NO PLAYS Ei.oriAN L PS 3089 ' ' "3- \HCR'5 CDITIoN' » or Play:5 i Copy 1 M A GILDED YOUTH OOPY!?»QHT. 1M9 BY WALTER H. BAKSI? A Ca /(S as tk, W. PINERO'S PLAYS, t ylw Uniformly Bound in Stiff Paper Covers, ylv >aC Price, 50 cents each. ifiw % — its 'Xy The publication of the plays of this popular author, made feasible by the new ^1* yiV Copyright Act, under which his valuable stage rights can be fully protected, iiV "^ enables us to offer to amateur actors a series of modern pieces of the highest *f* iiV class, all of Avhich have met Avith distinguished success in the leading English ifiW 'f ^ and American theatres, and most of which are singularly well adapted for ania- f 15 yiW teur performance. This publication was originally intended for the benefit of iliV ^15 readers only, but the increasing demand for the plays for actin^f purposes has '•> ifiW far outrun their merely literary success. With the "idea of i)lacing this excel- >AV 'f* lent series Avithin the reach of the largest possible number of amateur clubs, we '.tS ifiW have obtained authority to offer them for acting purposes at an author's roy- iii W altyof ^XS l/lj^ Ten Dollars for Each Performance. ^i)^ iflv This rate does not apply to prof essionai performances, for which terms will be iflv 'f * made known on application. r,^y (US % and an interior, not at all difficult. This admirable farce is too well.kjiown \k'd through its recent performance by the I.yceum Theatre Company, New York, to Mr need descriittion. It is especially recommended to young ladies' schools and ^k'd colleges. (1895.) Mf M/ THE CABINET MINISTER. | i,J,?-%,V.VSr„-„ .^=?„ ,„S^ M;» \f/ nATVDV DTOC I ^ Farce in Three Acts. By Arthur W. PrxERO. Vf/ f 'T'"LJT7 A"M"A701Vr^ I A Farcical Eomance in Three Acts. ByARTHiTR 1 rxc XXiyiTLZ^K^l^kD* I ^y pi^ero. Seven male and five female char- acters. Costumes, modern; scenery, an exterior and nine female characters. Costumes, modern society ; scenery, three interiors. A very amusing pioee, in- genious in construction, and brilliant in dialogue. (1892.) Seven male, four female characters. Costumes, mod- ern ; scenery, t\\ o interiors. This very amusing piece ^i'S "^^^^ another success in the New York and Boston theatres, and has been ex- Mr tensively played from manuscript by amateurs, for whom it is in every respect ^i^ suited. It provides an unusual number of capital character parts, is very funny, ^k'g yF and an excellent acting piece. Plays two hours and a half. (1893.) Mf k'i'j TTTP T-Tr^RRV T-TOP^T7 I A Comedy in Three Acts. By Arthur W A"^ "^^^1 rlUlOrL. I w.pknkko. Ten male, five female char- acters. Scenery, two interiors and an ex- terior ; costumes, modern. Tliis piece is best known in this country through the admirable performance of Mr. John Hare, who produced it in all the principal cities. Its story presents a clever satire of false philanthropy, and is full of interest and humor. Well adapted for amateurs, by whom it lias been success- fully acted. Plays two hours and a half. (1892.) 5K T ADV POT TTVJTTFT TT I ^ ^^'^y 5" '^^^^ Acts. By Arthur W. W W ^-"-^^ i:>V-^UiN lirui^* PixEKo. Eight male and seven female char- I f ... acters. Costumes, modern ; scenerv, four klJ interiors, not easy. A play of powerful sympathetic interest, a little soiiibre in ?!\ key. but not unrelieved by humorous touches. (1892.) ,-^. A GILDED YOUTH A COMEDY IN THREE ACTS BY/' CHARLES f OWNSEND Author of "Rio Grande,^' "Spy of Gettysburg,'' " Fninignii's Fortune,^ *' The Vagabonds," " The Mountain Waif'' " The Doctor," Etc. AUTHOR'S EDITION BOSTON d'^.^£^//^,^A^j^ 1 _^ ^^ir-c-^^»»^a^^sg^l^ !^ i .^kA 3 A GILDED YOUTH. CHARACTERS. \ *^ ^7 ^^ I -^'CiUi' ^'^^ originally produced.) , \ -^ Sammy Gilder, not such a fool as he looks Mr. Townsend Moses Margin, an antique specimen oj the Society of Dudes, Mr. Wyckoff Col. Culpepper, a fiery old fury Mr. Brown Aunt Sadie, Jiis sister, ^g and hopeful , Miss Carlisle Sadie, the ColoncVsivard Miss Owen Place.— Long Branch. Time. — Midsummer. Time of Playing, two hours and a quarter. Copyright, 1896, tjt Charles Townsend. Copyright, i8q8, by Walter H. Baker & Co. Special Notice. — The author and proprietor of A Gilded Youth reserves to himself all stage rights to the said play. Amateur dramatic clubs may produce the comedy without paying royalties, but in all other cases permission must be had from the author. /H'^fS'/d A GILDED YOUTH. COSTUMES. Sam.— Outing suit throughout. Rather eccentric. Moses. — Plain bhick. Frock coat. DupHcate torn coat and smashed hat for second act. CoLOXEL. — Act I. — Dressing-gown. Acts II. and III. — Modern sum- mer dress. Aunt Sadie. — Act I. — House gown. Act II. — Same. Act III. — Street dress, changing to extravagant bridal costume— long veil, mon- strous bouquet, fan, etc. • Sadie.— Pretty modern dress. PROPERTIES. Act I.— Book. Cigar. Pitcher. Snuffbox. Letter in envelope. Valise containing small hand mirror. Hat box for Aunt Sadie. Act. II. — Letter in envelope. Pen, ink, paper and envelopes on table. Act. III.— Powder box. Bell to strike. Three letters. SCENERY. Act I. Richly furnished sitting-room in 4th grooves. Carpet down, rugs, easy chairs, pictures, etc. Make this set as handsome as possible. Doors c. in flat and R. i E. Act II. Plainly furnished room in 3d grooves. Furniture must be plain but not shabby. Small table with writing material R. front. Chairs R. and L. Act III. Handsomely furnished rooms in 4th grooves. Table L. c. Chairs L. c. and up R. Doors c. in Hat and l. i e. Use light but rich furni- ture for this scene, as it is supposed to take place in a summer cottage. A GILDED YOUTH. SYNOPSIS. Act I. — Time a midsummer afternoon. Long Branch. A romantic maiden. The Colonel gets news. Sam and Sadie. The pitcher of milk and the tale of a cat. Aunt Sadie's " nerves." Moses ! A case of mix. Sam gains a promise. Trouble threatened. Trouble comes. A grand smash. Act II. — Five minutes later. Sam's letter. Law and love. Sadie's suggestions. The " Slugger." Sam on his muscle. Moses and the Colonel. More mistakes. " Settled out of court." The broken promise. Moses a wreck. " I want revenge." A joint-stock love letter. Sam's device. Aunt Sadie sees a chance at last. Sam reads the riot act. Comical climax. Act III. — An hour later. At the Colonel's. Aunt Sadie grows im- patient. Moses more mystified. Sam talks politics with the usual re- sult. The Colonel on the warpath. Sadie's scheme. " Back me up now." The storm approaches. A cyclone — of fun. Sam's triumph. " After the storm, a calm." REMARKS OH THE PLAY. In "A Gilded Youth " Mr Townsend has written an "all star" play, for every character in this bright and successful comedy is a star part. The author himself has starred both as Sammy Gilder and Moses Margin, and, despite the great difference m the two roles, has scored a signal success in both. Nor is the part of Col. Culpepper oi less impor- tance than the others, for there are few comedy old men's roles on the stage that equal it. The ladies have excellent roles. Aunt Sadie stands to-day as one of the finest "old maid" characters ever written, — full of humor, action, and with an unbroken series of ludicrous situatiojis. Sadie is an excellent soubrette role, and the play as a whole is the best farcical comedy that Mr. Townsend has yet written. Its success on the road has been unbroken, and with its simple scenery, fine parts and brisk action it is especially adapted for amateurs' use. In producing the play the following suggestions by the author will be of the utmost service. Sam. — Age twenty-one. Make up pale, smooth shorn, with closely brushed hair. Use very few gestures. Vocal inflections must also be limited, pitching the voice rather low than high, and speaking quietly at all times. Sam is a droll character, and the actor succeeds best in this role w^ho carefully avoids exaggerations of any sort. Remember, especially, that Sam is not a " dude." He has a hesitating— occasionally A GILDED YOUTH. 5 a drawling — way of speaking, but he has plenty of pluck, and will fight " to a finish " if necessary. He is not very quick to comprehend a point, and he is apt to think "in a circle." The " Dundreary" busi- ness, which opens the second act, was introduced one night as a lark, and it went so well that I have retained it with due credit to that genial gentleman— the elder Sothern — whose " Sam " letters were the delight of his generation. ^ Speak the lines throughout with a slight " burr " or lisp, but be cautious about overdoing it ; and never for a moment allow your speech to drift into that of the affected stage dude. Moses. — Age si-xty-five. This is a most deliciously amusing character if an air of unconsious egotism is retained at all times. Moses fondly imagines that he is still " young and charming," and that his winning ways are simply captivating to women. He is a type of the successful business man whose knowledge of woman is nil. Egotism is his most striking characteristic, and an air of self-satisfaction should constantly be preserved. He is rather affected and pompous in speech and digni- fied in movement. Make up with a half-bald wig, line the face, touch the lower eyelids with light brown and apply plenty of rouge. Col. Culpepper.— Age sixty. A noisy, blustering, tempestuous old fellow is this — a role that gives great opportunities for effective work. Always ready for a row, quick to pick a quarrel, but generous and good-hearted withal. Some very fine actors have appeared in this role, and in good hands it never fails to make a hit. Bring his lines out with a jerk. Put plenty of vim into his work, pitch the voice high and throw the words out like a rifle crack. Make up the face with tan grease paint, line rather heavily and powder the hair. Atuit Sadie, "forty-nine and hopeful," is a prime favorite with actresses capable of playing character parts. Her quick changes from raging anger to simpering simplicity, her wide extremes of hope and fear, the game of cross purposes in which she is constantly involved, give'her unlimited opportunities for effective work. There is little fear of overacting this part. Therefore, put all the life and spirit of which you are capable into it. Don't be afraid to line the face, and above all things don't, don't, and again don't, try to look pretty in this role. The face should be made up as homely as possible. Extend the lines of the mouth with rouge, shade the sides of the nose and the lower eyelids, line the forehead — not too heavi-ly, and apply rouge freely in the wrong places — such as low down on the cheeks, across the forehead and on the nose. Study the lines well and follow the varying emotions as de- picted therein. Sadie.— Age eighteen. A type of the hoyden, up to any kind of mischief and in for anything '"awful." Sadie is a soubrette role, and should be played with unfailing dash and spirits. She is keen, bright, A GILDED YOUTH. quick-witted, and thinks a great deal faster than Sam can do. Therefore in her scenes with him she must be in a hurry as if trying to think for both. In doing this carefully avoid assuming a dictatorial manner, as that would rob the part of its greatest charm— that of bright, breezy girlhood. Rehearse. A lid rehearse. Then '-ehearse some more. A GILDED YOUTH ACT I. Scene. — Sitting-room in foto-th grooves. Doors R. i e., and C. D., in fiat. Discover Sadie seated on table l. with book. Sad. {reads). " And the lovely maiden flung herself into the nol)le duke's arms, and said : ' I am thine, I am thine forever ! ' " Now isn't that just too perfectly awfully splendid ! \ do so love a story that's all full of love and hate and wicked old fathers and mothers and villains and things. My ! How I wish some villain with great, big black eyes, and a bea — u — tiful mustache would come and carry ?ne off! Um-m ! {Reads.) "And gnashing his teeth with ivapoitwi rage, the wicked, wicked vil- lain seized the beauteous maiden by her flowing hair, and in a voice ter-em-bling with emotion, said. {Sees the CoL. who has entered, R. i E.) Oh, ginger [yuinps dotvn. Col. Yes ! Nice stuff to be reading, that is. Sad. Y-yes, sir. Col. No, it isn't ! It's slush, only fit for idiots to write and fools to read. Speaking of fools, has Sam been here to-day ? Sad. I don't know any fool named Sam. Col. Yes, you do. Sam Gilder's a fool — all wool and a yard wide. He's been hanging around you long enough. If he comes, tell him I want to see him. Understand t See ? [Exit;,;J^. I E. Sad. Yes, I see. You mean old thing. If he wasn't my guardian, I'd tell him what I think of him. To call my Sammy a fool ! Sam. (^C.). Yas, all right. I'll come right down. Sad. (joyjiilly). Oh ! There's Sammy now. [Music. Sam appears at c, smoking cigar, Sam. Say, Sadie Sad. Oh, Sammy, is that you ? Sam. Yas. Is old Beelzebub around ? 7 5 A GILDED YOUTH. Sad. No. Come in. [Down, R. Sam. All right. [Looks about. Sad. What are you looking for ? Sam. I want to get rid ot this cigar. I won it on a bet, and it isn't very good. [Throws it into pitcher. Sad. Oh, Sammy Gilder ! You've thrown it into the Colonel's pitcher of milk. Sail. All right. Don't tell the cow. Sad. But he'll find it out. Sam. That's what the cat did. Sid. What cat ? Sam. Why, when I was a boy — you — you know \was a boy once — our cat got his head into a pitcher of cream and couldn't get it out. So, my brother cut off his head — the — the cat's head — to save the pitcher. Then he had to smash the pitcher to get the head out. Sad. Oh ! Sam. Yas. Say, I'm not going to stand any more abuse from his royal jags. Sad. J'lgs ! What do you mean ? Sam. 1 mean your beast of a guardian. He had the c-cussed impudence to call me a dude last week, and threatened to kick me. So, I've sent lor a professional prize-tighter to give me some lessons in the manly art, and if that wretch tries to bull- doze me again, I'll knock his d — d — damn head off. Col. {pffYi. I E.). Get out, confound you ! Sad. There — he's having a row with somebody. Sam. Is — is he comino^ here ? Sad. I guess so. Stand your ground. Sam. AH right. Col. {outside). Shut up, blast you ! Sam. Sadie — ^I — I'm going to give you an imitation. Sad. Of what? ■ Sam. An imitation of a gentleman walking out of a room. [Exit, c. Sad. Come back here, Sam. ' . [Follows him off. They re-enter ci moment later, keeping up byplay. Eater Col., r. i e., as Sadie exit. Col. {to C, front. SJiakesfist, R.). Can't find it, eh ? can't find it! Stupid, foolish iools ! I'd like to wring your necks ! [Goes L. Sad. {down R.). Ha ! ha ! ha ! Col. What are you laughing at, you young barbarian — hey ? See anything funny about me — hey ? Where's my hat-box — where' s my hat-box ? A GILDED YOUTH. 9 Sad. What do you want of it ? ... Col Want of it ? I want to rig it up as a tamily mansion— that's* what. {S\rs Sam.) Well— what are you doing here ? Sam. Me ? I'm just taking in the bear dance. Col.' Bear! W'ho's a bear ? Sam. If you look in the mirror, you'll see him. Col. What do you mean, eh ? Sad. Be careful, Sam. Col. Young man, see here. I've had my eye on you for a long time, sir — a long time. Sam. Is that so— which one ? Col No impertinence, sir. I know your little game, but it won't' work. sir. for I'm up to snuff. {7al^es smtff.) And I— achoo!-\ tell ^o^^-achee ! Who the devil's been putt.ng- ^^/,^.^ /__putting cayenne pepper in my snuff? /^Z'^'^' • ^/>" villain ' Get out ! Achoo, acJioo ! (Sam has been pushed to c D h Sadie ; he hisses her and exit.) Get out or I 1 break e;-ery bone in your body. VTurns and rushes up. Sad. {^turns). Eh ? Col. This is some of your doings. Sad. Mine ? , .. ,. Col Yes. yours. You're always up to some deviltry If theres a bigger fool on earth than myself. I'd like to buy him. Comes dowl, L.. takes pitcher.) The idea of taking the guard- ianshipofa tomboy like you, and-(Z..^^ m pitcher) whats this ! A cigar in my milk ? Sad. Did you expect a whole box ? Col. Shut up! (Takes letter from table.) W^ell. well ! Sad Is he quite well ? ,-./:> Col. Humph ! ( Glances at her.) Know who it s from ? Sad. Of course not. ^r , u , ,. t Col Weil, it's from Moses Margin, a New York banker. 1 shall get you otf my hands at last. Now listen, my dear. {Reads.) 'sir: Aaingon'the hint dropped in a recent letter. I have the honor of Lking for the hand of your ward As you and I have never met, I will call on you to-morrow at two RM. shaip o arrange details. Yours truly, Moses Margin There you are. There's the man for you.' Sad.e. Not a gilded YO" ^ ^ ^^ your Sammy, but a sober business man. A bankei. Just think of it ! , . , r • «lafl (erosses\. I w^'//'/ think ot it. Col Oh yes you will. He's worth a dozen Gilders. [Looks at watch.) ' Bless me. he'll soon be here. Vou v^ a lucky girl, Sadie. At two o'clock sharp, remember. ^^^^ ' j,^.^^ j, i E. Sad What shall I do ? Marry a man I never saw. and never want to see ? Never ! I'll die hrst. 10 A GILDED YOUTH. Enter Sam, c. Sam. Dye what ? Sad. Die ? Die dead. Sam. That's just like a woman — always wanting to do something. Sad. Say, Sam, the Colonel says I can never, never, never marry you, and that I must marry a horrible old banker who is coming here at tv/o. Sam. That's too bad. Who is he ? Sad. {cries). Mum — Mum — Moses Margin. Sam. Don't cry, my dear, Moses was a prophet, but there will be no margin of protit for old Margin if we get our wits to work. Sad. Drop your horrid puns then, for he will soon be here. Besides, I expect the actor who is to coach our dramatic club to arrive at any moment. The Colonel will have a fit if he sees him — and oh dear — did anybody ever have so much trouble ? Sam. 'Sh ! Here comes old Pepperbox. Enter Colonel, 'r. i e. Col. {aside). Here's that cheeky young rascal again. {Aloud.^ Young man, I don't want to hurt your feeHngs, but you must keep away from my ward. I object, she imist object, and her future husband will object to your being here. Sam. Her future husband ? Col. Exactly. She will soon become the bride of a man of wealth, steady habits, excellent morals Sam. Don't, sir — please, don't. You make me blush. Col. The devil I do ! Do you suppose I mean you, sir ? No, sir. I refer to Moses Margin, the New York banker, who will be here at two. Sam. He may get left. Col. No, sir. Such men never get left. Sad. He might miss the train. Col. Then he'd come by telegraph ! Sam. But supposing he should fail ? Col. No danger of that. He's worth a round million. Sam. A round million. Then I'll bet he isn't square. Sad. Sam means if he fails to keep his appointment. Col. Nonsense ! When Moses Margin says he will be here at two he means two. I am so sure of it that if he is even ten minutes late I give you, permission — — Sad. {eagerly). To marry Sam ? Col. Yes, Sam, or Beelzebub. {^Starts, R„ Sam. (/^ Sadie). Beelzebub who ? Sad. Hush ! A GILDED YOUTH. II Col. But don't build any lalse hopes on that promise, for Moses Margin will be here at two o'clock sharp, and don't you toroct it. LExit R. I E, Sam. iK'oes up C). So far so good. Good-bye. Sad. Where are you going ? Sam. I'm going— to prevent old Margin from coming. Sad. Do nothing desperate, Sam. Sam Of course not. I'll just quietly dump him off the dock. [Exit, c. Sad. {Up C). Isn't he splendid ! . Now I must prepare for the actor who is to coach our dramatic club. {Runs and looks off R. I E.) The Colonel isn't there— I believe I'll just run over that sono-. \Specialties «;z-" -ha-"' of yourself-mak.ng that poor 'Toi 'lo';^ 'iLre, sir. I never sent you that letter. S'%o'':iV"l'sem it to the young man standing yonden Moses Wl';. you wretched old falsifier, that young man gave me the letter himselt. Moses.'"\'es, tir; 'And he induced me to send you that reply. Sad. Now, Sam ! Col Ah, now I begin to see. gr T'hr£i:%>rwe'"tth been duped by that con- '°tses.'"Thryoung reprobate ! n, break his head. ^i&. (interposing,. Oh, no, you won t. Sam No I guess you better not. Cr' And you really intended to marry that young lady ? Moses. Certainly. I'll marry her now. 17.- v'Jut 'to'ottl.'^ir. She married that young rascal a short time ago ,^^,^ ^ f„„, ^f^ thanks to yol!^r°^,!fund':r;ng:'\'eT"ve,l n, retur^ to Ke. York and 3 34 A GILDED YOUTH. Sam. The Goddess of Liberty has broke loose. Moses. Well, madam, what is it ? Aunt S. I want a few words with you. Moses. I'm all out ot words ; besides, I've no time to spare. Aunt S. You'd better take time. Sam. Now for trouble. Moses {^0 Sam). What shall I do ? Sam. You'd better pacify the old girl. She looks bad in the eye. Here, give her three minutes, and I'll time you. Moses. AH right. Aunt S. You are going away ? (MoSES nods.) To leave me forever ? (A^od.) And never coming back ? Sam. Ten seconds gone. Aunt S. But — you — are — not — gone. (Nods head over fore- going ivords.) And what is more, you are 7iot going one single solitary step until you have fulfilled your sacred solemn promise. Moses. I made none. Sam. Half a minute! Aunt S. Yes, you did, Moses Margin, and I have it right here in black and white. Oh, Moses, to think of building my hopes up. (Sam pomts, followed by MoSES.) Only to dash them down. {Soiuid business.) To win my young, innocent, trusting heart, only to cast it out into the cold pitiless world. Sam. Ain't you ashamed of yourself ! Time's up. Moses. Good-day. [Slarls up c. Aunt S. Stop ! If you leave me thus, Moses Margin, I'll follow you to New York and sue you for breach of promise in the presence of the whole Stock Exchange. Sam. Now you see what comes from writing love letters. Mcses. Surely, madam, you cannot mean it. Aunt S. I mean every, word of it. (Down, L. C. Moses. I believe she does. (Rufis to Sam.) My dear young man — can't you do something to move her from her fool pur- pose ? Sam. Move her ? I might as well try to move the Rocky Mountains. Moset;, I'm in for it. Sam. Say, she's not so bad after all. She's a quarter of a million in her own right. Moses. Is that so .'' Sam. Fact. And you must admit that she's rather good- looking. Moses. Yes. Sam. Another thing — she was only twenty-nine in July. (Aside.) Thirty years ago. Moses, Is that straight ? A GILDED YOUTH. 35 Sam. Dead straight. Moses. By Jove, it's a go. [Approaches AUNT S. Sam. Poor devil ! Col. {shakes Sam's hand). My boy, you're a brick ! You shall have the brown stone front. |MoSES speaks to Aunt S. Sad. And the cottage at Newport .'' Col. Yes, two of 'em. It's worth it to get rid of her. Moses. "Oh, fairest of the rural maids, thy home is in the forest glades " Aunt S. Never mind the poetry, I am yours. Moses, yours. ^Embraces him. Sam. Then we'll all join in the chorus ! [Chorus ''Bowery Grenadiers." Up and down stage twice. On second time down. CURTAIN. L. Moses. Aunt S. Sam. Sadie. Colonel. r. A NEW FARCE COMEDY, THE WIDOW rPOM THE WEST. A Farce Comedy- in Three Acts. By HILTON COON. Five male, three female characters. Scene, an easy interior, the same for all three acts; costumes, modern and eccentric. Vhis piece, which was succe.'^s- fully presented for a season by the Don C. Hall Comedy Company, touring the Western States, is a farce comedy of the irresponsible school founded by Mr. Hoyt. Depending largely for its fun upon the contributions of individual humor of iis players, it reciprocates by supplying a strong, if loosely woven, fabric of plot which can be embroidered with "specialties" to any extent. Plot is not usually a strong point in such pieces, but " The Late Mrs. Early," as it has also been called, provides quite enough to carry the interest of the per- formance successfully. The piece has plenty of incident and " business," and room for much more, and its characters provide an excellent basis for clever comedians to build " hits " upon. Not recommended for schools or church per- formance, as it is essentially theatrical in character. Price IS Cents, SYNOPSIS. ACT I. — The Weeping "Willow Hotel. Indis Guys, the detective. Back from Klondike. ''After the ball." The old maid's visit. A clever scheme. The Widow from the West. • " If I was n't a married man." The rivals, A tele- gram. Sick abed. Angelina arrives. ACT II.— The two nurses. Sassafras tea. The bell-boy. Touched for two hundred. "Charge it in the bill." The red silk stocking. The detective again. "No one has ever seen my face." A noted criminal. Touched again. "Dis- charging" the boarders. "Ephesus, you have deceived me." Angelina defied. ACT III.— "One-eyed Eddie." The F'rench maid. The widow and the de- tective. Knit vs Nit. "O Dusty! this is so sudden." A clock in a fit. The haunted house. Touched again. More fits. " Just like a man's beard." Caught at last. The telegram. *' What's the ditf — I've got on pants?" Angelina abol- ished. AN ENGAGING POSITION. A Comedy in Two Acts. By LEWIS E. MACBRAYNE. Three male, three female characters. A briskly and humorously written little comedy, with an ingenious plot, full of ludicrous situations. A society piece, admirably adapted for amateur performance, and calliug for pretty though not elaborate stage settings, and handsome modern costuming, morning and evening dress. Irs story concerns a young society man, who, by a series of mistakes, becomes engaged to three young ladies at one time — a somewhat try- ing and difficult position, the solution of which is ingeniously accomplished with most amusing results. An excellent piece, and a sure hit In the proper hands. Price 15 Cents. Senty postpaid, on receipt of price, by BAKER, 5 HAMILTON PLACE, BOSTON, MASS. NEW PLAYS. New Hampshire Gold- A COMEDY-DRAMA IN THREE ACTS. By KATHERINE E. RAND. EieM male, six female diameters. Scenery easily arranged; costumes, modern. An excellent piece, interesting in story, and full of shrewd and humor- ous character. It has a strong nielo.lramatic interest, but its general atmosphere is honu'lv and domestic, placing it in the class of plays to which ' ' The Old Home- stead " belongs. It provides some capital parts, both serious and humorous, and is well suited for the simplest conditions under which amateur theatricals are given. Printed from an acting copy which has been successfully performed. Plays two hours. Price, 15 Cents. SYNOPSIS. ACT I. At the Gerrishes. The thirst of gold. "A poor fool." David and Daisv. Lessons in flirtation. The laziest man on the farm. Putting out the fire. The landslide. The speculator from Boston. An old fox. The gold mine "I'm determined to marry a very rich mnn." The partnership Davids refusal ACT II The nmrtgage. Christie's misgivings. Salting the mine. The lost letter "The Boston feller." Ma.idv's paper dolly A clue. To the mine. " Whatever It is, Christie Gerrish is gom' to bein it." Caught in the act DiS' semblin^ The speculator's revenge. Daisy's interrupted vow. I he awtul tid- fn^.J Daisy true gold. "I don't care if it's ten thousaud mghts ; let me go, mothm; let me go r' ^^^^ e^^iator. The convalescent. ''As cross as two sticks " A lost memory. Jack and Daisy. A misunderstanding The Colonel s daughter " That letter." Gid and Bijah. A thunderstorm, which clears the ah^ The crisis. David's sacrifice. " I've never been able to remember anything about it." The n.ortgagc. The debt paid. "I am the richest man in the world." A Tell=Tale Eyebrow. A COMEDY IN TWO ACTS. By ESTHER B. TIFFANY. Author of "A Rick Pudding," "A Model Lover," Etc. Two male four female characters. Scenery, an easy interior ; costumes, mo,len and elegant. A very pretty and graceful little piece of healthy sent,- me fand refi. edluimor, perfectly adapted for amateur performers and appeal h-tothebes ta.te in such matters. In story and treatment a ike this latest ?cAsa2rleab Y c^ of the author of "A Rice Pudding," and can Kiy fall to pfeaU the taste to which that popular piece so successfully appealed. Plays an hour and a quarter. Price, IS Cents. NEW ENTERTAINMENTS. BLIGHTED BUDS. A. B^ARCK IN Onk Act. By JULIA DE W. ADDISON, Author of " A False Note," " Under a Si'ell," Etc. Four male and four female characters. Costumes, modern ; scene, a garden. An excellent farce of the more refined type, full of fun, but never broad or boisterous in its humor. John Sniiih, an enterprising drummer. Prof. Palman, a timid scientist, Pat and Katy, Irish servants, and Drusilla Durham, a senti. mental spinster, are all capital parts. Strongly recommended. Price . . . . 15 cents. I The Grand Baby Show. Aisr Enxertainiment f^or Littlk Koi^kis. written and originally produced by the SIStERS OF MERCY, MEIIIUEN, CONN. For one boy and from ten to twenty-five little girls. This is a platform enter- tainment, no scenery being necessary, and the costumes arc very easily arranged. The idea and action of the piece are sufficiently indicated by its title. It was highly successful in its original performance by the Sisters of Mercy, Meriden, €oun., and is recommended on this ground as well as for the novelty of the idea. It is presented pai'tly in dialogue, but largely in choruses, and the original music, complete, accompanies the songs. A very pretty march is an effective incident of the piece. An excellent children's entertainment. Price . . . . 15 cents. The New Woman. With One Act, One Scene and One Purpose. By GEORGE RUGG. One male and three female characters. Costumes, modern ; scenery, very simple. This is a bright and up-to-date little skit upon a very old subject that never ceases to be entertaining. " The New Woman " is put through a few modern paces with amusing results. Plays only fifteen minutes. Pri' , 15 cents. NEW ENTERTAINMENTS. THE BOOK OF DRILLS. F^AI^X III. A series of entertainments for parlor or luill by Makv B. IIornk, autlior of "Tin-; Book OF DuiLLS," Parts I and II; "The Pkak Sistebs," " Pkof. Baxter's Great I^'VE^'Tlox," etc. Price, 30 Cents. CONTENTS. Looking Backward Drill J'or c'trjlit i)erformers, ladies or gentlemen, or both, LivixG ADVERTibEMEXTS . . . For a large mimhcr of i)erformers. The Dwarfs' Daxce For four to eight hoys. Gulliver and the Liliputians up to Date . . . For ten bogs. THE BOOK OF DRILLS. IPA-RT IV. A series of entertainments for parlor, stage or lawn b.v Margaret Fezandie, Mks. L. K. Rogers and Nellie E. Case. Price, 30 Cents. CONTENTS. The Tennis Drill For sixteen girls. The Soap-Bubble Drill For s'xteen girls. The Harvesters For eight girls and eight boijs. The Bread-and-Milk Drill .... For very little children. A PAIR OF LUNATICS. A DRAMATIC SKETCH IN ONE SCENE. By W. R. WALKES. For one lady and one gentleman. A clever and amusing little piece, suitable for stage or platform. Ketjuires no scenery, and plays about twenty minutes. Price, 15 Cents. A NEW CUBAN PLAY. THE ROUGH RIDER. A Drama in Four acts. By BERNARD F. HOORE. Seven male, two fetLale characters. Costunifs modern and military; sce- nery easy but eti'eccive. I his piece, rctlecting as it does the current patriotic sentiment ami deaiiiig with ihe scenes and incidents of the late war, is likely to be very popular with amateur clvibs thisseason. The attempt has been made in it to construct an (.tt'ective piny, providing stirring picture sand situationp, in- spiring p ttrioLic seutmieiit, aiul recalling familiar incidents of the war, without the vise <>f sui)ernuinerarit-s or the need of elnbori^te scenery or properties. Better plays, no doubt, can be written, but better plays for the use of amateur?, bearing in mind their artistic linn at ions and the difficultitsofiered by elaborate scenery and groupings, are not otten to be had. A small ca?t, strongly marked characters, Negro and Irish co-nelv pirts, rapid movement and strong lines unite to recommend this piece, \vhi>h plays about two hours. Price . . . . . . . 15 Cents. SYNOPSIS. ACT I. — War clouds. The new overseer. Father and son. The blowing- up of the "Maine." A glimpstjinto the past. A scheme of revenge. An Irish- man's courtship. Nigger ?;.s'. Irish. A serious (luestion. A declaration of love and another of war. The call fcr volunteers. " Take that, you Spanish dog!" The firs': blow for the freedom of Cuba. ACT 11.— Sergeant Katferty. The Tiougli Riders. A^ma in danger. The Cuban spy. A litter. Saui and Dennis. "Chickens, or I'm a liar!" A meet- iiiii. News from Manila. Traitors in camp. Dinger. The poisoned water. Theabiluc ion. " We'll save him or die in the attempt! " ACT 111. — In a Spanish prison. A black angel. Explanatinns. Planning an escape. The villain shows his hand. A forced mainage. "Kemember! a Spauiar I never forgets." The Cuban spy again. The bombardment of Santiago, Laving low. The marriage ceremony. The tables turned. "There's one blow for the *»tars and Stripes." The fall of Santiago. ACT TV.— Peace once more. A mysterious stranger. Suspicions. The Spanish kidnapper. Seiior Patl'erty's proposal. A colored " best man." The broken dishes. Throwing off the mask. "I am no servant." In the nick of time. Rescued. A cowardly trick. " Pedro, you have saved my life." AN OPEN SECRET. A Farce in Two Acts. FOR FEMALE CHARACTERS OXLY. By HARION D. CAHPBELL. As originally presented by the Emmanuel Club, Radf^lilfe College, Cam- bridge. Ten female characters. Costumes, outing dresses; scene, a college room. A particularly bright and vivacious littilo glimpse of colUge life,].!-. - sen ing a particularly humorous and characteristic story w.th mucii vigor and skill. A brand new plot in a piece for female characters only is something of a rarity, but the author has hit upon something absolutely novel in this piece, and full of incidental humor and interest. Strongly recommended. Price . , 15 Cents. Sent postpaid, on receipt of price, by BAKER, 5 HAMILTON PLACE, BOSTON, MASS. NEAaZ RL-KVS. THE BOHEMIANS. A Comedy in Three Acts. By E. J. COWLEY. Eight male and four female characters. Costumes, modern ; scenery, easy-, an interior and an exterior — not elaborate. This is a piece in an attractive, liglit-coniedy vein with a strong sympathetic interestand great dramatic strength, lis scenes and characters strongly suggest those of " Trilby," which, however, it resemble:; only in that it concerjis itself also with art and artists. Jack Brandt is an admirable heroic part ; Madge, a strong lead ; Bertie FoUet and Blanche, very "up-to-date" light comedy ; Dale, Smiley and Freddy Sproul, a good group. Noel (heavy) and ^Nlrs. Van Slick (character) both good. A strong piece for a good company, in its unusual combination of lightness and strength. Plays a, full evening. Price . . . 15 cents. Synopsis. Act I.— Poverty. Jack's studio. Freddie's flowers. The Bohemians. Mirth and music. Jack and Noel. The busy bee. A windfall. The pangs of poverty. " The dream of my life." Madge's lore affair. An advance agent. The dawn of prosperity. " The noble stranger." Jack's sacrifice. The legacy. Luck at last. Act il.— Riches. A little cloud. "That horrid pipe." Mrs. Van Slick and the iMajor. An up-to-date engagement. The deceived dude. A cooling heart. Madge, the tom-boy. Tlie Major's advice. Madge's discovery. " Forgive me. Jack ; I might have known." The Bohemians again. Noel drops the mask. " I am the master here." Jack's dog. Disowned. Jack's word. "From this moment we are strangers." Act III. — Poverty again. The studio. Freddie and his sixteen-pounder. Back to the old home. Madge's surprise. Jack's reward. Noel's claim. "The past Is at an end." " Take me. Jack, for it is you I love." The Bohemians once more. " Blessed are the poor." ROONEY'S RESTAURANT. A Farce in One Act. By F. E. HILAND, Author of "The Old Country Store," "A Town Meeting," '• CAUELEfss Cupid,'.' " Captain Swell," etc. Four male and two female characters. Scene, a plain room ; costumes, modern and eccentric. An admirable farce, thoroughly American and modern in its humor. An Irislunan, a Western desperado, a dude and an old maid are mingled in a side-spl'tliiig fabric of fun lasting twcMity. minutes. This piece is strongly rcconnnended to those who want good broad humor and lots of it. It Js not a school or parlor piece. Price .... 15 centg. A RIVAL BY REQUEST. A Comedy in Three Acts. By B. L. C. GRIFFITH. Author of "A BACHELOR'S Divorce." Six male and five female chai*acters. Cos tiimes, modern and appropi'iate ; scenery, two interiors. This is a comedy with an exceptionally well-constructed and interesting plot, abundant incident, and an unusual variety of character and humor. Its misunderstandings are ingenious and unforced and extremely laugh- able, and Pierson's confusion of Lord Anthony McMullin and Alexander Mug- gins, a source of unfailing mirth. In its well-marked contrasts and uniformly strong character it offers a peculiarly advantageous vehicle for the talent of a good amateur club. Plays two hours and a half without a dull moment. The dialogue is particularly rapid and brilliant. Price .... 15 cents. Synopsis. Act I. — Pierson and the cornet. Getting out of an engagement. The Briggs family. Smythe's English valet. On the move. Muggins. The lord or the lackey. Briggs and the bargain counter.- Lord McMullin. A sad mistake. Love at first sight. The new boarders. The plot thickens. A crisis. Engaged to two women at once. Bad for Pierson. Act IL -Cutting the knot. A useless servant. A lord for a lover. More misunderstandings. Briggs' nightmare. Nobody's fool. The ladies combine. Husbands on strike. Defiance. Briggs and the ballet. A three-cornered row. Pierson explains. The two McMullins. Revelations. A broken engagement. Another. Worse for Pierson. Act III. —Pierson in a plight. The two B's on a bat. "It's our wives' fault.'' An artful stratagem. The telegram. A plot that didn't work. Fixing it up. Muggins on thin ice. The two fiancees. Smythe's return. McMullin's restoration to the nobility. Worst for Pierson. Explanations. A show of hands. Pairing off. Muggins goes ba«k to private life. The band plays " Annie Laurie." THE REVOLVING WEDGE. A FOOTBALL Romance in One Act. By THORNTON M. W^ARE and GEORGE P. BAKER. Five male and three female characters. Costumes and scenery very simple. A capital farce, particularly adapted for Thanksgiving Day performances. Its excellent and original plot cleverly utilizes the universal mania for football, atul builds up from this foundation an admirable progression of incidents leading to a most laughable conclusion. Its method will at once suggest that of the popu- lar "Obstinate Family," and it can be safely recommended to any one who has liked that piece. Plays nearly an hour. Price . • . • 15 cents* QUITS. A Comedy in One Act. By ABBIE FARWELL BROWN. Two male and three female characters. Costumes, modern ; scene, an easy interior. This is a " college " play, tlie scene being laid at White Elms Semi- nary, and the story a brisk account of what might easily have happened there l)i!tween a couple of larky Harvard seniors and their sweethearts, Avhile trying to oTitwit the stern old Griffin of the establishment. Full of movement, vivacity a»-i interest. Perfectly easy to play and full of entertainment. Adapted to f" rlor or hall. Plays forty-five minutes. Price . . . . 15 cents. CAPTAIN SWELL. A Negro Farce in Two Scenes. By F. E. HILAND. Author of "A Town Meeting," "Rodney's Restaurant," etc. Five male and two female characters. Scenes, a street and an interior. Costumes, eccentric. A very funny piece with lots of character and incident, illustrating a phase of the struggle between " capital and labor." Sambo, Swell's servant, is a capital low-comedy part ; Dusty and Seedy, two ' bums," are good bits, and Swell, his wife, daughter and her dude lover, a good comedy group. Plays fifteen minutes. Price .... 15 cents. CARELESS CUPID. A Negro Farce in One Act. By F. E. HILAND. Author of "The Old Country Store," "The Lady Lawyer," etc. Three male and two female characters. Scene, a plain interior ; costimies, eccentric. This is an amusing piece, full of " business " and comic incident. It can be played with white faces and one negro low-comedy character (Cupid), or all black faces, as preferred. Plays twenty minutes. Price . • • IS cents*.' A NEW COriEDY, A GILDED YOUTH. A Comedy in Three Acts. By CHARLES TOWNSEND. Originally produced under the title of "Moses." Three male, two female charac- ters. Scenery, three easy interiors; cotsumes, modern. This piece, originally pro- duced by the author and employed by him for several seasons as part of his repertoire, provides for a full evening's entertainment and yet calls for but five characters, his unique in this particular, and meets a want often felt by small professional companies as well as by amateurs. It naturally follows that every part is an important one, since so few people are required to carry the interest of the piece, which is second to none of the author's extensive list, and possesses to the full those qualities of briskness, bustle, wit, humor, and "go" which constitute his professional trademark. Its story is neces- sarily a slender one, but it is complicated with an unusual wealth of humorous incident and ludicrous situation, and its action never liags for an instant. An "all star" com- edy for low comedian, " touch and go" light comedian, old man, old maid, and sou- brette. Strongly recommended. Price 25 Cents. SYNOPSIS. ACT I. — Time, a midsummer afternoon. Long Branch. A romantic maiden. The Colonel gets news. Sam and Sadie. The pitcher of milk and the tale of a cat. Aunt Sadie's " nerves." Moses! A case of mix. Sam gains a promise. Trouble threatened. Trouble comes. A grand smash. ACT II.— Five minutes later. Sam's letter. Law and love. Sadie's suggestions. The "Slugger." Sam on his muscle. Moses and the Colonel. More mistakes. " Set- tled out of court." The broken promise. Moses a wreck. " I want revenge." A joint- stock love-letter. Sam's device. Aunt Sadie sees a chance at last. Sam reads the Riot Act. Comical climax. ACT III, — An hour later. At the Colonel's. Aunt Sadie grows impatient. Moses more mystified. Sam talks politics with the usual result. The Colonel on the warpath. Sadie's scheme. "' Back me up now." The storm approaches. A cyclone — of fun. Sam's triumph. " After the storm, a calm." A Novelty in Entertainments. APOLLO'S ORACLE. By ESTHER B. TIFFANY. An entertainment in one act. This novel entertainment is admirably adapted for summer theatricals at hotels or country-houses, not only because it requires no scenery and calls for Greek costumes only, which are easily arranged, but because its fun de- pends as much upon the audience as upon the actors. Two ladies and one boy are re- quired for its representation, and any number of girls for chorus. Complete with music. Price 15 Cents Sent, postpaid, on receipt of price, by BAKER, 5 HAMILTON PLACE, BOSTON, MASS. NEiA£ PL-T^VS F=iOR GIRL-S. THE MAN IN THE CASE. A Comedy in Three Acts. By WINTHROP PACKARD. Six female characters. Costumes, modern ; scenes, two interiors. Another good answer to the old question, " How can we get up a play without any men?" This {)iece provides a story of considerable interest and dramatic strength, and even a mild love-interest, without the employment of any male characters. Its humor is refined, its dialogue bright, and its plot absolutely new and unlike other pieces of this sort. Written for and original y produced by the Emmanuel Club, of lladclift'e College, it is naturally well suited for performance in similar institutions. Madame Bogusky, an esoteric Buddhist, Alice Roquet, a transla- tion into the French, and Gladys, a Radclitf o Senior, are excellent parts. Price .... 25 cents. Synopsis. Act I. — Aline, the French-Irish maid. A new phrase — "wirrasthrue ! " The love-lorn maid. "Her Jack." Tonsulting the Mahatmas. Two Radclitfe seniors. Common sense vs. Theosophy. A girl's remedy. Madame Bogusky anil the cosmic cycles. Another Jack. ''Everybody's Jack." Jacks ahe TitTMl'S. Acr II. — The ladies' department. A messenger from India. More about Jack. Going to Harvard. Cap and gown. " The ghost-letter." A great (astral) light breaks upon JMrs. Montressor. Following suit. ^ ''Thim fancy shrouds." J.\< KS ARE TKUMI'KD. A( T III. — Kadclitfe dormitory. A college girl's room. A strange man. Aline's arrival The [)Ower of the Mahatmas. An elopement. "A pad for red ink." Fumigation. Ominous "signs." The search. " The real Mr. Wil- liams." Explanations. Jack takes the Trick. COUSIN FRANK. A Farce in One Act. By FRANCES AYflAR MATHEWS, Author of *' A Finished Coquette," "Wooing a Widow," etc. Five female characters. Costumes, modern ; scene, an easy interior, or none at all. A bright little piece, treating the old problem of " An Adamless Eden " in a new way. It has an entertaining story and bright and vivacious dialogue, which cannot fail to give twenty minutes of pleasure in parlor or hall. Price .... 16 centB. A NEW CUBAN PLAY. IN THE TRENCHES. A Drama of the Cuban War in Three Acts. By ABEL SEAMAN. Eight male, three female characters. Costumes modern and military; scenery not difficult. An exceptionally strong and well-constructed melodrama, full of powerful situations and humorous incidents, which has been successful in professional hands. Its story is full of interest, and is told by a well-selected and contrasted group of charac- ters, including Hebrew, Irish and Negro comedy roles. The second act is laid in the trenches before Santiago, and gives opportunity for military display if desired. Its action is very spirited, its climax strikingly heroic and its appeal to patriotic sentiment overwhelming. Strongly recommended. Price 15 Cents. SYNOPSIS. ACT I. — A strange will. War with Spain. The Colonel's history. Paul Davis' pride. The sealed packet. An honest man. A sad experience. A brave bargain. The dawn of love. ' Is he a coward? Held in trust. Financial agent. A brother's wrong. The seat of war. For love or money. Nadina's sacrifice. Passion's penalty. A man's independence. Strange disclosures. Rejected by the rose. The march to the front Beggar'd in pocket and bankrupt in love. With flying colors. A heart of gold. The roll of the drum. Away to the war. Facing the foe. ACT II.— In the trenches. Why he 'listed. An Irishman's philosophy. For valor. Unconscious of danger. Tiie sergeant's hut. On the slopes of Santiago. The Colonel's prejudice. Risen from the ranks. A half-dead Spaniard. Letters from home. Strange news A cruel insult. The plot of ruin. Spies in the camp. A token of love. For himself alone. Nadina's truth. Underarms. Ringing the changes. Doomed to dishonor. Cruel to be kind. Husband and wife. The envelope and the seal. Sent to the front. The Spanish colors. The forlorn hope. A soldier's death. Food for pow- der ACT III. ^ In Santiago. The two papers. A rogue's quarrel. A deserted wife. Green's luck. The sacred truth. A blameless life. Brought to the test. Mother and child. A man to love. For her sake. Nadina's sacrifice. The love of the lion. The eagle spreads his wings. Testing tlie metal. Struck to the core. The spider's web. Joy does not kill. Forget and forgive. After many years. The stolen proof. Hoist with his own petard. Spanish treachery. Biting the dust. True to himself. Bowled out. Rubber Boots. A FARCE IN ONE ACT. By riANLEY H. PIKE. One male, three female characters. Scenery, an easy interior; costumes modern. This is a most ingeniously imagined and cleverly written little piece, admirably suited for amateur performance. Its theme is the encounter of three young ladies with a tramp, and it provides twenty minutes of d Jightfully humorous incident and dialogue. The tramp is a." dumb " character, his part being wholly in pantomime, but remarkably eflEective. Very strongly recommended. Price 15 Cents. Sent postpaid, on receipt of price, by BAKEE, 5 HAMILTON PLACE, BOSTON, MASS. NEW PLAYS. OUR JIM. A COMEDY IN FOUR ACTS. By EGBERT W. FOWLER. Author of " A Mathimoxial Advkrtisement." Seven male, four female characters. Costuuies. modern and military; scenery; not (lifticuit. Anotlier of the popular class of strictly American comedy-dramas of which Mr. James A. iiearne's " Sliore Acres " is an admirable type. Especially strong in its fidelity to rustic life and character, buc of commanding melodramatic interest. Its humor is good and abundant, its sentiment wholesome, and its tone unexceptionable. It is printed from an acting copy, and possesses the terseness and vigor in performance that are bound to characterize a working manuscript. Plays two hours and a half. Price, . . . o o 15 Cents. SYNOPSIS. ACT I. *' My Country, 'tis of thee." Hunting eggs. A sad pickle. The dance in the old barn. The donation. The Deacon's speech. Jim and Grace. A posi- tiiV THE MAGISTRATE. I f ^'^^'"^^ '" ^^^"■^^ ^^ts. i>y arth uuw. f|> * * ^^ xTxxxvjx^ X xv^ 1 x^. I Yn^yy^ii. Twelve male, four female char- ifAW • ^ • aM •. . , . „ •'^t'teis. Costumes, modern; scenery, all m interior. 1 ho merits of this exeellent and amusing piece, one of the most popu- ifAV ^'^^ "^ '\** "'"'I'oi's Pl<-iys, are well attested by long and repeated runs in the ^1^ principal Anuuicau theatres. It is of the highest class of dramatic writing, and jflw IS upruariousiy funny, and at the same time unexceptionable in tone. Its entire f 1^ suitability for amateur performance has been shown by hundreds of such pro- ^Tw ductions from manuscript during the past three years. Plays two hours and f|]^ a half. (18^2.) 'KS THE NOTORIOUS ^ Brama in Four Acts. By Arthur W. ^,^ X 1 11^ INW 1 KJlS^VjyjO PiNERO. Eight male and five female charac- MRS. EBBSMITH. ters; scenery, all interiors. This is a " prob- lem " play continuing the series to which " The Profligate " and "The Second Mrs. Tanqueray" belong, and while strongly dramatic, and intensely interesting is not suited for amateur performance. It is recommended for Heading Clubs. (1895.) THF PROFT lOATF I APlayinFour Acts. By Arthur W.Pixe- xilJ^ JT IVWri^l^j/^ 1 li. j,Q_ ^e^,^„ jjjj^lg ^^^^ fl^^g female characters. ' Scenery, three interiors, rather elaborate ; costumes, modern. This is a piece of serious interest, powerfully dramatic in movement, and tragic in its event. An admirable play, but not suited for ama- teur performance. (1892.) THE SCHOOLMISTRESS. I V.%lU^^f^t^^JJ,^^^\l p^— — ___J male characters. Costumes, mod- ern: scenery, three interiors, easily arranged. This ingenious and laughable farce was played bj Miss Kosina Yokes during her last season in America with great success. Its plot is amusing, its action rapid and full of incident, its dia- logue brilliant, and its scheme of character especially rich in quaint and humor- ous types. The Hon. Vere Queckett and Peggy are especially strong. The piece is iu all respects suitable for amateurs. (1894.) TfiE SECOND MRS. TANQUERAY. A Play in Four Acts. By Arthur W. PiNERo. Eight male and five female char- acters. Costumes, modern : scenery, three interiors. This -well-known and powerful play is not well suited for amateur per- formance. It is offered to Mr. Pinero's admirers among the reading public in answer to the demand \vhich its wide discussion as an acted plav has created. (1894.) Also in tloth, $1.00. SWFFT T AVFNDFR I ^ Comedy in Three Acts. By Arthur O W ILC 1 i^A V niNl^ni^. | ^v. Pinero. seven male and four female '——^————^————'—^-^——^ characters. Scene, a single interior, the same for all three acts ; costumes, modern and fashionable. This well known and popular pie(!e is admirably suited to amateur players, by Avhom it has been often given during the last few years. Its story is strongly sympathetic, and its comedy interest abundant and strong. (1893.) \(> 7\'a the times I A Comedy in Four Acts. By Arthur "W. Pittero. Six \l/ ^-*'^* I male and seven female characters. Scene, a single ele- r~ ; gant interior; costumes, modern and fashionable. An eiitertaining piece, of strong dramatic interest and admirable satirical humor. M/ THE WEAKER SFX I ^ comedy in Three Acts. Bv Arthur xxxi^ Wi:.^vr^JJV On^f^ | w. Pinero. Eight male and eight female ; . characters. Costumes, modern ; scenery, two interiors, not difficult. This very amusing comedy was a popular feature of thore-iertoire of Mr. and Mrs. Kendal in this country. It presents a plot of strong dramatic interest, and its incidental satire of " "Woman's Eights" em-, ploys some admirably humorous characters, and imspires many very clever lines Its leading cliaracters are unusually even in strength and prominence, which makes it a very satisfactory piece for amateurs. (1894.) ^^"^•"^•'^•^v.-^^^^^^v LIBRARY - ^-^vi f NEW OPERETTAS »«»««««»^».f?N«'Ess ^S MiiiHillilfi m f E D I T H ' S TZn^mMMii : # ^^ an ©perctta for Cijtltirrn'? /jS Words by MARGARET FEZANDIE and EDGAR MORETTE. /K /Is Music by EUGENE FEZANDIE, Jr. /JS 25 /IV 'f* .Eleven ohararters, girls and boy?, or all girls, as preferred ; ten or more addi- "* Jj^ tioiial ior chorus. Scenery unnecessary ; <-()stuines, pretty and I'aneifiil, but ifiv %f? easily arranged at lionie. T)ii,s adniirahJe litth^ pi'y.e is printed complete with *|3 ifiV ninsic. It is very tuneful and graeefuUy imagined, arn.1 is strongly recommended ifiv 'f ? for })rivate theatricals or for schools. It is ])articularly wdl suited for the latter rf* f ifiV use, as it deals whimsically with tiie question ol yoiithful study, inculcating, ifiV '?* however, an excellent moral. ^f* /(\ Frice 35 cents. /4^ As iiis I ODD OPERASHEVENTIDE. | le, and is specially written viv •Tli* with the tastes and limitations of children in view. The solos are easily learned yr and sung, and all the choruses are written for voices in unison. Tlie collection \A'S is strongly recommended for its simplicity anil perfect practicability. Keither Avf stage nor scenery is demanded, nor any otilier requirements that cannot be met \^lS without trouble by the equipment of the ordinary hall or church vestry, and the ylr zeal of the most economical committee of arrangements. \ff Price ..... 50 cents. W A Glimpse of the Brownies. A Musical Sketch for Children. Any number of boys. ... Market Day. An Operetta for Young \Mji People. Seven speaking i)arts and v' chorus. Queen Flora's Day Dream. An Operetta for Children. Six speak- ing parts and chorus. CONTENTS. The Boatiner Party. A Musical nu Sketch for Little Children. Thirty boys and girls. Six I^ittle Grandmas. A Musical Pantomime for very Little Childi'en. Six very little girls. Jimiiiiy Crow. A liecitatiou for a Little Girl. A House in the Moon. A Recita- tion for a Child. S. J. PARKHILL & CO.. PRINTERS, BOSTON, U.S.A.