f^''\f( %^ ^ PS 635 .29 E78 ^ Copy 1 rr r^ baker:s i ACTING PLAYS (gisknImAbe Slice 25 Cents ^erfbrmartcejree WALTER H- BAKER e CO 1 BOSTON- J1. m. Pinero's Plays Price» 50 befits €acb nip A M A 7nN^ Farce In Three Acts. SeTen males, fire fe- IIUi nffUUAJnO males. Costames, modern; scenery, not dlAonlt. Plays a full eTening. TIIC rAMItfirr MINICTCD ^arce in Four Acts. Ten ItU UUUHLI ininialEiK males, mne females. Cos tunes, modem society; scenery, three interiors. Plays a f nil erenlng- HANHY flT/^IT ^"^'^ ^ Three Acts. Seven males, fo«r fe- l/AIll/ 1 1/lVlW males. Costumes, modern ; scenery, two Inte- ilan. Plays two hours and a half. Tin? /* AV I ADH fllTrV Comedy In Four Acts. Four males, lIUiUAI LiUlU/ \{UI1A. ten females. Costumes, modern ; •eenery, two Interiors and an exterior. Plays a full eTening. IIIQ liriTTCR IM nDnVD comedy in Four Acts. Nine males, ilia nUUJC 111 UIIU£iI\. four females. Costumes, modern; ■oanery, three interiors. Plays a full evening. Till? iinnnV IIADCr comedy in Three Acts. Ten m»lea, inC nUDOl IlUKOEi Ave feiniUes. Costumes, modem; •eenery easy. Plays two hours and a half. IBIC Orama In Fire Acts. Seven males, seven females. Costnmee, u*'^ Bodem ; scenery, three interiors. Plays a full evening. I AflV RATTNTIITITI PUy in Four Acts. Eight males, swan Jbftl/l m/uniirui« f«male8. Costumes, modem; aoen- wy, foar interion, not easy. Plays a full evening. I ITI'I'V Drama in Fonr Acts a;ad a4 Bpilogue. Ten males, five l«EiI 1 1 females. Costumes, modem; scenery compUeated. Plays a full ^.vening. mMAPICTPATI? Farce in Three Acts. Twelve males, IflilUlOlILAlEi fonr females. Costumes, modem; ■Mnery, all interiw. Plays two hours and a half. Sent prepaid on receipt of price by Walttx %. ?Baber & Company No. 5 Hamilton Place, Boston, Massachusetts The Christening Robe A Comedy in One Act By ANNE L. ESTABROOK BOSTON WALTER H. BAKER & CO. 1917 ^ %^ ^» The Christening Robe CHARACTERS {Ai originally produced at the To-zvn Hall, Fit-zivilliam, N. H., in August, /gi4.) Nora Mulvey Jlh'ss Anne L. Esiabrook Patrick Mulvey, Abra s husbatid . Mr. Ralph Jefferson Mrs. Ryan, Nora's mother . . Miss Mary Caroline Blair Sarah Mulvey, Patrick' s sis fe,- . Miss Marguerite Kimb at Copyright, 191 7, by Anne L. Estabrook Professional and moving picturexights reserved. ©CI.D 45873 JAN -9 1917 ^^'0 1 TNIP96-C07296 The Christening Robe SCENE. — A pleasant tenement kitchen, with clean brown 7aalls, curtains at the windows and sunlight shitting in. At tipper K. a door leads into the hall. At L. back a door opens itito the bedroom. There is a witidoiu \..^with a rock- ing-chair near it. At r. back is a cupboard. At c. back is the stove, well-blacked. Near the stove is a sink under windotu. On the right side of the stage is a table with a folded table-cloth oti it. At L. a baby carriage, evidently containing a very stnall baby. Four straight chairs. (As the curtain rises, Nora Mulvey, a thiti, good-looking, sotnewhat tititidy Irishwottian of about thirty-five, is par- ing potatoes, seated by baby carriage. Noiv and then she pushes the carriage. Looks into the oven, then at the fire, then into the carriage. She straightens the window-ctir- tains, looking out doivn the street as she does so. Ar- ranges a lock or two of hair, goes again to witidow, as if tvatching for some otie whom she presently sees. She waves and beckons.^ Nora (her head out of window~). Patrick ! Come along up ! {She goes to table and shakes out cloth. Enter Patrick Mulvey, an hottest, kindly, red-headed Irishman, with ititettsely blue eyes. He is about her age.^ Pat. (puttitig his dinner-pail on table and looking around'). Ye've made the place look fine ! Nora. I've been on the top of me head all day gettin' it done. (Opens cupboard door.) I've cleaned the cupboard. I've scrubbed the floor. I've sent the childern over to me niolher's to be out of Sarah's way when she first gets here. I've done the winders an' the winder curtains an' the bedroom where she'll lay her hat. But if that christenin' dress comes 4 THE CHRISTENING ROBE home late or with a rip or a tear of anny sort an' yer sister Sarah finds that I've lent her grand present to anny one at all Pat. Haven't the Leahys sent back the dress? Nora. They have not. {Puts potatoes into kettle.) Pat. Likely they're havin' it washed. Nora. Washed! That grand dress? I'd thank them to let no water touch it. Time enough for forty washin's, an' their baby christened Wednesday. I don't like the way of it at all. Pat. It will come back to-morrer, in time for church. Nora. To morrer, me good man? An' yer sister Sarah likely to drop in at anny moment now ! {Puts kettle 071 stove.) Pat. What else could ye do an' Mrs. Leahy, poor woman, askin' the loan? How would we feel when our baby stands for the holy water if hers had gone to the church, shamin' her? Nora. True enough ! But is yer sister Sarah, that's hardly been inside our door twice a year since we married, likely to take it kindly that I lent her present of a christenin' dress to the wife of the man that wouldn't wait a year for herself? Pat. Come, Nora. That's ten years since. A good woman like Sarah, a gen'ral girl with the highest wages, ain't goin' to spend ten years over a disapp'intment. {Gives her en- velope.) Open me pay-envelope, an' give me some money for me terbaccer. Nora {taking it). Sooner than she should know I'd lent the dress to Barty Leahy's child, I'd take six dollars from yer envelope, an' buy another like it, if hers has come to harm ! Pat. Are ye wild ? {Snatclies envelope from her. She drops into chair rather pettishly.) What am I, a workin' man makin' ten dollars a week an' all goin' well, to spend six on a baby's dress? Come, Nora, ye've overdone yeself. Ye shall sleep, me girl, an' Pll get the breakfast to-morrer. Give me the money. {He gives back envelope. ) Nora. Here's twenty-five. I won't give ye the car fares till Monday. Ye'd not want so much loose change in yer pockets. Pat. Ye make too much of the matter. THE CHRISTENING ROBE 5 Nora {listlessly). Wheel the baby into the bedroom. It's too hot for her here. {Exit Pat., l. back, ivheeli/ig carriage. He reenters im- mediately. Finds Nora /// same attitude.) Pat. Sarah'll not be hard on ye. Nora. She's been as hard as a rock since we married. Pat. Suppose I'd stayed single a year longer an' kept on helpin' her with the old people, the way she'd been free to marry Barty Leahy ? Would she Nora {interrupting). She'll take no one's word she'd not have been well off with him for a man. {Puts envelope in cupboard.) Pat. Her sendin' the dress was a sign that she'd made up Nora. With you an' the childern ! An' for that same reason I'll die if that dress has come to harm, for she's not said one kind word for me in all these years ! {Spreads table-cloth.) Pat. She spoke as kind for ye as anny one could ask at Jacky Murphy's wake. Nora {her face lighting). She did ? Pat. As God's above me ! Nora. What did she say ? Pat. How nice ye were to work with when the two of ye lived out together. How pleasant ye were with young fellers {banteringly) an' how manny ye could have, but ye weren't the sort to pick up anny one ! It was all that that made me invite her to stand for the baby. Nora. An' ye never told me ! Pat. I'm tellin' ye now. Nora {delighted). So she's ready to be friends ag'ain ! Poor Sarali ! Sure Barty Leahy's nothin' for a girl like her to mourn-. {Runs to cupboard, gets envelope.) Here's ten cents more. Get me a quarter of a pound of the I)est butter. She's used to the best, bein' in service. {Gives him ten cents, then drops envelope on table, and flings open oven door. ) Butter ! An' me biscuits in the oven. {Takes pan out.) Thank God they're not so much as scortched. b THE CHRISTENING ROBE Pat. They're grand, Nora ! As fine an' light lookin' as anny ye ever made. I'll say this for ye, if it's me last word — ye never wasted one cent of me money on baker's bread. NoKA. An' even if I had, which I never did, would I set baker's stuff before Sarah? {Puts pan of biscuits and Yk'x.''^ dinner-pail in cupboard. Puts on clean apro7i.') There's no one I'd rather have stand godmother for the child. Sarah has a tongue in her head Pat. She's ardent Nora. She's spirited [as she washes face and hands at sink~) but she's very religious, the way she'd hardly give a civil word to ye Sunday if she missed Mass : she's religious, if I say it of anny one, an' them that stands round when our baby's chris- tened will see that the godmother gives no less than five dollars to tlie priest. Pat. Ye're right, Nora ! Nora. An' after her speakin' so kindly — it ain't as if she'd talked mean behind me back at Jack Murphy's wake — I'll die now sooner than she shall know how I lent her present to the child of a man she'd have taken for herself ! Pat. Why, Nora ! A minute ago ye said it was because she hadn't spoke kindly Enter Mrs. Ryan, r. She is an old Irishiooman, hardly at all Americanized. Mrs. R. Ah, God — Nora — Patrick — did ye see the ambu- lance ? Nora {the current of her thought entirely changed^. Am- bulance, mother? Pat. The police ambulance, Mrs. Ryan? Mrs. R. God love ye, no ! I was in me kitchen, keepin' yer young ones quiet the way Nora told me, an' the hospital ambulance come down the street an' turned yer corner, (Nora rushes to tvindozu.') Nora. God be good to us, there it stands now ! Mrs. R. {crozt'ding up). Step back, Nora, the way I can see. {Settles herself in rocker, 7vith a tningling of absorbed inter- est, easy piety and real sympathy, ivhich latter in no wise detracts from her innocent enjoyment of the event. ^ THE CHRISTENING ROBE 7 Nora (Jn excited reflection'). There's the Kellys on the jRrst floor an' the Burnses on top an' the Leahys in the middle. Run along down, Patrick, an' see what it's all about ! Pat. {calmly filling pipe). I will, Mks. R. God help them ! God help the poor souls ! Ah, God lielp them that's in trouble! Nora, ain't ye got the grand place fer to see it all? Nora {going up to Pat. to push him). Run along down, Patrick ! Pat. (calmly). I will ! (Lights his pipe and exit, r. Nora returns to window.) Mrs. R. Here's the folks runnin' — runnin' Ah, Fm always sorry to see an ambulance stand before anny door ! Pull the curtain back — pull the curtain back, the way I can see better ! Ah, there's nothin' but sickness an' trouble in all this world. Nora {with meaning). I dreamed last night that I was in a cimit'ry, an' I couldn't find the gate. Mrs. R. Ah, well, acushla, now yer dream's out. Nora. There's two died from this court already. Mrs. R, (solemnly, but losing Jio detail outside). When two goes, they takes a third along. Nora (fervently and still keenly watching). I hope that God will give them a good bed in heaven. Mrs. R. May He have mercy on their souls. Nora. Mother ! There's the district doctor ! Mrs. R. Here himself to see the sick one off ! They're comin' ! Nora (crowding forward). God save an' help us ! Mrs. R. (pushing her). Don't get in the way of me, Nora ! Can't ye take the other winder an' leave me see? Nora {running to the other window). They're here ! Mrs. R. There's yer own man pushin' back the people. Nora, God bless Patrick for his thoughtfulness ! Mrs. R. Would ye think people could come crowdin' to see a sad sight like that ? Nora. A man ! * Mrs. R. Ah, sorrer, sorrer, there's nothin' but sickness an' sorrer (/;/ reproachful entreaty.) Why can't Patrick keep them back the way I can see ? Nora. There he is ! A big, black-haired feller Mrs. R. (excitedly). Black-haired ! 8 THE CHRISTENING ROBE NouA. Yes, Barty Leahy ! Mks. R. The poor man ! The poor man ! Ah, he was tlie handsome young feller. Nora. Poor Sarah ! He was then in the army. Mrs. R. Whalever's happened to the lad, Nora? Nora (calling out of ivimlow). Patrick ! Mus. R. (calling out of zvindow). Patrick Mulvey ! NouA. Come over beneath the winder, Pat ! Mrs. R. (also out of windoiv). What's wrong with poor Leahy? Nora. Broken his leg ! (^Expressions of deepest sympathy on her face and her mother^ s.^ Mrs. R. (pityingly). Ah, will ye hear that ? Nora. How did the poor feller do it, Patrick ? — Fallin* down-stairs? (Sympathy gives way to understanding. Still leaning out, a^ if conversing with Pat., she goes through motions of tipping bottle to lips ; waits for answer, nods and turns from window.) I thought so ! Dead drunk he was when he done it ! That is the sort of feller Barty Leahy is. (Piously self-complacent.) Thank God now that I lent his poor child me own baby's christenin' dress ! Mrs. R. (sharply). Ye done what, Nora? Nora (still with air of deep satisfaction). I lent his wife — Leahy himself fetched it over — I lent his baby, that had nolhin' but an old slip to wear to church, with the neighbors standin' round an' rubberin' round, ready to go off an' say what the child had on — I lent them Mrs. R. For the love of Heaven, Nora, what did ye lend them ? Nora (tvith quiet pride). I ient them the dress that Pat- rick's sister Sarah sent for our baby's christenin' to morrer. Mrs. R. Then Mary help ye, woman ! For that's the dress that Barty Leahy sold. Nora. Sold ! Mrs. R. Where have ye been that ye didn't hear it? Mrs. Reilly was tellin' it. Over the fence he sold it, to a Jew peddlin' man. Nora. My baby's christenin' dress, before I meself had barely time to look at it ? (Her horror gives way to wild emotion.) Now whatever have I done an' whatever will hap- pen at all ? Mother, mother, me heart is broke with dresses THE CHRISTENING ROBE 9 an' with christenin's, with quarrels an' with borrerin's, with stealin's an' with Mrs. R. Hush, Nora ! Nora. I'd rather a hunderd times have lost the money. I'd have given it them from the insurance an' -been buried by the city sooner than meet Sarah without her present to-day. Oh, if it had been pawned I'd have faced him for the ticket, an' I'd have got the dress again before the sun went down ! But what's the use me follerin' a Jew peddler all up an' down the world beyond this city ? No use nor hope me doin' it at all! Mrs. R. Ye make too much of the dress. It ain't the dress Nora. I do ? No child of mine was ever christened that the church didn't get a present. How will it get a present now Sarah won't be godmother no more? It's nothin' will be given Father Burke when my baby stands at the font to-morrer but the bit his father will hand over, an' Patrick will die for shame. Mus. R. Listen to me ! Nora. It was lace from top to bottom up an' down the front, in a pattern of leaves, the grandest ever I see. Mrs. R. It ain't the dress saves the child but the holy water. Nora. Oh, that before the holy water had touched my baby, another should make off with its christenin' robe ! Mrs. R. Hush now, Nora ! What will the neighbors say to yer racket? It wasn't the baby stole it. The thing's done. Get out the cups. Ye'll have to give her tea. Nora. Tea ! The first Sarah's drunk in ten years in my kitchen ! The last she'll drink here till judgment day. Mrs. R. {impatiently). What of it ? Ye'll both have somethin' different from christenin' dresses on yer minds then. Nora. What of it ? An' himself wantin' peace with his sister an' respect for me from her the way he thinks of it mornin's an' evenin's, weekdays an' Sundays, summer an' winter every time an' all? Mrs. R. Whatever she says himself will stand up for ye ! An' because ye lent a dress to a neighbor's young one ye think that Sarah Nora {iitterrnptiug). Will she that said I could neither make nor mend, as me Aunt Bridget told me in her last sick- ness, take it kindly that I must lose the present bought with 10 THE CHRISTENING ROBE her money, tlirougli means of the child of a man she wanted for herself? that jilted her? Mrs. R. (^risi//g in exasperation').. I'm sick of yer non- sense ! Is marryin' the one thing in the world ? Will a girl that's done as well as Sarah treasure up sorrer, to the end of her days, at bein' a maiden ? I meself will get out the cups. Nora {beginning to do it herself). Yes, get out the cups. {Bitterly, as she sets table.) Put supper on the table. Let all sit round in the midst till she hears what I've done. {Puts kettle on stove.) Boil the water. Make the tea. Let every- thin' be the finest ! But me heart will be scalded, unless some miracle comes to pass. Mrs. R. (pointing to envelope on table, then turning to reg- ulate fire). Put yer man's pay envelope in the cupboard, where it belongs. (Nora stares at it, and her decision comes with overpower- ing force.) Nora. I'll have that dress ! {Picks up envelope.) Mrs. R. {still bending over fire). How? Nora {hiding money in front of dress). I'll have as good as that dress ! {Drops envelope.) Mrs. R. (turning). Where'll it come from ? Nora (catching up a small cape from cupboard). I'll buy another as like the one that's gone as me one hand is to the other, with the same pattern of leaves in the lace that trims it Mrs. R. Ye're crazy ! Where'll ye get the money? Nora. without a differ of anny sort whatever, to be thrown up against me by Sarah, from now till the day I die ! \_Exit, R. Mrs. R. (following her to door). Nora ! Sure ye ain't goin' to run into debt for it? Nora! Where do ye think ye can borrer it ? Have ye annythin' in the bank an' me not knowin' it? (Hurries to zvindoiv.) Where did ye put the envelope ? (Startled, she hurries to cupboard ; looks here and there, closes door and drops into chair at table with the gesture of a person who does7i' t know what to think.) Ah, God ! (In a moment she rises, and begins looking again. A knock at the door. She catches up a broom and begins to sweep.) Come in ! (Enter Sarah Mulvey. She is a woman about thirty- tivo or three, pretty and vigorous looking, but with a refine- ment that distinguishes her from Nora. Except as a result THE CHRISTENING ROBE I J of contrast, hotvever, she is not diffeient fj-otn many girls of her class. She is neatly and becomingly dressed, on the whole quietly and in good taste, though she by no means affects a se- vere style. She carries several packages. When she speaks, there is much charm in her voice.) So it's yeself ? Sarah. It is. An' this must be Nora's mother, Mrs. Ryan. Mrs. R. None other. To think ye've not forgotten me! Come in, come in, Miss Mulvey, an' take a chair. Sarah. "Sarah," not "Miss Mulvey" to you, ma'am. Let me take the broom. i^Puts parcels on table.^ Mrs. R. {holding it). No, no, Sarah, not in yer pretty dress. Sarah (^taking possession of it). I've had a broom in me hands before. What's that ? {Picks something up from floor.) Mrs. R. a piece of Patrick's pay envelope. (Mrs. R. clutches it from her. Sarah is a little surprised.) Sarah. It's empty, Mrs. Ryan. {Looks around with ap- proval in 7vhich is a faint superiority.) Indeed, Nora has made the place look very well. Mrs. R. {hastily). Always looks as ye see it now, dear ! Sarah. Where's Nora ? Mrs. R. (mnvillingly). Nora stepped out. Sarah. What for? Mrs. R. Indeed, I can't say. Sarah. I wouldn't have her go for to get in extras for me. I'll run down the street after her, before she buys out the shop for tea. {Starts to leave room.) Mrs. R. {affecting to be aggrieved). So ye can't stay to talk with Nora's mother? Sarah {coming back). Ah, Mrs. Ryan, ye must excuse me. I think quick an' I act quick. Sure I don't even know the way she's gone. Mrs. R, Take this chair by the winder, dear. There's a good breeze an' a fine view of the street. Sarah {sitting by windo^v as Mrs. R. sits by table). Ain't there somethin' I could do for Nora ? Siie was one sometimes let work get ahead of her. Mrs. R. Thank ye, dear, she's been turnin' inside an' out gettin' everylhin' done. 12 THE CHRISTENING ROBE Sakah. There might be a bit of sewin'. She's not one vvoiiUl think of lightenin' a button. I'll overlook them on the chrisienin' dress. (^Rises.^ Mrs. R. (^pushing her back into chair). That grand dress ? There's nothin' to touch or alter in anny sort of way on a dress yeself sent. Sarah. It might not fit the child. She'd hardly think of seein' was the neck too big or the sleeves too long. ISIrs. R. No, no, stay where ye are an' take yer comfort. Sarah. Wouldn't I take full as much without me hands lyin' idle in me lap? (Rises.) Ah, Mrs. Ryan, tell me where the dress is ! Mrs. R, I can't tell, an' that is God's truth, Sarah. Nora is that careful, the dress is laid away, I cannot say where. Sarah {s/oivly). That's odd. {Sits again.) Mrs. R. They say ye've a fine place. (She speaks hastily.) Ye're very lucky. Sarah. Could ye see the girls works out as T see them, ye'd say me family was lucky, too. Mrs. R. They are, Sarah. It's not every one has you to work for them. Sarah. They may not have me always, for I've a plan in me mind. Mrs. R. a plan ? Sarah (ivith sudden melancholy). What's the good plan- nin' ? When ye get my age, likely it's only second-best ye can plan. Mrs. R. If ye get what ye want, it sometimes turns out second-best an' worse. Sarah [throiving off mehincJwly). So, though I could have as good a cook's place as anny in the city, by me own choice I'm a gen'ral girl. I get good wages. I have me every other Thursday an' me Sunday. I do what's needful for the family, but I'm not troubled with a noisy crew hangin' about me kitchen, destroyin' me temper while I cook their meals. I live with the gentry an' I'm content. Mrs. R. Manny's the woman with her half dozen young ones tyin' her down would be thankful to change places wilh you. Sarah (looking out of window , with a slight start). Is that Mks. R. AVhat was it ye saw, dear? Sarah (sloivly and with attonpted indifference). A woman THE CHRISTENING ROBE I3 that was Mamie Brady.— She married a black-haired feller, was a short while in the army.— A lad— me brothers used to know. -.TT T. , 1 r Mks. R. Ah, sure, yes.— Barty Leahy. Well, lucky for them that stays single, as a girl in a good place knows. Sar.\h. So he's a neighbor of yours? Mrs. R. In his way. Sakah. Has he childern ? Mrs. R. Childern ? ( With a short laugh.) Sivni of them. Sarah. Does he make good pay ? Mrs. R. When he works. An' 'to-day this same Barty Leahy, on his way down-stairs, havin' been drinkin' Sarah. I never did think much of Mamie Brady ! So Nora's settled to call the liille girl Sarah Rose ? There's roses, —ye may have noticed,- small roses in a pattern of leaves in the lace on ihe bit of a christenin' dress. Mrs. R. Roses ! Enter Nora, out of breath, a dress over her arm. There is an instant's aivkivard pause. Nora. Sarah ! Ye're more than welcome. Sarah {jvith a breath of relief). Thank ye kindly, Nora. I'm more than glad to be here. {They shake hands. Mrs. R. takes dress and goes toward bedroom.) Nora. Why are ye goin' off with the dress, mother? Mrs. R. I'm goin' to lay it away careful in the bureau. Nora {taking it from her mother's unwilling hands). Not so fast. {To Sarah.) I just stepped out, as I told me mother, to show it to some of the neighbors. Mrs. R. I didn't hear ye say that ! Nora. Ye didn't? {Unknoivn to Mrs. R., she smiles meaningly at Sarah and touches fingers to ears ; then steps forward so that her mother sees atid holds up dress.) Ain't that a beauty, now ? An' yer own choice, Sarah. I never see such elegant lace. , c • Mrs. R. {taking dress). I'll lay it on the bed. {hxit muttering.) A fine dress like that hangin' round the kitchen Nora {amazed). Whatever has got into her? Sarah. She's old, Nora.— Ye're lookin' pale. 14 THE CHRISTENING ROBE Nora {in a quiet, matter-of-facl 7C'ay). I've been a hard road since ye last saw me. Sarah. I've brought ye a little butter an' a few fresh eggs. Nora. Why did ye go to all that trouble? The best of eggs, as anny one can see. {S/ie is holding than up to light. There is still a little con- straint betioeen the two women.') Sarah. Use them for yeself. Nora (moved). For meself ? No one shall get a sight at them, since ye say so. Ye're more than kind Sarah. I always liked ye, Nora. Ye know that very well. Nora, An' may I never forget the day yer present come, an' it wasn't the dress nor the worth of it I cared so much for as thinkin' ye'd be comin' in an' out Sundays an' Thursdays like a sister from now on. Sarah. Sure the pleasantest times I remember was the years we worked out together. I'd never work with another girl since. Nora, there was somethin' I once said that I wish unsaid, — about makin' an' mendin', — got round to yer ears. Nora. One that's gone repeated it to me. Sarah. It was natural, she bein' a relation, — but Nora. But I know well it lost nothin' comin' through her. Sarah. Then we'll let it rest ? Nora. With all me heart, Sarah ! There'll always be a place here for ye. The children are wild to see ye. An' I'll keep yer trunk for ye anny time ye like. Sarah. I'll remember that, Nora. An' now, what can I do to help ye for to-morrer? Can I take a stitch to tighten things in the baby's dress ? Nora. The very idea ! (Calls.) Mother ! Who but ye- self would have thought of that, Sarah ? Mother ! Ye always sewed like a lady. Mother ! I never knew that mother was hard of hearin' before. Mrs. R. (from zvithin). What is it ye want? Nora. Just bring out the dress. (Mrs. R. appears in door.) Mrs. R. Why should ye want that clean dress knockin' around the kitchen ? Nora. Sarah's goin' to overlook it an' perhaps take a stitch or two. THE CHRISTENING ROBE I5 Mrs. R. a stitch ! Before ye've so much as offered yer man's sister a cup of tea ? Nora. Will ye not have a cup, Sarah ? The water's boilin' an' it will be but the work of a moment. Sarah. Time enough for tea at supper. Let's have the dress, Mrs. R. I was faint for a cup of tea, but I'll go. Nora. Have the tea, mother. Ye know very well ye're more than welcome to it, an' a bit of bread an' butter too. Mus. R. I'll not take me tea in another's house alone, like they was givin' me cold victuals at the door. Nora. Whatever's got into ye, mother? Sauah {good-naturedly^. Ah, well, Nora, let's the three of us have a cup together first. Mrs. R. Thank ye, Sarah. Ye're a good woman. Thank God ye've prospered. Thank God ye ain't tied down to a bad man. Sarah {with a transitory cloud'). Ah — no (She sits at left of table, facing audience, leaning her head on her hand, while Mrs. R. and ^ora put tea things on.) Nora (at stove). I had a queer dream last night, that I was in a cimit'ry an' couldn't find the way out. Sarah {her melancholy wholly vanishing). I dreamed last night, too. (Mrs. R. and Nora come to table with milk, suqar and tea. They sit, Nora in middle, Mrs. R. at r. Nora pours tea.) I dreamed that I was home, the week be- fore I sailed to America. Nora. Here's yer tea, Sarah, (Sarah pours a little into saucer.) Here, mother. (Mrs. R. leaves hers before her, utitouched.) Sarah. I mind that week well. {Drinks from saucer, more^ daintily than Nora.) They took me to see the soldiers drilhn' at a fort. Nora. Ye always loved brass buttons. Sarah {lightly). It begun then. There was a young officer with his men. Very tall an' straight. A fine way with him. I seen him once or twice, or upwards of a dozen times. Black- haired an' black-eyed. A great bow an' smile when he met his friends. No two ways about it, he was a great gentleman. I dream of that fort often an' often still. l6 THE CHRISTENING ROBE Nora. That's comical. Wliy ain't ye drinkin' yer tea, mother, now ye've got it? Mrs. R. {almost grhnly). I'm lettin' it cool. NoKA, Then pour it into yer saucer. {Starts to do so.) Mrs. R. (^protecting tea). Leave me tea be ! Nora. It ain't like ye to be so quiet. Mrs. R. Don't fret. Nora. Ye ain't got no milk in yer tea, Sarah. Sarah. I learned to like it without long since. Nora {jvithout thinking). 'Twas Barty Leahy taught ye that, {^Embarrassed.) Whatever made him come into me mind? Sarah. I've heard he's a neighbor of yours. Ye may re- member, Patrick an' Michael went round with him for a while. I never thought highly of him meself. Nora (^pleased and vastly relieved). Is that so, Sarah? Well, Patrick has no use for him at all. {Vivaciously.) An' ye'U be interested to know that he's gone in an ambulance to the hospital not an hour since with Sarah {joith a gasp). Hospital ! Nora {with nnctioti). Gone to the hospital, with a broken leg. Mrs. R. (^hastily). A very small break, I've heard the neighbors sayin'. Nora {zvaking up to Sarah's agitation). Not the whole leg at all ! Mrs. R. [pretending to address remarks to Nora). Not more than one place in the leg. Nora {^pretending to address her mother). Certainly ! Not more than one place. Mrs. R. {still addressing Nora). I've known manny has broken their legs an' not thought of it a month after. Nora {to her mother). There's men has gone around with their spines an' necks broken, an' lived to a green old age. Have a drop more tea, Sarah. Indeed, a leg is nothin' at all. Sarah {recovered). Who said it was? I'll take a sip of milk. Nora {laughing). Indeed those evenin's when Barty Leahy dropped into the kitchen to supper, I think he persuaded us to take tea clear, so that he could have the milk for himself. Sarah {zvith a flash). Ye were always very hard on him, Nora ! I do not agree with ye at all. He took his own tea clear. THE CHRISTENING ROBE '7 Nora {with a laugh of reminiscence). More than once I've seen him empty the cream jug in his cup. Sarah. 1 was not watchin' to see what me comp'ny done. There's jugs a man can empty worse than cream. NouA. Sure Barty's emptied plenty such. Sarah {jvith an effort at control). Let's leave him rest in peace. Mrs. R. That's a good word. NoKA. Have another cup of tea, mother. Why, ye've not touched it ! An' Sarah wanlin' to overlook the dress, an' you sayin' how bad ye wanted yer tea first ! Mrs. R. I wanted me tea, an' 1 likes me tea, but I wants to drink it slow. Sarah {jaholly mistress of herself). Why not, ma'am? Drink it as slow as ye like, an' I'll go get the dress. Mrs. R. (^putting out a detaining hand). Wait! Did ye ever hear [Clutches Sarah's dress.) Nora (^not knoiving what to make of it). Let Sarah get the dress an' then ye can go on with yer story. [To Sarah.) She's full of old stories of the old country, as ye remember. There was that comical one [laughing) about the man had the little black dog Mrs. R. Ah, that was comical. Stop till I think of it. Sarah, A second to get the dress ! I listen better with somethin' in me hands. Mrs. R. Sarah ! Can ye help m j to remember ? There's an old song in me head. Did it go so ? (JBegins to sing in a cracked old voice.) Sarah. I've danced to it on a fiddle ! [She begins to dance. Nora joins in singing. Mrs. R., delighted with her success, beats time. Suddenly Sarah remembers what she^s after.) Me dancin' days are over ! [Exit gaily, l.) Nora [looking after her, radiant). Ah, Sarah, Sarah, ain't ye the great girl yet ! Mrs. R, Nora ! Where did ye get the dress? Nora [in a whisper). At Brady's round the corner I see them in the winder, — as like the one that's gone as me one hand is to the other. Oh, ain't she the same girl I met in the ship comin' over ? Thank God there's no hard feelin's between us anny more ! l8 THE CHRISTENING ROBE Mrs. R. What pattern had the lace, Nora? NouA. Didn't 1 say it's as like the one that's gone as me one hand to the other? Didn't ye see how bould 1 sliowed it to Sarah ? A pattern of leaves. Mrs. R. So it's for that ye've thrown away yer money ! Nora. Mother! What's wrong? Whatever do ye mean ? Mrs. R. Sarah's dress had a pattern of roses, — small roses in the leaves. Nora (Jiorrified). Roses ! Enter Sarah, tvilh dress. Sarah [laugJung). Manny's the good dance I've had in me kitchen when I first come over. I took a look at the baby. Ain't she the prettiest thing ? (Siis by windoiv.^ Nora (^goiiig to her, very gently^. Sarah, ye'd better give me the dress. Sarah. Go along with ye ! Nora. Ah yes, give it to me. Sarah. Let's hear Mrs. Ryan's comical story. Nora {taking hold of dress). Come now, darlin', ye see Sarah {with pretense of exasperation). Such a lot of talk about a bit of sewin' ! This dress feels stiff. I thought I sent ye a finer one. Nora {slowly atid gravely, hiding her apprehension). Shouldn't the mother do a hand's turn on the christenin' dress ? Sarah (slowly). So that's how ye feel? Nora {slowly, and zvith weight, then more rapidly in her fear). Ye can see for yeself. Sure the godmother's money bought it. But ain't it me first little girl an' is it odd I'd wish to sit down here alone the evenin' before the christenin', to take a stitch or two ? Sarah {unth a faint bitterness, relieved by a sense of hu- mor). I see. Me money can buy it, but that's all. Ye're like all mothers. Ye put the rest of us where we belong. Here, take the dress. {Suddenly, before surrendering it, she draws it back and looks at it closely.) This is not the dress I sent ! Nora {faltering and draiving back). Why not the dress ye sent ? Sarah, This dress has a pattern of leaves ! {A niomenf s silence. Mrs. R., now that the blow has fallen, begins to drink her tea. Nora twists her aprofi in her fingers. Sarah THE CHRISTENING ROBE I9 ^oes on in a low, sconifulvoice.') So this is why ye were out when 1 coaie here. This is why Mrs. Ryan hadn't heard ye give yer reason for bein' away. This is why she didn't know where ye'd put the dress for safe keepin'. Tliis is why she was so anxious to save me the trouble of tightenin' a button or takin' a tuck. This is why bein' a mother ye couUl let no one but yerself take the last stitch in yer only little girl's christenin' dress ! Lies, every one of them all ! Nora (/// a last effort to deny). What do you mean? Sauah. Ye know very well what I mean ! This is the dress I threw aside ! It was not good enough for me godchild's christenin* ! It was not good enough for the day that saw me come to me brother's wife, me old friend, the girl I worked out three years with, as if she was me own sister Nora. For the love of God, Sarah, darlin', listen to me ! Sarah. It was not good enough for the sign that I'd put the past behind me, an' forgot how him an' you married an' left the whole care of the old folks on me, an' Nora. Who could have told (Mrs. R. stops drinking her tea.) Sarah. So I trimmed me old hat with some of me mistress' cast-off flowers for Easter, an' I bought cotton gloves instead of kid, an' I paid eight dollars for a dress with a pattern of roses, — roses, — for to go with the baby's name. Mrs. R. (^softly and in aive and horror). Ah, God ! Eight dollars ! Sarah. But I might have spared meself the trouble. I might have saved meself the pains. I might have got the cheap dress with the pattern of leaves for six dollars, an' given ye the other two outright, so ye'd have been saved the work of goin' to the store an' changin' the dress I give yer child for the cheap thing I'd have nothin' to do wiih, an' two dollars in cash ! ( Contemptuously flings down dress. ) Nora. So that's what ye think I done ! Mrs. R. Keep quiet, Nora ! Let her say her say ! Sarah. That anny one on earth could be so low as to turn a child's christenin' dress into money ! Not even a present I give yeself, but a lace dress for the child, — a thing ye didn't own, — not yours at all ! An' changed into money, — why ? Was it to put out the washin' ? Mrs. R. Put out the washin' I 20 THE CHRISTENING ROBE Sakah. Or is it loo much to make the bread yeself ? Nora (^furiously'). Too much to make the bread meself ? {Flings open cupboard door and exhibiis bread.) Look at that, Sarah Mulvey ! Look at that ! An' that ! An' that ! [She flings it do7vn by dress.') Sarah. Or was it tickets to the movin' picters ! Mrs. R. {furiously). Ah-h-h ! Movin' picters ! It's little enough she goes to the movin' picters, Sarah Mulvey ! Nora. I'hat's a hard word to come from a single woman to the mother of the childern of a workin' man ! Sarah. A single woman ! That comes well from you to me. An' why am La single woman? If the woman Patrick married had made him wait a year, — if the woman Patrick married had known how to save an' spare an' send a bit home to the old people, so it hadn't all come on me, — it may be that I'd be a woman in me own house instead of a gen'ral girl to- day. For there was a lad I'd have made into a gentleman was wild then to have me Nora (with a scornful laugli). A great gentleman ! Sarah. an' me not takin' the first offered, as some that's now married was quick to do ! Nora [holly). Do ye mean me ? Sarah [hotly). Put on the shoe if it fits ! Nora. Now I'll give ye the truth ! Sarah. Ye don't need to for I know it, that found Pat- rick's empty pay envelope on the floor. The dress I sent was sold, — the money spent before I got here, — an' me brother's envelope robbed, — robbed by his wife. Mrs. R. That's a lie ! Sarah. Then show me the dress ! Mrs. R. I'll show ye ! Nora. No, mother, leave me speak. The dress ye sent so kindly for my child's cbristenin' is gone where none of us can find it, through no fault of mine. Sarah. An' if it was torn by the childern or if it was scortched in the ironin' where's what's left of it? Is it likely there'd be no small shred left to show me ? Is it likely Nora. Likely i Likely ! An' is it likely that when three weeks is scarce past since I near gave me life for me baby, that I'd be ready so soon to rob the father an' the child ? Mrs. R. [scornfully). Hush, Nora ! What use sayin' that THE CHRISTENING ROBE 21 to a single woman ? Tell her how ye lent the dress an' lost it, an' let her take it as she will. Sarah {quieting for a moment^. Lent the dress an' lost it? Nora. So ye won't believe me? Sarah {with biting sarcasm in her voice'). Why shouldn't I believe ye? 1 wonder I'd not thought of it before. For lo get a great name among the neighbors, it was easy to throw the dress I sent away. Like ye threw money right an' left the first year ye were married, knowin' I'd send home Patrick's share as well as mine. Yer fine friends borrowed the dress, the way ye "lost" it — "lost" it, an'opened me brother's pay envelope to replace it, that they might think ye were too grand to ask it back. Nora. An' how could I ask back a dress was sold, will ye tell me, sold by them that borrowed it? Sold by the child's father, over the fence to a Jew peddler ? Sarah {in a white heat of anger). An' that's the like of yer friends ! Ye lent the dress 1 sent to some miserable for- eigner, — some thievin' Eyetalian, — to the sort that no one in yer husband's family would look twice at ! This settles our dealin's together. I'll go now. Nora. I lent it to Barty Leahy ! {An instant's silence.') Sarah {staring at her as if she had been struck). Barty Leahy ? Nora {ironically). One that none of me husband's family would look twice at. Sarah. Barty Leahy, — the tall, straight, black-haired fel- ler, — looked like an officer in his uniform, — he sold a borrered christenin' robe? Nora. Across the fence to a Jew. Sarah {with a helpless protest). Not him ! Nora. An' turned it into gin. Sarah {pleadingly). Ah, not Barty. Nora. Barty Leahy, the fine gentleman ! Sarah. Might have been the twin brother of that young Irish officer ! Nora, is this the truth ? {She seizes her by the wrist and for a viovient they look full into each other's eyes. Then Sarah flings Nora's hands aside.) No, ye'd not tell that lie of a neighbor ! Barty Leahy, that used to drink the cream ! 11 THE CHRISTENING ROBE [She drops into a diair by tJie table and hiries her face in her /lands. ^ Mrs, R. There she sits that sent other men away for hiui,- Sauah {looking ?//). Oh, the prayers I've said an' the holy books I've read an' the penance I've done for to drive him from me mind ! Mrs. R. You a good religious woman workin' out in the best places Nora. An' wantin' another woman's husband ! Mrs. R. Be slill, Nora Mulvey ! Ye've yer own penance comin'. Don't talk like a fool. Sarah. Let her say what she will. Ten years to me shame I've remembered Barty Leahy. Ten years ! Ten years I've treasured up anger because Patrick's marryin' early stood in the way of me marryin', who? Some one 1 thought next door to a gentleman — this thievin' man ! Mrs, R. Listen, woman ! Now ye can mend. Here's yer brother's wife saved ye marryin' him. Sarah. Ten years, — Vv'ith its troubles an' sorrers, — a long time to look back upon, with its ups an' its downs. Ten years ! Thinkin' that not marryin' the man ye wanted was the sorrer of sorrers. An' look who it was I, who like the gentry, wanted — Barty Leahy, the meanest man I'd ever known ! {Scornfully.') Looked like an officer in his uniform ! Mrs. R. Then why remember him from now on ? (Sarah starts to speak.) Daughther ! Listen to me. Out of kind- ness ye sent the dress to Nora Nora. Kindness ! Out of kindness she sent it. Out of kindness I lent it. That same kindness has been a cause of sin to Barty Leahy an' a cause of sin to me. All in a minute I'd taken the money himself give me. All in a minute I'd spent it. 'Twill be more than a minute before I get it back again. Mrs. R. Ye didn't take it from the pay-envelope ! NouA. I did ! Mrs. R. Six dollars from yer man's pay-envelope that he gives ye reg'lar an' it unopened ! An' what will ye do with yer neighbors goin' in an ambulance to the hospital, an' hot weather comin' on? An' himself goin' without his pipe an' crushed with debt the way he'll soon be drinkin', him the good man he is an' all. An' for no reason but ye were afraid to say ye were Christian enough to lend a dress to a neighbor's young one, for no reason but iliat ye've taken the money hiuiself give THE CHRISTENING ROBE 23 je for the house, an' spent it on laces an' such like that ye can't afford. Shame on ye, shame on ye, Nora ! Himself has the good right to desert ye, — an' you without so much as a pot of boilin' water, — if I am yer own mother says it to ye to-day ! Sarah {opening her purse and flinging it down zoith a ges- ture of one to whom it is nothing). No, no, Mrs. Ryan ! Take me purse, Nora ! Put back the six dollars in yer own decent man's pay-envelope again ! Nora {clutching it). Sarah! May the Lord bless an' re- ward ye 1 ( Opens purse. ) May ye be prospered ! ( Takes out money.) May ye have all the happiness on earth an' a long rest in God an' a good bed in Heaven ! Sarah. What's six dollars to the woman might have been supportin' Barty Leahy at the wash-tub if things had gone her way. Mrs. R. True for ye, Sarah Mulvey ! Ye're a good woman. An' ye're free from all thought of him forevermore. Sarah {with a long breath). Yes, I'm free from him. {With grotving feeling.) Who'd a wish now to see him sleepin' or wakin', on earth or in heaven? Mrs. R. Not you, not you, Sarah Mulvey, a good religious girl, workin' out for none but the gentry Nora. Reg'lar in all yer church duties, year's end to year's end ! Sarah. Not me, that thought this lazy, lyin', drinkin' feller was the nearest a girl could come to a real young gentleman ! Not me, that knows now no woman livin' would even make a man out of a feller would steal a baby's christenin' dress Nora ' [ "^ borrered christenin' dress ! Mrs. R. An' sell it to a Jew. Nora. Across the fence to a Jew. Sarah. Barty Leahy was no more like that young Irish officer than night is like the day ! {In a burst of joy.) What's Barty Leahy to me? What's Barty Leahy beside the little shop I've saved up for ? Nora ' [ ^'^^^^^ ^'^^^^ breath). Shop ! Sarah. What's Barty Leahy beside the fine caterin' trade I'm plannin' in me mind? Nora I (^^^'^'^ bated breath). Listen to that ! Sarah, What's Barty Leahy to me? I never wanted 24 THE CHRISTENING ROBE Baity nor anny other man ! {Goes on almost solemnly ; dream- ily and gently). It's a strange world, an' strange things hap- pens. . . . There was a saint, Mrs. Ryan — tliere was a saint once, Nora, darlin' — a good man, could see the whole world at one time. . . . Now, in a small way, I'm like him. I'm seein' meself in that same wideness. . . . That's a queer thing, comes to a body seldom in his life. There was a week at home, before sailin', an' I mind that week well. There was Barty in his uniform, when I come here, a friend of me two brothers, looked to me like a gentleman. An* there was yeself, marryin' Patrick before either of ye could afford to. . . . An' so I'm free of Leahy, but at the end it's not me prayers an' holy books an' penance, but this black sin of his has driven him from me mind. Mrs. R. But ye'd said them an' ye'd read them an' ye'd done them, all the same. Sarah (/// a low voice). An' that's right, too. (^A little silence. Mrs. R. draws a deep sigh, then, after the fashion of certain very old people, she retur?is to the present, much aggrieved.) Mrs. R. Me tea's cold ! Sarah. So it is ! What's the matter with us havin' a fresh cup? Nora {hurrying to stove). What matter indeed? Ah, Sarah, ye've done well. Ye'll be goin' out givin' lunches an' dinners. Ye'll be called Miss Mulvey. There'll be grand entertainin', — fine people (All are seated at the table.) There was manny of them young officers went down to Africa an' never come back, they say. An' Barty looked like the young Irish gentleman ! It was comical. Sarah. It was odd. {Condescendingly .) Nora, I'm very sorry for Mrs. Leahy. I'll give ye a couple of dollars, next week, to lay out for her as ye think best, without sayin' it. come from me. Nora. Ain't that kind of ye ! Mrs. R. {warmed by tea). Ye'll be prospered. Sarah. Ain't I better off, born to be a maiden, than she? Mrs. R. Indeed, the likes of you is happier when they don't marry. Nora. Manny the care a mother has. Didn't I catch Johnny in a lie only to-day ? Mrs. R. Patrick need not know about the stealin' of the dress. THE CHRISTENING ROBE 25 Nora. He need not. An' there'll be nolhin' hard at all in me tellin' him that Mrs. Leahy sent the dress to be ironed, an' that a small boy brought it back, a moment since, as fresh as the day it come. Mrs. R. Say nolhin' about the small boy, Nora. 'Twould be a lie. That ain't ne's'ry. Enter Pat. Pat. Was it cream'ry butter ye wanted, Nora? Nora. Ah, Patrick, here's Sarah herself. Pat. Well, Sarah 1 t - Sarah. Well, Patrick ! {They shake hands.') Pat. Ye're lookin' tine. Sarah. So's yeself. Pat. I'm glad to see ye liere, Sarah. Sarah. I'm very glad to be here, Pat. Pat. {jovially'). An* all of ye driukin' yer tea before I get here, an' me out doin' the woman's errands, to fill ye up with butter at forty cents a pound ! Nora {jovially). Sit down, sit down, take yer tt.i an' keep yer temper. Pat. Where's the childern ? Mrs. R. Don't fret. They'll soon get here. Pat. There's the dress. Mrs. R. That elegant dress ! Pat. {to Sarah). It cost ye too much. Sarah. It was cheap at the price. Nora. An' it come home in such elegant shape. Pat. Didn't I tell ye Sarah'd not care? Nora. Suppose it hadn't come? Suppose annything had happened to it? Suppose I'd lost the one dress in all the city for me own taste? {All seated at table but herself.) The dress Sarah picked out with her own hands? Mr.s. R. There was an awful comical story, about a man had a little black dog {As the curtain bes^ins to fall, a hand-or^an is heard outside. Curtain falls quickly, and frotn behind it comes a burst of laughter.) CURTAIN ENGAGED BY WEDNESDAY A Farce in Three Acts By Grace Arlington Owen Five males, eleven females. Costumes, modeia; scenery of little im portance. Plays an hour and a half. Arthur Watson and Lucile Persons, long destined for one another by their respective mammas, are suddenly told, after a separation of seven years, that they are to get engaged at once. Neither likes the idea, and being personally unknown to one another, each persuades three friends to masquerade under their names for a day. The result IS bewilderingly funny. Very easy, funny and effective. Strongly recommended for schools. Price, 2j cents CHARACTERS Martin Henrv, the laziest man in the county. Arthur Watson. Jack, 1 Ted, \ friends of Arthur s. Djck. j Miss Abigail Persons, a woman of ideas. Mrs. Watson, a gentle person. Lucile Persons. Marie, | Jane, \ friends of Lucile. Mabel, ) Mary, Martin Henry s autit; cook at the Persons', First Girl. Second Girl. First Gypsy. Second Gypsy. THE TEMPLETON TEAPOT A Farce in One Act By Grace Cooke Strong Four males, four females. Costumes, modern ; scenery, an interior. Plays thirty minutes. The Templeton Teapot, a priceless antique, gets tangled up with a modern love-affair and has some strange adventures in consequence, getting the hero arrested as a burglar and every one else sadly mixed up. Bright, brisk and entertaining. Recommended foi schools. Price, /f cettts THE TURN IN THE ROAD A Comedy in Two Acts By Gladys Ruth Bridgham Nine males. Costumes, modern ; scenery, a single interior. Plays an hour and a half. Hiram Skinner's cow gets mixed up with some Colton University students and, besides causing more or less fun and excitement, brings it about that the most insigniticant " grind " in college is about the best man there. Sympathetic and interesting. A good high school play. Price, ij cents A FOUL TIP A Comedy Drama in Three Ac*;s By Charles S. Allen Seven males, three females. Costumes, modern ; scenery, one exterioi scene, not changed. Plays two hours. The safe at Irving's factory is robbed and three persons are under suspicion, which finally settles most strongly on Verne Gale, the hero, who, to protect Hal Irving, old Irving's son, wliom his sister Nellie loves and whom he believes to be the real cul- prit, keeps his mouth shut save for protesting his own innocence. " Uncle " Tim Purdy is loyal to him and, with the aid of Pete Adams, the colored pitcher of the Westvale nine, finally discovers the real culprit. A strong play with unusual strength and variety of character and abundance of humorous lines and incidents. Very highly recommended. Price, 25 cents CHARACTERS Tim VvYiVi^, postmaster, chief of police and storekeeper at Westvale, Hiram Rovvell, the village expressman. Oliver Irving, manufacturer. Harold Irving, his son. Verne Gale, manager of the IVestvale nine. Pollard, Irving' s bookkeeper. Pete Adams, colored pitcher on the Westvale nine. Almira Purdy, Tim's wife. Mabel Remington, Irving's stenographer. Nellie Gale, Verne' s sister. Members of the ball team, villagers, etc. DADDY A Comedy in Three Acts By Lilli Huger Sjnith Four males, four females. Costumes, modern ; two easy interiors. Plays an hour and a half. Mr. Brown exhausts all the resources oi science, including smallpox and diphtheria signs, in an endeavor to keep away the admirers of his daughter whom he wishes to keep at home. He finally asks Dr. Chester, who is privately in love with her, to help him to dissuade hep from becoming a trained nurse. The doctor does so by marrying her himself. Very clever and amusing; full of wit and of high tone. Strongly recommended. Price, 25 cents CHARACTERS Mr. Wrexson 'QvLOWi^, just like his fellow men. Teddy Brown, his son, pursuijtg football at college. Paul Chester, a young doctor. Thompson, the Browns' butler. Mrs. Wrexson l^Kow^ii, Just like her fellow women. Nellie Brown, her daughter, a debutante. Mrs. Chester, Mr. Brown's sister, pursuing ill-health at home, Jane, the Browns cook. ALIAS BROWN A Satirical Farce in Three Acts By E. J. Whisler Eleven males, five females. Costumes, modern ; scenery, two interiors. Plays two hours. Keeler, fearing arrest for participation in a glove con iest in Sacramento, adopts the name of a cigar salesman, Brown, whose card he finds in tlie train, and flees to Reno. Too late he finds Brown to be named as the corespondent in a divorce suit brought by Mr. Logan against his wife, and that Mr. and Mrs. Logan and Mary Gilbert, the girl of his heart, are all on the ground. His troubles are many, but he finds a way out of tliem. Good rapid farce and very funny. Frice, 2j cents CHARACTERS Mr. James Log.^n, a young married man. Age about twenty-five. Quick tempered. Mr. Mortimer, "Mrs. Mortimers husband" not subdued, but submerged. Age about forty. John Brown, a cigar salesman. Age about forty. A practical business man with no frills. Somewhat bald and a little gray. Vincent Allgood, the hotel clerk ( Nuf ced). Montmorency, a bell hop. Henry Keeler, a young man of about thirty. A gentleman of leisure, and a good fellow. Billy Newcomu, a newspaper reporter. Alert and on the job. La Rue, the chief of police. A little hearty mentally, but persistent a7id faithful. Mr. Thomas Richie, a good-hearted, but weak young fellow, of about twentyfour. Lee Watei^s, a theatrical matiager. Pompous and tnuch inclined to run things. Rastus, a porter. Mary Gilbert, a public stenographer. Age abotit tiventy-five. A practical, sensible girl. Mrs. 1\Iarie Logan, a young married woman. Age about twenty- two. Mrs. Beatrice Mortimer, an actress. Age about forty-five. Mrs. John Brown, about forty years old. Very mild mannered, a little old-fashioned. Mrs. Thomas Richie, age about twenty. A flighty little thing, frivolous, but affectionate. A FULL HOUSE A Farce in One Act By Dorothy Waldo Three males, three females. Costumes, modern ; scene, an interior. Plays tliirty minutes. Mrs. Jinks, who keeps a boarding house, gets two applicants for her second floor front mixed, and manages by accident to atraighten out a tangled love affair. Full of laughs. Recommended. Price, li cents RED ACRE FARM A Rural Coir»edy Drama in Three Acts by Gordan V. May. Seven males, five females. Costumes, modern ; scenery, one interior, one exte- rior. Plays two hours. An easy and entertaining play with a well-bal- anced cast of characters. The story is strong and sympathetic and the comedy element varied and amusing. Barnaby Strutt is a great part for a good comedian ; " Junior " a close second. Strongly recommended. Pricg, 2 J cents THE COUNTRY MINISTER A Comedy Drama in Five Acts by Arthur Lewis Tubbs. Eight males, five females. Costumes, modern ; scenery not difficult. Plays a full. even- ing. A very sympathetic piece, of powerful dramatic interest ; strong and varied comedy relieves the serious plot. Ralph Underwood, the minister, is a great part, and Roxy a strong soubrette ; all parts are good and full of opportunity. Clean, bright and str&ngly recommended. Price, 2$ cents THE COLONEL'S MAID A Comedy in Three Acts by C. Leona Dalrymple. Six males, three females. Costumes, modern ; scenery, twc interiors. Plays a full even- ing. An exceptionally bright and amusing comedy, full of action ; all the parts good. Capital Chinese low comedy part ; two first-class old men. This is a very exceptional piece and can be strongly recommended. P) ice, 2^ cento MOSE ^ A Comedy in Three Acts by C. W. Miles, Eleven males, ten females. Scenery, two interiors; costumes, modern. Plays an hour and a half. A lively college farce, full of the true college spirit. Its cast is large, but many of the parts are small and incidental. Introduces a good deal of singing, which will serve to lengthen the performance. Recommended highly for co educational colleges. Price, /j cents OUR WIVES A Farce in Three Acts by Anthony E. Wills. Seven males, four fe- males. Costumes, modern ; scenery, two interiors. Plays two hours and a half. A bustling, up-to-date farce, full of movement and action ; all the parts good and effective ; easy to produce ; just the thing for an ex- perienced amateur club and hard to spoil, even in the hands of less practical players. Free for amateur performance. Price, 2j cents THE SISTERHOOD OF BRIDGET A Farce in Three Acts by Robert Elwin Ford. Seven males, six fe- males. Costumes, modern ; scenery, easy interiors. Plays two hours. An easy, effective and very humorous piece turning upon the always in- teresting servant girl question. A very unusual number of comedy parts ; all the parts gooJ, Easy to get up and well recommended. Price, 25 centi Popular Plays THE COUNTRY MINISTER A Comedy Drama in Five Acts By Arthur Lewis Tubbs Eight males, five females. Costumes, modern; scenery not difficult. Plays a full evening. A very sympathetic piece, of powerful dramatic in- terest; strong and varied comedy relieves the serious plot. Ralph Un- derwood, the minister, is a great part, and Roxy a strong soubrette ; all parts are good and full of opportunity. Clean, bright and strongly recom mended. Price, 2^ cents THE TEASER A Rural Comedy in Three Acts By Charles S. Allen Four male, three female characters. Scene, an easy interior, the sanie for all three acts; costumes, modern. Plays an hour and a half. An ad- mirable play for amateurs, very easy to get up, and very effective. Uraliah Higgins, a country postman, and Drusilla Todd are capital comedy parts, introducing songs or specialties, if desired. Plenty of incidental fun. Price, 25" cents THE HERO OF THE GRIDIRON A College Comedy in Five Acts By Estelle Cook Nine male, four^ female characters and supernumeraries. Costumes, modcn ; scenery, easy interiors and exteriors, not essential. Plays about *wo hours. A successful farce suited to co-educational and other colleges j very easy and remarkably effective in performance. Can be played only on payment of a royalty of ^5.00 for each performance to the author. Price, 2^ cents MOSE A Comedy in Three Acts By C. W. Miles ■ Eleven males, ten females. Scenery, two interiors ; costumes, mo-Jern^ Plays an hour and a half. A lively college farce, full of the true college spirit. Its cast is large, but many of the parts are small and incidental. Introduces a good deal of singing, which will serve to lengthen the per- formance. The inevitable football is an element of its story, but its strongest dramatic interest does not depend upon this. Recommended highly for co-educational colleges. Price, /J cents Sent, post-paid, on receipt of price, by BAKER,, 5 Hamilton Place, Boston, Mass THE SUFFRAGETTES' CONVENTION An Entertainment in One Scene By Jessie A. Kelley One male, twelve females. Costumes, modern and eccentric ; scenery, unimportant. Plays an hour and a quarter. Another of Mrs. Kelley's popular assemblages of the floating humor of the Suffragette question. Just a string of humorous lines and characters and local hits aimed to raise a hearty laugli witliout hurting anybody's feelings. Suited for women's clubs and for general use in private theatricals. Price, 2 J cents CHARACTERS Mrs. John Yates, presiding officer. Mks. Silas Curtis, SKjfragette speaker. Mrs. Eben Altaian, suj'mgetie speaker, Mrs. Eldon Keener, anti'^suffragette. Mrs. Oscar Dayton, a7iti-suffragette. Mrs. Jonas Harding, anti-sitffragette. Miss Rosabjille Hyacinth, engaged. Miss Priscilla Prudence, would like to be engaged. Miss Anna Helder, great on style. Mrs. Charles Bates, anti-suffragette. Mrs. Russell Sager, suffragette. Mrs. Francis Wood, suffragette. Silas Curtis, who becomes an ardent advocate of woman suffrage THE QUEEN OF HEARTS A High School Comedy in One Act By Gladys Ruth BridghaiJt Three males, three females. Costumes, modern ; scenery, a single in terior. Plays one hour. Three seminary girls go to the masquerade on the sly, get mixed up there with some students and have a narrow escape from detection. Their later anxieties are complicated by the fact that they discover that one of the younger members of their own faculty was also there ; but this later suggests a plan by which they escape. Very brigh! and breezy and full of fun and action. Price, 15 cents LOOK OUT FOR PAINT A Farce Comedy in Three Acts By Cornelius Shea Five males, four females. Costumes, modern ; scenery, one interior and one exterior. Plays an hour and a half. An elderly maiden, making a «* flash " at a summer boarding-house, runs into a young artist with whom she has corresponded tluough a matrimonial bu.-eau. He is anadmirerof the landlady's daughter and tells her the facts before the lady has seen him. Slie induces Roamer, a tramp house-painter, to exchange identities with his fellow artist with sidesplitting results. A capital piece, full oi humor and very easy. Recommended for schools. Price, 2§ cents B* 01* Pinery's Plays Price> SO 0cnt$ €acb MinLpIf AMMPI Play in Four Acts. Six males, five females. »»"*'"*'*"»*»*'"" Costumes, modem; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH &* '^^^^l males, five females. Costumes, modem; scenery, all Interiors. Plays a full evening. mPRnPlinATF Play in Pour Acta. Seven males, fire r IVVr LitUA 1 El females. Seenery, three interiors, rather elaborate ; costumes, modem. Plays a full evening. THE SCHOOLMISTRESS f^^^rfe^^tl^Tos^^LTS^: em; scenery, three Interiors. Plays a full evening. THE SECOND MRS. TANQUERAY II^^^X.^S^e females. Costumes, modem; scenery, three interiors. Plays a full evening. ^WFFT I AVFNnFD Comedy in Three Acts. Seven males, OfTEiEil LiAVIJllUCIi four females. Scene, a tingle interior, eoitomes, modern. Plays a full evening. THE THUNDERBOLT ^ire^^Li^s^°¥cel"eVy,tS?effi: ora; oostomes, modern. Plays a full evening. THF TTMF^ comedy in Four Acts. Six males, seven female*. * **" * llilliu Scene, a single interior ; costumes, modern. Plays a full evening. THF WFAVFR QFY Comedy in Three Acts. Eight malea, inUi TT IVAIVEiIV OCA eight females. Costumes, modern; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE I?-J!^*male8, four female'! Costumes, modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Walttv ^. Pafeer & Company No. 5 Hamilton Place, Boston, Massachusetts LIBRARY OF CONGRESS ''i'li'iifflriiTTi 016 215 173 %l)t Willmxa Whxvm Ctiitton of ^lajs A^ Yflll I [KF IT Comedy In Fir© Acts. Thirteen males, fotir AJ lUl) L(illl^ li females. Costnmes, picturesque ; icenery, va- ried. PlayB a full evenlug. piUfT I p Drama In Five Acts. Nine male*, flre female*. Cos- vAJIUt(L(Lf tnmes, modern ; scenery, varied. Plays a full evening. INIinMAD ^^y ^ ^^^ Acts. Thirteen males, three females. mUUOlAA Scenery varied ; costumes, Oreek. Flays a full evening. MADV CTITAfiT Tragedy in rive Acts. Thirteen males, four fe- iIlAI\I OlUAHl males, and supernumeraries. Costumes, of the period ; scenery, varied and elaborate. Plays a full evening. THE MERCHANT OF VENICE ai^rh'?erf?ml^: cJ^^ picturesque ; scenery varied. Plays a full evening. DirHPI fFIT Playln Five Acts. Fifteen males, two females. Bcen- I\1wUIjUU