Every entertainer must have felt at some time or other the need of a short “gag” to fill up that awkward gap which so frequently occurs between the conclusion of one long piece and the commencement of another.

The mind of an audience is of a flighty nature and requires to be kept continually amused, or it will wander into paths of boredom; and many a good entertainment has failed for the simple reason that the ball has not been kept rolling.

It is during one of these uncomfortable pauses that the Universal Hat may be appropriately introduced, and, if worked well, it cannot fail to gain approval.

You can either buy or make a Universal Hat, and as to do the former will cost a dollar or more, whilst the latter can be done for less than half that sum, it is well to be your own hat-maker.

Obtain a piece of fairly strong black felt, measuring 24 inches square, and cut it into a ring, the diameter of the whole circle being 24 inches, with a hole in the center 7 inches across. That is all that is required as far as the hat is concerned, and the success of your piece will now rest entirely with yourself.

Arrange a screen behind which to retire, and have a good-sized mirror, so placed that you will be able to see in a moment how your head-dress suits. Keep a little rouge ready, as well as a burnt cork for blacking eyebrows, making mustaches, &c. Remember that quickness is a necessity, for the smarter you are in changing your hats the more the audience will appreciate the effect.

Now to give a few examples of what can be done with the universal hat, so arranged as to give scope for any amount of ingenuity in inventing new ideas.

Before beginning your show step from behind the screen, raise the ring of felt in your hand, and exhibit it to the audience. Then step back under cover, put the hat on your head, giving it a tilt in front and a rakish tip to one side, assume a stern expression, and, if you have a dog-whip amongst the stage properties, grasp it firmly in your hand, and make an appearance before the spectators in the character of Buffalo Bill. Take care always to face the audience as in Fig. 1, otherwise the top of your head will be seen through the hole in the hat.

Remember that in this, as in all the other characters, a lot—indeed, almost everything—depends upon your expression, which should be entirely in keeping with the person you represent. Buffalo Bill must not wear a grin, but must appear as grimly in earnest as though he were hastening to the relief of the Deadwood stage.

Another point to bear in mind, is that you must not make a long appearance. A minute for each character is ample, and, as you appear before your audience, announce who you are in a tone suggestive of the person you are representing. A few remarks in keeping with the character will greatly add to the realism of your make-up, but let your words be like your appearances—brief and effective.

Popular Characters

Napoleon makes a good character to represent, and his hat is very easily made. Draw two sides of the felt through the hole in the center, and pull the hat firmly down about your ears, as in Fig. 2. Assume a stern expression, suggestive of Waterloo, thrust your left hand into your breast, hump your shoulders, and look fiercely at the audience as though you could see Wellington at the farther end of the room.

Later on in the performance you can represent Bonaparte’s great antagonist by making the hat in the same way, but wearing it with the peak forward as in Fig. 3.

General Wolfe is another easy character to assume. His hat is made in this way. Lay the felt ring flat on the table, lift up one side, draw it towards you and then pass it downwards through the hole. Pull back the piece that you have passed through the hole, in the direction from which you took it in the first place, and you will find it has made a hat of the shape shown in Fig. 4. When you fit it on your head pull it firmly down towards your ears, but not too tightly, and the effect will be complete. A little practice will serve to perfect you in making the twists necessary for this and other hats, and patience will soon reward you. To heighten the resemblance to General Wolfe, whiten your cheeks with a little chalk and draw them slightly in, to give the appearance of being haggard and wan. If you can get a sword, point to the ceiling with it enthusiastically, as one can imagine the General did when he encouraged his men to climb the Heights of Abraham.

As a contrast to these more exalted personages, you can now appear as the coal driver; although if you wish to increase the realism by smearing your face into a state of suitable dirtiness with burnt cork, it would be advisable to leave this character to the last. To make the hat, lay your felt flat as before and draw up a piece from the rim as was done in the case of General Wolfe. Now, instead of passing it completely through the hole, push it only halfway through, giving it what may be called a half twist. It will then appear as in Fig. 5, ready for wear. Draw it tightly over your head, and slouch upon the scene, putting your hand to your mouth and shrieking “Coal O!” in a cracked voice.

You may now appear as a priest in a biretta. Place the felt upon the table and then draw a side from below, up through the hole, exactly the reverse way from that in which Wolfe’s hat was made. When you have drawn it right through, bend it down and pass it up through the hole once more, thus making two twists. It then resembles Fig. 6, and if you draw it upon your head with the broad brim flush against the forehead, the impersonation will be striking. Tuck a little lapel of white into the collar, raise your right hand with two fingers extended, and face the company with as pious an expression as you can assume.

As a last example, an effective appearance may be made as the famous Pied Piper of Hamelin. Having laid the felt flat, make a twist from below upwards, as you did in the former hat—the priest’s biretta. But for this hat only one twist is required, so when you have done this, the hat will appear as in Fig. 7. You must now put your hands in the opening and stretch it as wide as possible, thus making the rolls very taut and firm. Turn the felt over and fit it on the head as shown in the picture. Draw your collar up, take a tin whistle in your hand, and pipe a few notes before making your appearance. Then slink into view with a cunning smile upon your lips, reciting these lines from the poem:—

Of course these are but hints. An ingenious person will soon discover endless other ways of adapting the Universal Hat in such a manner as to keep the audience amused for some considerable time. Always remember, however, these two axioms—