been so popular for years serves as an excellent illustration. There are few, if any, who could not recall the picture.
A man, dirty of face and hands, with torn clothing, sits at a table writing a letter.
A faithful representation of this can be easily produced by the aid of soot smeared carefully over the face and hands, and a wig of tousled hair.
Perhaps a dozen advertisements can be “played,” a few moments elapsing between each for the audience to write down their “guesses” on slips of paper, which are afterwards collected, and a prize awarded to the competitor who has the largest number of answers correct.
The two following examples of charades are given so that the players may fit in their own words. If the charades need to be written in dialogue form and committed to memory days before they are played, much more trouble is given, and the game becomes a somewhat irksome one.
BARONETCY
[BARON-ATE(ET)-CY(SEA).]
_First Syllable._
BARON.
Enter two boys dressed as highwaymen. For this purpose art muslin scarves tied round the waist, hats and masks as already described, and toy pistols are enough, with a scenery of trees painted on some stout paper.
First boy addresses his comrade in tones of mystery, glancing to right and left as though he is expecting somebody. At length he holds up a warning finger: “Hist! The Baron comes this way!”
They secrete themselves and wait until the Baron approaches. He looks round, whereupon the two highwaymen jump out, secure him, and make off.
The Baron’s servants arrive on the scene too late, but vow they will track the robbers, and start off in hot pursuit.
_End of First Act._
_Second Syllable._
ATE-(ET).
Baron asleep in one corner of a tent (made as previously described).
The robbers are eating their dinner, and talking in low tones of the ransom they expect to get for their prisoner. Whilst they are talking the Baron awakes. They are so intent upon their conversation that they do not observe him arise, creep up, and steal their food. He eats it, and returns to his corner again.
The ruffians discover their food is gone and are furious, but do not suspect their prisoner, who they suppose is still slumbering.
The Baron is so amused at their efforts to find the thief that he begins to laugh, rocking himself to and fro, and at last shouts, “I ate it, I ate it.”
Just as they are about to flog him a noise of tramping feet is heard, and they hasten to see who is coming.
_End of Second Act._
_Third Syllable._
SEA-(CY).
Baron and his faithful retainers are sitting by the seashore, and he is telling them how he made his escape from the robbers.
As they are talking an old beggar comes along. The Baron at once recognizes him as one of the robbers, and gives orders that he is to be seized and bound. Presently the other one arrives, and he is treated in the same way.
Finally the Baron promises to forgive them if they will give up highway robbery and go to sea.
_End of Third Act._
BARONETCY
Enter several boys in ragged clothes as newsboys. They are shouting papers for sale, and the chief thing that can be heard is “Extry--Capture of a Baron at Sea.”
The boys discuss the news, and at last one of them bursts into a fit of laughter after having opened the paper. The others crowd round to see what is causing the merriment.
Laughingly he explains that it is not an account of an exciting piratical affair, but merely the report of the capture of a Baronetcy in England by a fair cousin from the United States.
BEANSTALK
_First Syllable._
BEAN.
_Scene._--Widow Frankey’s kitchen. Representation of this made by use of window described above, kitchen table and chairs, plates, pastry board, &c.
Widow Frankey, in apron and cap, is busy making pastry, and talking to herself about her son Jack, and wondering when he will return from the errand on which she has sent him.
Jack appears. Tells his mother where he has been, and she scolds him for being so slow.
He goes out in a temper, and Widow Frankey leaves her work, sits down and cries, finally falling asleep.
Jack returns, finds his mother asleep, and determines to make up for his ill-temper by finishing the pudding she has already begun.
(An amusing scene can be shown here by the funny mistakes he makes, putting into the pudding all kinds of odd ingredients, amongst them a bean.)
His mother awakes, to find dinner set, and ready.
There is great fun over the pudding when the widow finds the bean.
_End of First Act._
_Second Syllable._
STALK.
_Scene._--Corner of market-place, where a flower-seller has her stall. For this purpose a table, draped with art muslin, with a few pots of ferns on it, and some flowers made from tissue paper, will be all that is required.
Girl sits on a stool doing up bunches of flowers.
Jack comes along running, and in his hurry knocks the table over.
Flower-seller pretends to be very angry, and insists upon Jack’s paying for the damage.
He does so, and the girl laughingly gives him the stalk of a flower for fun. He puts it in his button-hole and walks off, leaving the girl laughing.
_End of Second Act._
BEANSTALK
_Scene._--Widow Frankey’s kitchen.
Jack returns to his home, and tells his mother of his escapade, showing her the stalk which the flower-girl had given him.
Just then the door opens, and the flower-girl enters, throws Jack’s money on the table, telling him she took it only for a joke. He returns the stalk to the girl, who laughingly tells him that it is a beanstalk.
Widow Frankey retires, and Jack tells the pretty flower-girl that he loves her.
_End of Last Act._