r baker:s I ACTING PLAYS one of ontention ^rice,25 Gents Slojralty;^5.92 \ Sf^WALTERH BAKER& CO-^| BOSTON' ilk. Jl^ CU* PiMero's Plays Price» SO Cents each TU17 A M A THN^ Farce in Three Acts. Seven males, five fe- llll!i iHTlAtiv/liiJ males. Costumes, modern; scenery, not difficult. Plays a full evening. THE CABINET MINISTER males, nine females! Cos tames, modern society; scenery, three interiors. Plays a full evening. TlAIUnV nir'K' Farce in Three Acts. Seven males, four fe- UnTtUl i/ivH males. Costumes, modern ; scenery, two inte- riors. Plays two hours and a half. Till? C KV I Ann niTFY comedy in Four Acts. Four males, in£i UAl L\JR.U KIUIaA, ten females. Costumes, modern; ■cenery, two interiors and an exterior. Plays a full evening. UK UATTC17 IM APni7!> Comedy in Four Acts. Nine males, tllO nUVDEM in tr£\ULIV four females. Costumes, modern; scenery, three interiors. Plays a full evening. TUI7 UrmnV UAPQ17 Comedy in Three Acts. Ten males, lllEi ni/DDl IlUl\Oi:i five females. Costumes, modern; scenery easy. Plays two hours and a half. inio Drama in Five Acts. Seven males, seven females. Costumes, M»l^ modem ; scenery, three interiors. Plays a full evening. I AFiV UniTMTflTITI Play in Four Acts. Eight males, seven lifiUl DUUlliirUl^ females. Costumes, modern; scen- ery, four interiors, not easy. Plays a full evening. f PTTY I^^''*'"^^' ^'i Four Acts and an Epilogue. Ten males, five LiJCil 1 1 females. Costumes, modern; scenery complicated. Plays a full evening. TH17 MAPIQTR ATI? Farce in Three Acts. Twelve males, inEi iT£ii.UliJll\Ali:i four females. Costumes, modern; soenory, all interior. Plays two hours and a half. Sent prepaid on receipt of price by WsiUtx 1^. Pafeer $c Companp No. 5 Hamilton Place, Boston, Massachusetts The Bone of Contention A Fairy Melodrama in One Act By GENEVIEVE K. McCONNELL PLEASE NOTICE The professional stage-riglits in this play are strictly reserved. Amateurs may obtain permission to produce it privately upon payment of a fee of five dollars (^5.00) for each performance, in advance. All payments and correspondence should be addressed to Norman Lee Swartout, 24 Blackburn Road, Summit, New Jersey. BOSTON WALTER H. BAKER & CO, 1918 The Bone of Contention # CHARACTERS {As originally produced by The Waterloo [Iowa) Community Drama League, October 12, Jgiy, at the Waterloo Community Theatre. ) Mother Esther Busie Child- - - - - - - - Donald Scane 4 Grandmother ....--. Georgiella Lay Young Doctor Joe Du Mond Old Doctor Reno J. Reeve Medicine Margaret Johnson Mustard Genevieve Scarie Bedclothes Marion Longley Fresh Air Maxine Lainson Plain Food Louise Foivlcr Sound Sleep ....... Jndia Pickett Scene. — A child's bedroom. Time. — Any night. Copyright, 191 7, by Genevieve K. McConnell [As an unpublished dramatic composition) Copyright, 1918, by Genevieve K. McConnell As author and proprietor. Professional stage a7id moving picture rights reserved. /Wt) j The Bone of Contention SCENE. — A child's bedroom in a small-tozvn house. At L., dozvn stage, pidled out from the zvall, a bed. At u, lip stage, a tall screen. Chair by the bed and at l. c, a table. On r. a practical window. Cupboard up c. Tzvo doors at back r. and l. A chair near window r. The child's clothes are on another chair and there are toys about the room. (The Mother is discovered reading to the Child, who is sick in bed.) Mother (reading). "The Prince could not bear to part from Cinderella again, so he carried her back to the palace in his grand coach, and they were married that very day. Cinderella's stepsisters were present at the feast, but in the place of honor sat the fairy godmother." Child. Is that all? Mother. That is all, except that they lived happily ever after. Child. I'd like to see a fairy, mother. Do you ever see them ? Mother. No, dear, grown people never do. Child. But little girls and boys do, don't they, mother ? Mother. Yes, dear. Child. Read rne another story. Mother. No more to-night. Child. Please. Mother (rising and smoothing the Child's head anxiously) . Try to sleep now, my dear. Child (tossing about). I'm thirsty. 3 4 THE BONE OF CONTENTION Mother (giving the Child water from, a cup). There, dear, you'll feel better now. Child. My throat hurts. Mother {arranging bandage around Child's throat). The doctor will soon be here. Child. I'm too hot. Mother {arranging the pillow and bedclothes). Yes, I know, dear. Child. I don't want the doctor. Enter Grandmother, u. r. Grandmother. How is the poor child ? Mother. No better. He complains all the time that his throat hurts and he's thirsty. Grandmother. Don't give him too much to drink and keep him well covered. This room is draughty. {She draws an extra quilt over the Child.) Mother. He says he's too hot. Grandmother. That is just the fever. You must keep him covered. Mother {crossing to the window). It seems very close in here. Suppose I open the window. Grandmother {stopping her). No, no, no ! Do you want to kill the child? Keep him warm, I tell you. Have you sent for the doctor ? Mother. Of course. Grandmother {at the cupboard, u. c). That's good. So have I. Mother. I don't mean the old doctor, mother. I have sent for the young doctor. Grandmother {turning quickly). What? That young fellow who has just come to town? What possessed you to send for him ? Mother. I've heard he is very good. Grandmother {sitting). He's nothing but a boy. What does he know about children? Why don't you send for our doctor, who has been looking after the fam- ily for the last fifty years? Mother. Just for that reason. He hasn't studied medicine for fifty years. He is getting deaf, too, and THE BONE OF CONTENTION 5 doesn't see very well, and he has those horrid long whiskers, all full of germs. He wouldn't wear them if he had any idea of modern methods. Grandmother. Modern monkey-shines ! He knows a hundred times as much as that young whippersnapper with his germs and his jimcracks. As if a lot of little bugs we can't even see could make us sick. {There is a knock.) Mother. Sh ! Here he is now. (Opens R. door. Enter the Young Doctor.) Young Doctor. Good-evening. (He crosses to r. and puts his hat and coat on chair.) Mother. Good-evening, doctor. I'm so glad you've come. Grandmother (going to l.). Germs! — Good-even- ing, doctor. Young Doctor. Good-evening. Grandmother (to herself). He'll finish him. Young Doctor (approaching the bed cheerfully). How long has the child been ill ? Mother. Since morning. I've given him some castor oil. Child. My throat hurts. Young Doctor. We'll soon make that stop. Open your mouth and let me look at it. No? Oh, very well. (He slips spoon into Child's month and looks at throat.) Yes. His throat is a little inflamed. (He gets out stethoscope ; removes covers and listens to the Child's breathing.) Grandmother (to herself). Such nonsense! Young Doctor. No trouble below the throat. Have him gargle some salt water. Give him plenty of fresh air, plain food and sound sleep. Don't wake him on any account and be sure to keep the window wide open. (He opens the window. Grandmother is disgusted.) Child. Do vou believe in fairies, doctor? 6 THE BONE OF CONTENTION Young Doctor. I believe in some fairies. There's one called Fresh Air that's a great friend of mine. And then there's Plain Food and Sound Sleep. The best fairies that ever lived, and if you'll trust them they'll make you well, so you can get up and play. {He gets his hat and coat.) Child. Goody ! Grandmother {rising). Nonsense! Aren't you go- ing to give him any medicine ? Young Doctor {putting on his coat). He has all the medicine he needs. He'll be better in the morning. Grandmother. Surely he needs to take something, have something done to him? Young Doctor. I have told you all he needs. These are the three essentials : — fresh air, plain food and sound sleep. If you see that he has these three, nature will do the rest. You know all that we doctors can do is to assist nature. We are not magicians. Good-evening. [Exit, u. R. Grandmother. Well, of all the young upstarts. Shut that window. The room is getting cold. Mother. But the doctor opened it. Grandmother. I don't care who opened it. I'm go- ing to shut it. {She shuts zvindozv zvitJi a hang.) Mother. I think we ought to obey the doctor. Grandmother. Obey that boy? {She crosses hack to hed and pulls the quilt over the Child again. The Mother, on the other side of hed, pidls it off. They glare at each other.) Mother. Mother, it isn't right to make him so hot. Grandmother. I guess I know more about children than he does. I've had six. Mother. And raised two. Grandmother. It was the Lord's will. Mother. Yes. That was the old-fashioned way, to blame everything on the Lord. (There is a knock at door R.) Who can that be? Grandmother. I expect that is the other, — the real doctor. THE BONK OF CONTKNTION 7 Mother. Who sent for him ? Grandmother. I did. I told you so. Mother. I didn't hear you. What shall we do ? Grandmother {opening door). Come right in, doc- tor. We've been expecting you. Enter Old Doctor, u. r. He puts his hat on cupboard but keeps on overcoat and driving gloves. Old Doctor {stroking his whiskers) . Good-evening, ladies. Where's the little patient? Ah, there you are, you rascal. Tut, tut. What do you mean by this getting sick and bringing the old doctor out at night, eh ? {He pokes the Child in the ribs.) Child. Don't. My throat hurts. Old Doctor. Throat, eh? Um-m-m, any fever? {Takes off one glove and feels the Child's hands and forehead.) Very hot, very hot. High fever. {Puts head down on Child's chest to listen to breath- ing.) Child. Go away. You are tickling me with your whiskers. Old Doctor {lifting his head). The disease has not reached the lungs yet. ( Gets his bag, opens it, disclosing long rows of medicine-bottles, selects three different colors and drops them into three glasses of water which Grandmother gets from cupboard.) Give him one tea- spoon of each of these every half hour. Keep him warm ; windows closed, plenty of covers. {Pidls quilt over the Child.) Grandmother {triumphantly). There, what did I tell you ? Old Doctor. Nothing to eat nor drink, and I will see him again in the morning. {Closes his bag, puts on glove and reaches for his hat.) Have some mustard ready for 8 THE BONE OF CONTENTION a hot foot-bath and some more heavy bedclothes in case of a chill in the night. Grandmother (admiringly). We always feel such confidence in you, doctor. Old Doctor. Still find you need the old doctor, eh? Haven't deserted the old man yet? Grandmother. Of course wq vi^ouldn*t desert you, doctor. Child. Do you believe in fairies ? Old Doctor. Fairies ? Bless your heart, of course I do. Why, the fairies work for me. There's the mustard fairy that makes the plasters and the hot foot-baths, and there's the bedclothes fairy that keeps little boys covered up at night, and the medicine fairy that makes you well. Child. I don't like those fairies. I like the other ones better. Mother. Hush, now, dear. You must stop talking and go to sleep. Old Doctor. So must I. Got to have my beauty sleep, you know. Ha, ha, ha ! Remember — medicine every half hour, plenty of bedclothes, no draughts and a hot mustard foot-bath in case of a chill. Good-night. Mother. Good-night. [Exit Old Doctor, u. r. Grandmother. Good-night, doctor. — There, what did I tell you ? The young doctor was all wrong. Mother. One of them certainly was wrong. Child. I like the young doctor best. Grandmother. We will have to sit up all night to give him the medicine. Mother. I don't see why both of us should sit up. You go to bed and if I get very sleepy I will call you. I'll sit up in the next room and read. Grandmother (going to door v. R.). Will you be sure to call me ? Mother. I'll be sure to call you if I need you. ^ Grandmother. Very well. Don't forget the medi- cines. Good-night. [Exit, u. R. Mother. Good-night. I wish I knew what to do. I wish your father were here. He always knows what to do. (She tries to give a dose of medicine to the Child THE BONE OF CONTENTION 9 who struggles and cries and spills most of the medicine, finally lying back exhausted.) My poor darling. Now try to go to sleep and let the fairies make you well. Child. Not the medicine fairy, mother. He's bad. I like the fresh air fairy best. Do you think she'll come ? Mother. If you are a good boy and go right to sleep I am sure they will all come. {She shades the light and goes about the room arrang- ing things for the night. She takes the mustard tin from beneath the cupboard and puts it on the table. At the windozv she hesitates, reaches out to open it once or twice, then stops, but finally raises it. Steals softly over to the Child, who seems to be sleeping, turns down the covers a little, kisses him, stands looking at him a moment and then tiptoes off. Exit Mother, u. l.) (As soon as the door closes an ugly Old Witch, Medi- cine, carrying a large bottle and a huge spoon, comes from behind the table. Goes down front where she stands a moment and pours a colored liquid from the bottle into the spoon, then crosses to the bed and pokes the Child, who wakes up.) Child {as in a dream). Who are you? Medicine. I'm Medicine, — bad Medicine, and I'm going to dose you. Child. You shan't dose me. Medicine {with a sneering laugh). Oh, but I will, I will, I will ! He, he, he ! {They struggle. The Child cries.) Child. Stop it ! Medicine. Mustard ! My son, Mustard ! Come and help me. {The cupboard door opens and out jumps a little imp, Mustard, all dressed in yellow.) Mustard. Here's Mustard. Look out for me. I'll make you smart. Child. Stop, stop ! You're hurting me. 10 THE BONE OF CONTENTION (Mustard joins in the struggle, the Child still getting slightly the better of his assailants.) Medicine. Where's Heavy Bedclothes? We need his help too. Bedclothes, where are you ? {A queer creature, Bedclothes, wrapped in a down quilt and a blanket, rolls out from under the bed.) Bedclothes. Here I come. V\\ smother him. {He leaps upon the bed and tries to smother the Child, who after a little more fighting falls back apparently dead. The three bad fairies stand for a moment surveying their work, exchanging nods and grins.) Medicine. Hurrah ! He's done for! {They all laugh weirdly and then join hands and perform a gro- tesque dance around the bed in honor of their victory, chanting a funeral march. In the midst of this. Medi- cine Jiotices that the window is open. They all stop suddenly.) Look here. The window is open. Bedclothes {shivering) . Something might come in. Mustard. We are not safe here. (Medicine crawls under the table. Bedclothes \inder the bed and Mustard into the cupboard. A bright light shines in from outside the zvindow, the curtains blow, and then a fairy. Fresh Air, clad in glittering tinsel, and carrying a huge fan, steps lightly in. ) Fresh Air. Make way for Fresh Air, foolish house- lings, for I am your best friend ! {She laughs and whirls around, waving the fan over her head, gradually approaching the bed, where she stands facing the Child until he revives.) Child. Oh, Fm so hot. Fresh Air. No wonder. You are nearly smothered. {She pulls off some of the bedclothes and throws them to the floor.) Child. The bad fairies were here just now. They nearly killed me. Are they all gone ? Fresh Air. What bad' fairies? THE BONE OF CONTENTION II Child. Medicine and Mustard and Bedclothes. Oh, I'm afraid they'll come back again. Fresh Air. I'll fight them if they do. Don't be afraid. Child. You must be a good fairy. What is your name ? Fresh Air. My name is Fresh Air. Child. That's a funny name for a fairy. Fresh Air. It's not so funny as some of them. What's the matter with you? Why weren't you out playing with me to-day? Child. I'm sick. Fresh Air. Sick? How? Where? What hurts you ? Child. I don't know. Fresh Air (laughing). He's sick and he doesn't know what hurts him. Is there anything you want ? Child. I want something to eat. Fresh Air. Something to eat? That's easy. (She goes to cupboard and raps on the door.) Plain Food, you're wanted. (Plain Food, a healthy little chap dressed all in white (or, if possible, made to represent a loaf of bread and wearing a chef's cap) steps into the room.) Plain Food. Who wants me ? Fresh Air. A hungry boy who thinks he's sick. Plain Food (holding out a plate of bread and a ciip of milk). Here's bread and here's milk for the hungry little boy who thinks he's sick.- (Both fairies laugh.) Child. Give them to me. Plain Food (holding tJie plate behind his back). Say please. Child (almost crying). Please. Plain Food (giving h'nn tJie bread). There, I was only teasing. Child. I didn't know that fairies, good fairies, teased. Fresh Air. We do though. Just watch me tease that 12 THE BONE OF CONTENTION old doctor the next time he goes out. Watch me blow through his whiskers. {She whirls and laughs and the Child joins in.) Child. Do you know, it's fun being sick and seeing fairies in the night. {He finishes the bread and hands the plate back to Plain Food, who places it on the table.) I don't see why you are called Plain Food. I don't think you are plain at all. I think you are beautiful. Plain Food {handing him the cup of milk). I am glad you like me. Fresh Air. After you finish your milk you must go to sleep. Child. I can't go to sleep. Fresh Air. Then sleep must come to you. (Child finishes milk and hands the cup back to Plain Food, who places it on table.) Child. How can sleep come to me? Fresh Air. Watch and see. {She dances around the room zvith Plain Food.) Sleep, Sound Sleep, where are you ? (Sound Sleep glides from behind the screen at the back of the bed, all dressed in misty gray.) Sleep. Who called Sleep? Fresh Air. We did. Plain Food. Come and sing this little boy to sleep. Sleep {slozvly and soothingly). Why can't the little boy come to me? Fresh Air. He says he's sick. Child. I was sick. Pm just sleepy now. Sleep {leaning over the bed, singing and sifting sand throitgh her fingers). Fairy Fresh Air has fanned you, Pll fill your eyes with sand, you Sleepy small thing. Fairy Plain Food has fed you. Lie still in your bed, you Bird 'neath miy wing. THE BONE OF CONTENTION 13 (She spreads her arms like wings, with gray draperies over the Child, who sleeps peacefully.) He sleeps. {All three fairies join hands and dance softly around the bed, weaving all sorts of mystical patterns with fan and draperies. In the midst of their revels. Bed- clothes sneaks from under the bed and grabs Fresh Air by the leg. Fresh Air runs to r.) Fresh Air (dodging the quilt in which Bedclothes is trying to wrap her). Who are you, you stuffy creature ? Bedclothes. I am Bedclothes, and I hate you, Fresh Air. Let me get at the child. Fresh Air. No, no, no ! (She tries to fan him away and they fight. Mustard comes from the cupboard and tries to attack the Child.) Mustard. My mother. Medicine, called me to help put an end to this child. Let me at him. Plain Food (grappling with Mustard). You shan't touch him. (Medicine appears from under the table.) Sleep (stopping Medicine). Who are you that you dare to interfere with Sleep? Medicine. I am Medicine. This child belongs to me. Stand aside. Sleep (defending the Child, who zvakes and hides behind the covers). Never! (They fight.) (The three bad fairies break away from the good fairies and rush upon the Child.) Bedclothes. Now Fll smother you. Mustard. I'll burn you. Medicine. FU dose him. Child. Help ! Help ! Fresh Air (fanning vigorously). Under the bed with you ! n Plain Food (supporting the Child). Back into the cupboard ! 14 THE BONE OF CONTENTION Fresh Air (to Child). You must fight too. We cannot win without your help. (The Child fights. Fresh Air succeeds in pulling Bedclothes off the bed and rolling him underneath. Plain Food chases Mustard back into cupboard and slams the door.) Sleep. Now let's fix Medicine! (They capture Medicine.) Plain Food. Dose her good with her own medicine. See how she likes that. (They force Medicine dowji stage and give him a dose of medicine from the huge bottle and spoon. Medi- cine is overcome and they carry him to the window and throw him out.) Fresh Air. That's the best place for the horrid creature. Child. Are they all gone ? Fresh Air. All gone, and I hope for good. Sleep. Come, let us give the child our three gifts and be gone, for he must sleep, and it is near dawn. Child. Oh, have you three gifts for me? What are they? Fresh Air. I will give you health. (She kisses the Cpiild.) Plain Food. I will give you strength. (She puts her arms around the Child.) Sleep. I will give you rest. (She strokes the Child's head.) Child (disappointed). I thought you would give me a pumpkin coach and rats for hor.ses like Cinderella's fairy did. Fresh Air (laughing). Oh, we fairies nowadays give better gifts than that. Sleep. And now you must go to sleep again. (All three fairies dance once more their intricate dance. Sound Sleep goes nearer and nearer until she stands THE BONE OF CONTENTION I5 with her draperies extended over the Child who goes to sleep. Then the three fairies all slip quietly out through the window. It has grown gradually light. After a short moment Mother enters from u. L.) Mother. It's morning. I must have fallen asleep. {She discovers the upset medicine bottle, picks up the mustard box and places it on table, examines the plate and cup and indicates that she is puzzled and somewhat distressed. She tiptoes to the bed and replaces the quilt but does not put it up around the Child's neck. She feels his hands and forehead and looks relieved. Grandmother enters u. r.) Grandmother. How is he? Mother. Better, I think. He is sleeping. Were you in here during the night? Grandmother. No. Why? Mother. I fell asleep myself and when I came in here this morning I found the medicine upset, the mus- tard on the floor, the covers pulled off and these dishes on the table. Grandmother. Perhaps he was out of his head and got up. Mother. I hardly think so. See how quietly he is sleeping. Grandmother. Ouiet sleep is always deceptive. My first child went like that. Mother (zvincing). Please don't talk that way, mother. (Grandmother closes the window and covers the Child. Mother picks up the room and wipes the table and floor where the medicine has been spilled. There is a knock u. r. but before they answer the door opens and the Old Doctor enters.) Old Doctor. Good-morning, ladies. Ancf how is the little patient? Sleeping, I see. (He crosses to Child.) Pulse better. Not so much fever. That is the result of my medicine. But we are not out of the woods yet. The disease may attack the lungs at any moment. We must l6 THE BONE OF CONTENTION continue the same treatment. And in addition — (he opens his medicine-case and selects another bottle) one of these every hour, a hot mustard foot-bath, and a flax- seed poultice on the chest if he begins to cough. It is necessary to be very careful. Mother (anxiously). Yes, doctor. Old Doctor. Shield him from the slightest draught and keep him well covered. A little barley water if he is hungry. If you follow my instructions exactly I think I can save the child. Mother. Save him ? Do you think he is seriously ill ? Old Doctor. Not at present. Mother. But do you think he will be? Old Doctor. We never can tell. This is the crisis. This is not a natural sleep. When he comes out of it he may be better — or There, there, keep up your cour- age. All may yet be well. Mother (dropping into chair and hiding her face). My poor baby. (Old Doctor joins Grandmother r. They whisper. Young Doctor enters u. r. unobserved.) Young Doctor (at bedside). I see the child is better as I expected. You did what I said about the window and the covers and the food ? Mother (rising). Vm afraid I didn't, doctor, alto- gether. You see my mother was so sure you were all wrong. She doesn't believe in modern methods. Bur the window was wide open all night. Old Doctor (coming forward pompously, coat, gloves and hat in hand). What's the meaning of this? Are you under the impression that you are in charge of this case? Young Doctor. I supposed I was. But of course if they prefer your services I shall withdraw. Mother. Oh, doctor, please don't go. Young Doctor (hesitating and looking at Old Doc- tor). Medical etiquette demands that one of us with- draw. Old Doctor. Medical etiquette be hanged ! I intend to save this child. THE BONE OF CONTENTION 17 {Takes off his coat and throws it with his hat on chair.) Young Doctor. And so do I. Old Doctor {glaring). You must permit me to take the necessary measure to insure this child's recovery. Young Doctor. Nonsense! All this child needs is •plenty of fresh air, a little plain food and sleep. Old Doctor {fiirioiisly) . Young man, I am old enough to be your grandfather and I know more about the practice of medicine than you ever dreamed of. You will kill this child if you expose him to draughts and fill his stomach with food he cannot digest. What he needs is medicine, barley water and warmth. I forbid you to open that window. Young Doctor. Nevertheless that is what I am go- ing to do. {He opens window.) Grandmother. Don't you dare put that window up. Mother {holding her hack). Let him alone, mother. Old Doctor. We cannot stand here and quarrel over this ailing child like dogs over a bone. Once for all, which do you choose? Will you risk your child's life with these " modern methods " or will you follow the safe paths of the old way? Grandmother. The old way, of course, doctor. Mother {decisively). Please, mother. He is my child and I think I should be the one to decide. Grandmother. But Mother. I choose the new way. Old Doctor {shutting his bag with a snap, putting on coat, jamming his hat down to his ears and zvith infinite contempt). Very well. I am no longer responsible for what happens. — The young conceited cub ! {Exit Old Doctor, u. r. The Child, unobserved by the others, has waked and now jumps from the bed and dances around the room.) Grandmother {horrified at seeing Child). Oh, my child, what are you thinking of ? Get right back and lie down. {She tries to pidl him back to bed.) Child. Leave me alone, grandmother. I'm dancing the fairies' dance. l8 THE BONE OF CONTENTION YouN'G Doctor. Oho, so the fairies have been here? Child. Yes. First came the bad ones: — Medicine, Mustard and Bedclothes. They were awful. Then came the good ones — Air and Food and Sleep. They were lovely. And oh, you should have seen the fight ! It was great ! {He throws a pillow at Grandmother.) Young Doctor. And who won ? Child. I did. But the good fairies helped me. I couldn't have done it without them. Young Doctor. Of course not. And now, young man, you may get on your clothes and after breakfast run out to play. You are well. (Grandmother is inarticulate with disapproval and flounces from the room shaking her head. The Doctor laughs.) Child {throwing another pillow high into the air). Hurrah ! {He flings himself into his Mother's open arms.) CURTAIN New Plays for Girls' Schools By Ehie Fogerty and others The following adaptations from standard plays, classical and modern, have been specially arranged for amateur performance in girls' schools. The text is accompanied in all cases by all necessary plates and diagrams, and by full and minute marginal notes and instructions for production. A copious introduction gives a full description of the stage, the lighting, the costumes, properties, both stage and hand, and answers in advance all possible questions that may come up in the process of rehearsal. In all respects they are the most complete and helpful versions of plays ever offered for acting. The Alkestis of Euripides Adapted by Elsie Fogerty Nine characters and chorus. Plays an hour and a half. Price, 2j cents The Antigone of Sophocles Adapted by Elsie Fogerty Eleven characters and chorus. Plays two hours. Price, 2^ cents Scenes From the Qreal Novelists Adapted by Elsie Fogerty Scenes from The Abbott, by Scott. "The Changing of the Keys." Seven characters — plays forty minutes. Scene from The Mill on the Floss, by George Eliot. " Mrs. Pullet'o New Bonnet." Five characters — plays twenty minutes. Scene from Adam Bede, by George Eliot. " Mrs. Poyser has her Say." Five characters — plays twenty-five minutes. Scene from A Christmas Carol, by Dickens. « The Cratchits' Christmas Dinner." Eight characters — plays forty minutes. Price, 2^ cents The Masque of Comus By Milton. Adapted by Lucy Chater LN^ine characters and cliorus. Plays forty minutes ; with music. PricCf 2j cents The Enterprise of the Mayflower /;/ Fotir Acts, by A?nice Alacdonell For Children. Fourteen characters Plays an hour an a half. Price, 2^ cents Sent post-paid by mail on receipt of price BAKER, 5 Hamilton Place, Boston, Mass. MR. KELLEY FROM KALAMAZOO A Farce in Three Acts By Macpherson Janney Eight males, three females. Costumes, modern ; scenery, an easy in- terior. Plays a full evening. Professional rights reserved. Prentice, out of favor with a rich uncle who supports him because he declines to marry a girl the uncle has picked out, encounters her by accident and has to masquerade as " Mr. Kelley." The encounter is complicated by the pres- ence of Ted Strong, of the St. Louis " Nationals " and the Rev. Ernest Frey, both of whom get mixed up with " Kelley " and with one another. It finally appears that his uncle's choice and the girl for whom Prentice has thrown her over are one and the same and all ends well. An ex- ceptionally bright and laughable farce ; characters first class ; situations side splitting, dialogue very funny. A sure hit and can be recommended for schools. Price, 2_§ cents CHARACTERS CL4RENCE Prentice, 7nore or less a gentleman of leisure. Henry Tetlow, his uncle, an impressario. RuFE King, his brother-in-law. The Rev. Ernest Frey, rector of St. Benedict' s, Heatlifield PatiiK Ted Strong, late of the St. Louis "Natiofials.'* Ignatz Demarest Rogers, a syncopated genius. Barton, butler at the Tetlozus . Jim, a policeman. Madelaine Sanderson, Tetlow s wnr4. Mary King, his niece. Leslie Hill, late of the "Folies Bergeres. * Students of Raeton College. Scene. — Tetlow's home, Raeton. Time. — The opening night of college. THE VILLAGE POSTMISTRESS A Rural Comedy Drama in Three Acts By Bertha Currier Porter Six males, six females. Costumes, modern ; scenery, two intenors. Plays two hours. Alice, a nameless girl who lives with the Websters, ia loved by the idolized son of llie family. The mother, learning of this, turns her out of the house into the storm in his absence. The search that follows her departure discovers her to be the daughter of an early lover of the woman who sent her away. She is finally found and all ends happily. A simple but powerful story told by a cast of strong and well- drawn characters. Plenty of humor ; clean and bright. Strongly reccrm- mended. Price, 7.5 cents FOR COLLEGE THEATRICALS FORTUNE BY LAND AND SEA^ A Tragi- Comedy in Five Acts By Thomas Heywood atid Williain Rowley Ar acting version arranged for the Annual Theatricals of the Harvard ifChapter of Delta Upsilon for 1899 By Janet Edmonson Walker Eighteen male, three female characteis. Costumes, Elizabethan; scenery, varied, but may easily be dispensed with, the piece being even advantaged by production under the conditions of its period. Intended to serve as a full evening's bill. This is one of the items of a considerable list of tlie productions of the Harvard Dramatic Club that u^ere to have been announced but that were abandoned as an indirect consequence of the European war. The version offered has been acted with great suc- cess and is entirely competent material for similar experiments by other colleges and schools. The serious interest in drama study that is one of the most conspicuous features of the present educational scheme has originated a demand for acting material of real value, and we are fortu- nate to be able to answer to jt with a piece of such high literary and his- trionic merit. d •* a ^ - ^ >. Frice, boards y Jo cents per copy CHARACTERS Old Forrest. Purser \ j.- ^ Frank Forrest ) , . Clinton j P^^^^^^' Young Forrest | ^""^ •^^'"- Clown. Old Harding. Pursuivant. Philip, his eldest so7i, married to Host. Susan Forrest. Sailor. William ) , . Hangman. JOHN \hts younger sons. ^j^^^ ^^^ Harding, second Master Rainsforth, a quarrel- wife to Old Harding. some gentleman. Susan, daughter of Old Forreit^ Goodwin | friends to Rains- zvife to Philip Harding. Foster ) forth. Bess, barmaid. A Merchant, brother to Mrs. Harding. Drawers, Officers, etc. TOO MUCH SALT A Comedy in One Act By G. S. Bryan Three male, three female characters. Costumes, modern ; scene, a simple interior. Plays twenty minutes. A young husband brings home a friend to dinner to find that the cook has left and his wife has cooked the dinner. A series of disasters brings about a state of war and upon the battle-field arrive the wife's uncle and aunt as reinforcements. A flank movement by Auntie's pet dog turns the day, and all ends well. A trifle that can be recommended. Price, 75 cents NO TRESPASSING A Play in Three Acts By Evelyn Gray Whiting Six males, five females. Costumes, modern; scenery, a single easy in- terior. Plays two hours. Free of royalty. Lisle Irving, a lively " city girl," goes down into the country on a vacation and to get rid of a hus- band of her father's choice whom she has never seen, and runs into the very man living there under another name. He meets her by accident and takes her to be one of a pair of twins who have been living at the farmhouse. She discovers his mistake and in the character of both twins in alternation gives him the time of his life, incidentally falling in love with him. An unusual abundance of good comedy characters, including one — Bill Meader — of great originality and humor, sure to make a big hit. Strongly recommended. Price, 2J cents CHARACTERS Bill Meader, "on the town.'' Jim Meader, son of Bill, a boy of sixteen to eighteen. Mr. Palmer, a New England fanner. Cleveland Tower, a young city fellow, guest of Raynor, Herbert Edmand Raynor, a young Englishman. Mr. Ikyi-hg, father of Lisle. Lisle Irving, a girl of seventeen. Peggy Palmer, a girl of eighteeji or tiuenty. Mrs. Palmer, Peggy s mother. Barbara Palmer, a girl of ten or twelve years^ Almeda Meader, a girl about Barbara' s age. THE GIRL UP-STAIRS A Comedy in Two Acts By Gladys Ruth Bridgham Seven females. Costumes, modern ; scenery, an interior. Plays an ♦our. Daisy Jordan, crazy to get " on the stage," comes to New York iwid starves there in a lodging house waiting for her chance. She schemes to get an interview with Cicely Denver, a popular actress, to act before her, but the result is not at all what she intended. A capital play with strong and ingenious opportunities for good acting. Recommended. Price, ij cents TICKETS, PLEASE! A Comedy in One Act By Irving Dale Four females. Costumes, modern and fashionable ; scenery, an in- terior, not important. Plays twenty minutes. Mignon asks Charlotte to ge^ the theatre tickets, Charlotte asks Maude to get tliem, Maude hands over three to Linda, who leaves two at Mignon's house after she has left home. But they get to the theatre somehow. Bright, funny and char* acteristic. Strongly recommended. Price ^ ts cents WILLOWDALE A Play in Three Acts by Arthur Lewis Tubbs. Seven males, five f© males. Scenery, two easy interiors ; costumes, modern. This is a play ol exceptional interest and power. Admirably suited for amateur perform- ance, all the parts being good. Godfrey is an admirable heavy part, Joel, Lem and Simon capital character parts, Mis' Hazey a novel eccentric bit, and Oleander a part of screaming comedy. Plays two hours and a quarter. Price, 2 J cents THE VILLAGE SCHOOL MA'AM A Play in Three Acts by Arthur Lewis Tubbs. Six males, five females. Costumes, modern ; scenes, an interior and an exterior, or can be played in two interiors. Plays two hours or more. Combines a strong sympathetic mterest with an abundance of comedy. The parts are unusually equal in opportunity, are vigorously drawn and easily actable. No dialect parts, but plenty of variety in the comedy roles and lots of amusing incident Can be strongly recommended. Price, 2^ cents BAR HAVEN A Comedy in Three Acts by Gordan V. May Six males, five females Costumes, modern ; scenery, two interiors and an exterior, not difficult. Plays two hours. An excellent piece, mingling a strongly serious interest with abundant humor. Offers a great variety of good parts of nearly equal opportunity. Admirably suited for amateur performance, and strongly recommended. Price, 2^ cents DOWN IN MAINE A Drama in Four Acts by Charles Townsend. Eight male, four female characters. This play has no villains, no tangled plot nor sentimental love scenes; yet the climaxes are strong, the action brisk, and the humor genial, and the characters strongly drawn. Can be played in any hall ; scenery, of the easiest sort. Properties, few and simple ; costumes, modern. Plays a full evening. Strongly recommended. Price, 2j cents HIGBEE OF HARVARD A Comedy Drama in Three Acts by Charles Townsend. Five males, four females. Modern costumes ; scenes, two interiors and an exterior — the latter may be played as well in an interior, if preferred. Plays a full evening. A clever, up-to-date piece, well suited for amateur performance. No small parts; all good. Good plot, full of incident, no love-making, interest strong and sustained. Price, ij cents HOW JIM MADE GOOD A Comedy Drama in Four Acts by Charles S. Bird. Seven males, three females ; two male parts can be doubled. Costumes, modern ; scenery, three interiors. Plays two hours. An unusually sympathetic play, well suited to amateurs. Clean and easy to get up. Recommended to high schools. All the parts are good. Price, 25 cents THE TIME OF HIS LIFE A Comedy in Three Acts by C. Leona Dalrymple. Six males, three females. Costumes, modern ; scenery, two interiors, or can be played in one. Plays two hours and a half. A side-splitting piece, full of action and a sure success if competently acted. Tom Carter's little joke of im- personating the colored butler has unexpected consequences that give him «' the time of his life." Very highly recommended for high school per- formance. FricCi 2S cents THE COLLEGE CHAP A Comedy Drama in Three Acts by Harry L. Newton and John Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, two interiors. Plays two and a half hours. An admirable play for ama- teurs. Absolutely American in spirit and up to date ; full of sympathetic interest but plenty of comedy ; lots of healthy sentiment, but nothing " mushy." Just the thing for high schools ; sane, effective, and not dif ficult. Price^ 2J cents THE DEACON'S SECOND WIFE A Comedy in Three Acts by Allan Abbott. Six males, six females. Costumes, modern ; scenery, one interior, one exterior. Plays two houn and a half A play of rural life specially written for school performance. All the parts are good and of nearly equal opportunity, and the piece is full of laughs. Easy to produce ; no awkward sentimental scenes ; can bi strongly recommended for high schools. Pricey sj cents THE TEASER A Rural Comedy in Three Acts by Charles S. Allen. Four male, three female characters. Scene, an easy interior, the same for all three acts ; costumes, modern. Plays an hour and a half A.n admirable 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, 2^ cents COUNTRY FOLKS A Comedy Drama in Three Acts by Anthony E. Wills, Six males, five females. Costumes, modern; scenery, one interior. Plays two and a quarter hours. An effective and up-to-date play well suited for amateur performance. All the parts good and fairly even in point of 0]")portunity ; the ladies' parts especially so. Easy to stage, and well suited for schools. Well recommended. Price, 2j cents THE MISHAPS OF MINERVA A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- males. Costumes, modern ; scene, an interior. Plays one and a hall hours. An exceptionally bright and amusing little play of high class and recommended to all classes of amateur players. Full of actioti ant? laughs, but refined. Irish low comedy part. Strongly endorsed. Price, 2j) cints B* 01* Pfncro's Plays Price, 50 gcnte Cacb Min rilANNFI ^^*y ^° ^°^ ^°*^s. six males, five females. IUll/-Vllr&liili^ij Costumes, modern; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH 2J?r'^i^TE males, five females. Costumes, modern; scenery, all interfors. Plays a full evening. THF PRflFf IPATF Play in Four Acts. Seven males, five * "*-• * ".vl LiiU A 1 u females. Scenery, three interiors, rather •lahorate ; costumes, modern. Plays a full evening. THE SCHOOLMISTRESS s^^-'l'SS.^'&t^Sr^ll: em; ecenery, three interiors. Plays a full evening. THE SECOND MRS. TANQUERAY ggt'-S^^SVa females. Costumes, modern; scenery, three interiors. Plays a full evening. QWFFT f AVFlSiriFI? Comedy in Three Acts. Seven males, OllLtLtl Ld\l uiJULsIX four females. Scene, a single interior, costumes, modern. Plays a full evening. Till? TUITMnrDRni T comedy in Four Acts. Ten males, inUi inunLrEiflVDUJLi nine females. Scenery, three interi- ors; costumes, modern. Plays a full evening. THF TIMF^ Comedy in Four Acts. Six males, seven females lAl*-« IIWHjiJ Scene, a sinffle interior : costumes, modern. Plavj a full evening. Scene, a single interior ; costumes, modern. Plays THF WFAITFR QFY Comedy in Three Acts. Eight males, ini:i TT fiAIVCiix OLtA eight females. Costumes, modern; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE F?ve^males, four females! Costumes, modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Salter J^. ^afecr & Companp No. 5 Hamilton Place, Boston, Massachusetts Cl)tl LIBRARY OF CONGRESS III 014 211 935 3 $ ^(((qK Of $la;0 AC VnH I l¥V IT Comedy In Fire Aets. Thirteen malea, four mO Ivll MAI4 11 females. Ooatomea, picturesque ; scenery, Ta- iled. PUys a full erening. riMIT I P Drama in Five Acts. Nine males, flTe females. Cos- vAOUldfC tumes, modem ; scenery, varied. Flays a full eTening. INISAMAD ^^7 ^ ^"^^ '^^^"- 'Hilrteen males, three females. UlUvraAA Bcenery raried ; costiuues, Greek. Plays a full evening. MADT CTIIADT Tragedy in Five Acts. Thirteen males, four fe- luAIVl JIUAAI males, and supernumeraries. (Jostumes, of the period ; scenery, raried and elaborate. Plays a full evening. THE MERCHANT OF TENICE £S'.tjL'?r,;*ml!2: SSSSS; picturesque ; scenery varied. Plays a full evening. RICHFTJFH P^7*°^^*'^c^- Fifteen males, two females. Been- evening. ery elaborate ; costumes of the period. Plays a full THP DIVAI C Comedy in Five Acts. Nine males, live females. lUIi KlTALd Bcenery vaHed; coatur full evening. costumes of the period. Plays a SHE STOOPS TO CONQUER SSSSfU? ,Sr:..t°"BJ257i ried ; costumes of the period. Plays a full evening. TWELFTH NlfiHT; OR, WHAT TOD WILL SJSiCmSi: three females. Costomes, picturesque; scenery, varied. Plays a full evening. Sent prepaid on receipt of price by 3^aUet ^. iBaiier & Company Fo. 5 Hamilton Place, Boston, Massachnsettt • . J, PARKHILL a CO.. PRINTBNS. eOSTON, U.S.A.