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 1885 
 
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I? 4989 
 
 14 M3 ways order " DE WITT'S " Acting Plays. 
 
 >85 PRICK 15 CENTS. 
 
 • >py 1 
 
 
 ■H)^% DE WITTS ACTING PLAYS. <§fp|| 
 
 
 [Number 3 38.) 
 
 MAHJORIE DAW. 
 
 A COMEDIETTA, 
 
 IN TWO ACTS. 
 
 By 3IISS 31. E. BR ADDON. 
 
 Prepared for tliv American Stage 
 
 By HEXRY LEWELLYN WILLIAMS. 
 
 TOGETHER WITH 
 
 A Descriptioii of blie Costumes— Casl of tlie Characters — Entrances 
 
 and Exits — Relative Posilions of tlie Performers on the 
 
 Stage — and the whole of the Stage Business. 
 
 §k«J Hjovh : 
 DE WITT. PUBLISHEH, 
 
 &>$& No. 33 Hose Street. ^^] 
 
 SpSi^ 
 
 rfS* 
 
 
 5 m* A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTING 
 PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 
 Plots, Costume, Scenery, Time of Representation, and every other informa* 
 
 READY. 
 
 tion, mailed free and post-paid. 
 
DE 'WITT'S 
 
 ETHIOPIAN AM) COMIC MAMA, 
 
 Nothing so thorough and complete in the way of Ethiopian and Comic Dramas has ever 
 been printed as those that appear in the following list. Not only are the plots excellent, the 
 characters droll, the incidents funny, the language humorous, hut all the situations, by-play, 
 positions, pantomimic business, scenery, and tricks are so plainly set down and clearly 
 explained that the merest novice could put any of them on the stage. Included in this 
 Catalogue are all the most laughable and effective pieces of their class ever produced. 
 
 *** Iu ordering please copy the figures at the commencement of each piece, which 
 indicate the number of the piece in " De Witt's Ethiopian and Comic Drama." 
 
 jg®= Any of the following Plays sent, postage free, on receipt of price— Fifteen Cents 
 each. 
 
 jg@- The figure following the name of the Play denotes the number of Acts. The 
 figures in the columns indicate the number of characters— M. male; F. female. 
 
 6 2 
 
 141. Absent Minded, Ethiopian farce, 1 
 
 . act 3 
 
 73. African Box, burlesque, 2 scenes ... 5 
 
 107. African us Bluebeard, musical Ethi 
 
 opian burlesque, 1 scene 
 
 113. Ambition, farce, 2 scenes 7 
 
 133. Awful Plot (An) Ethiopian farce, la. 3 1 
 43. Baby Elephant, sketch, 2 scenes... 7 1 
 42. Bad Whiskey, Irish sketch, 1 scen,^ ? 1 
 79. Barney's Courtship, musical inter- 
 lude, lact 1 2 
 
 40. Big Mistake, sketch, 1 scene 4 
 
 6. Black Chap from Whitechapel, Ne- 
 gro piece 4 
 
 10. Black Chemist, sketch, 1 scene 3 
 
 11. Black-Ev'd William,sketch,2 scenes 4 1 
 146. Black Forrest (The),Ethiopian farce, 
 
 lact 2 1 
 
 110. Black Magician (De), Ethiopian com- 
 icality 4 2 
 
 126. Black Statue (The), Negro farce 4 2 
 
 127. Blinks and Jinks, Ethiopian sketch. 3 1 
 
 128. Bobolino, the Black Bandit, Ethio- 
 
 pian musical farce, 1 act 2 1 
 
 120. Body Snatchers (The),Negro sketch, 
 
 2 scenes 3 1 
 
 78. Bogus Indian, sketch, 4 scenes 5 2 
 
 89. Bogus Talking Machine (The), farce, 
 
 1 scene 4 
 
 24. Bruised and Cured, sketch, 1 scene. 2 
 
 108. Charge of the Hash Brigade, comic 
 
 Irish musical sketch 2 2 
 
 148. Christmas Eve iu the South, Ethio- 
 pian farce, 1 act 6 2 
 
 35. Coal Heaver's Revenge,Negro sketch, 
 
 1 scene 6 
 
 112. Coming Man (The), Ethiopian sketch. 
 
 2 scenes 3 
 
 41. Cremation, sketch, 2 scenes 8 
 
 144. Crowded Hotel (The), sketch, 1 sc. 4 
 140. Cupid's Frolics, sketch, 1 scene 5 
 
 12 Daguerreotypes, sketch, 1 scene .... 3 
 53. Damon and Pythias, burlesque, 2 sc. 5 
 63. Darkey's Stratagem, sketch, 1 scene 3 
 131. Darkey Sleep Walker (The), Ethio- 
 pian sketch, 1 scene 3 
 
 106. 
 
 Deaf as a Post. Ethiopian sketch.. . . 2 
 Deeds of Darkness, Ethiopian ex- 
 travaganza, 1 act 6 
 
 Desperate Situation (A), farce, 1 sc. 5 
 
 Draft (The), sketch, 2 scenes 6 
 
 Dutchman's Ghost, 1 scene 4 
 
 Dutch Justice, laughable sketch, 
 
 1 scene 11 
 
 Editor's Troubles, farce, 1 scene. . . C 
 
 Eh ? What is it ? sketch 4 
 
 Election Day. Ethiopian farce. 2 sc. 6 
 Elopement (The), farce, 2 scenes. . . 4 
 
 Excise Trials, sketch. 1 scene 10 
 
 Fellow that Looks like Me, inter- 
 lude, 1 scene 2 
 
 First Night (The), Dutch farce. 1 act 4 
 Fisherman's Luck, sketch, 1 scene. 2 
 Fun in a Cooper's Shop, Ethiopian 
 
 sketch 6 
 
 Gambrinus, King of Lager Beer, 
 
 Ethiopian burlesque, 2 scenes 8 
 
 German Emigrant (The),sketch.lsc. 2 
 Getting Square on the Call Boy, 
 
 sketch, 1 scene 3 
 
 Ghost (The). Sketch, 1 act 2 
 
 Ghost in a Pawn Shop, sketch. 1 sc. 4 
 
 Glycerine Oil. sketch.. 2 scenes 3 
 
 Going for the Cup, interlude 4 
 
 Good Night's Best, sketch, 1 6cene. 3 
 Go and getTight, Ethiopian sketch, 
 
 1 srene 6 
 
 Gripsack, sketch. 1 scene 3 
 
 Guide to the Stage, sketch 3 
 
 Happy Couple. 1 scene 2 
 
 Happy Uncle Ruins. Ethiopian mu- 
 sical sketch. 1 scene 1 
 
 Hard Times, extravaganza. 1 scene. 5 
 Helen's Funny Babies, burlesque, 
 
 1 act C 
 
 Hemmed In. sketch 3 
 
 High Jack, the Heeler, sketch. 1 sc. 6 
 
 Hippotheatron, Bketeh. 9 
 
 How to Pay the Rent, farce, 1 scene 6 
 
 In and Out, Bketeh. 1 scene 2 
 
 Intelligence Office (The), Ethiopian 
 sketch, 1 scene 2 
 
H 
 
 (ARJORIE DA T 
 
 A DOMESTIC COMEDIETTA. 
 
 IN TWO ACTS. 
 
 By MISS M. E. BRADDON. 
 
 PEEPAEED EOE THE AMERICAN STAGE 
 
 By HENRY LLEWELLYN WILLIAMS. 
 
 TOGETHER WITH 
 
 A DESCRIPTION OF THE COSTUMES- -CAST OF THE CHARACTERS 
 
 ENTRANCES AND EXITS- — RELATIVE POSITIONS OF THE PER- 
 FORMERS ON THE STAGE AND THE WHOLE OF THE 
 
 STAGE EUSINESS. 
 
 NEW YORK : 
 
 DE WITT, PUBLISHER, 
 
 No. 33 Rose Street. 
 
 Copyright, 1885, by A. T. B. Be Witt. 
 
MABJORIE DAW. 
 
 CHARACTERS. 
 
 Frank IIeathcotb, a Young Artist. 
 Dr. Lfttrell, a Young Doctor. 
 Miss Mattie Parks. 
 
 ^ 
 
 ^ 
 ^ 
 
 TIME OF PLAYING— TITLRTY MLYFTES. 
 
 SCENERY. 
 
 Same for both Acts.— Interior, a sitting-room in 3d grooves. 
 
 Street backing. 
 
 3 G. [ Window 
 
 O C. CO 
 
 o o I 
 
 A. B. D. — 
 
 Door. Door. 
 
 I *Vj E-* | 
 
 Backing behind -window in flat, represents bouses fronting a street. On flat, 
 pictures and drawings painted ; in flat, window, cut out. R. and L. 2d E.'s 
 closed in ; r. and L. 1st E. : s, practicable doors. 
 
 Carpet down in centre, edges left tare floor. Sides cumbered with artistic ob- 
 jects, medley, busts, plaster statues, pictures, canvases, portfolios. A. large 
 table, piled with drwaings, except at front end. B, armchair : c. c, statuettes 
 on pedestals ; D. , a round table. Pictures en the side-sets. Hangings to both 
 doors. 
 
 COSTUMES. 
 
 Of the present day. 
 
 Heathcrtc. — Light trousers, no waistcoat, dressing gown ; wears a bandage, or, 
 better, a large shade over the eyes in Act 1 . 
 
 Luttrdl. — Black suit, hat, and cane, light ulster over his coat. 
 Mattie. — Walking dress. Change for Act 2. 
 
 PROPERTIES. 
 
 Artistic objects, easel, armor suit, lay figure ; tray with lunch, a dish of small 
 roast game ; bouquet, fancy basket. 
 
 MUSIC. 
 
 The " Seesaw Waltz " played to Mattie's song, and in the entr acte. 
 
MARJOEIE DAW. 
 
 ACT I. 
 
 PCEXE — Heathcote the Painter** Lodgings, Zd grooves ; the window 
 
 in flat closed, and no I'ght on the backing flat. Stage clear. 
 
 Enter Letteell, l. d. 
 
 Luttrell. Frank is horribly fretful and discontented this morning. 
 Why is it, I wonder, that our superior sex is so very inferior to the 
 inferior one in endurance of bodily affliction. My medical experi- 
 ( nee has convinced me that women beat us hollow in their power to 
 suffer and be strong. If Job's wife had been the chosen butt, I don't 
 suppose we would have had the legend handed down to us, by male 
 scribes. Ah! here comes Mattie — dear soul! a living instance of 
 womanly patience and long suffering. I'm sure her care of my old 
 friend Heathcote is above all praise. 
 
 Enter Mattie, e. d., with books, basket, and bunch of flowers. 
 
 Lett. Well, little woman, how are you this morning? 
 
 Mattie. How is he this morning ? that's the question. Did you 
 ever hear of me being sick? I've no time for such expensive luxu- 
 ries. I never remember being out of sorts in my life smc^mother 
 used to give me brimsb ne and 'lasses on spring mornings. That 
 nearly did it. And that's my only experience of the healing art. 
 iEscu — ^Esculent — no ! what's his name? 
 
 Lett. You can call him ^Esculapius, if you like. Robust little 
 party ! (Mattie bustles about, tiding the rooni) what would become of 
 the medical profession if all women were like you ? 
 
 Matt. I rather fancy they would languish and have to call in 
 lady-physicians — and then people in general would get better. But 
 please tell me about him, (to Letteee, c.) How is he this morning? 
 
 Lett. About as irritable and low-spirited as a human being can 
 be, short of lunacy or suicide. If I were not his old friend and 
 schoolfellow I think I should resign my post to one more resigned. 
 
 Matt. No, you wouldn't, you dear thing! You are much too kind- 
 1h arted. 
 
 Lett. Well, if you can bear with his airs and his tempers 
 
4 MARJOKEE DAW. 
 
 Matt. His temper is but temporary and his airs will blow away 
 (puffs) — only low spirits — 
 
 Lutt. That's a kind o' kinder way of putting u. If you can bear 
 with this " bear with a sore head" for four or five hours at a stretch 
 every day, I ought to put up with him placidly for twenty minutes. 
 
 Matt. Bear with him ! put up with him ! Am I not his own flesh 
 and blood — his only surviving relation? 
 
 Lutt. Something in the way of a second cousin, arent you? 
 
 Matt. Well, I know it's not a near relationship ; and it's rather 
 difficult to explain. Like that chesnut riddle of the nigger minstr Is, 
 you see. My mother's first cousin married his — (on her fingers) yes 
 — his father's sister 
 
 Ltjtt. (in relief.) Ah! 
 
 Matt. So I reckon Frank and I must be second cousins. I call 
 him " coz." 
 
 Lutt. Yes, and he was " an amusin' little coz.." but now 
 
 Matt. But we were brought up together, don't you know? almost 
 brother and sister. 
 
 Lutt. Precisely — "almost." But in that kind of connection there's 
 a good deal of difference between almost and quite. 
 
 Matt. Well, he used to spend all his holidays at my mother's cot- 
 tage inland — sweet little place, all over roses and honeysuckles — 
 such a dear old garden, fruit and flowers all mixed up any how so 
 you couldn't tell fLowt from frufers, in a manner of speaking. Frank 
 and I used to make ourselves dreadfully sick with unripe gooseber- 
 ries. Delicious little farm — cows, calf, pigs, three Black Span- 
 iards 
 
 Lutt. ' Seems to me I've read that story 
 
 Matt. Fowls, I mean. 
 
 Lutt. Black Spaniards could not be fair. 
 
 Matt. Well, Frank would come over from school — drink gallons 
 of new milk — revel in fresh eggs — enjoy haymaking — teach me to 
 ride — learn to milk the cows, and declare nothing so delicious as a 
 country life. But when he settled in the city as a student in the 
 Academy, and boarded at a fashionable family's, he seemed some- 
 how to outgrow mother's cottage; too tall for our spare bedroom last 
 time he came to see us. And then — mother died — and I came to 
 town to study music, and give lessons when able; and I boarded 
 with a family not at all fashionable, and I saw no more of Frank till 
 we ran against each other in the street, and I found he was living 
 only two blocks off, and had just begun to be successful as a painter 
 and be praised in the papers — when his sight failed him. 
 
 Lutt. Very sad case. Cataract. But if next week's operation 
 result successfully, and we can keep him quiet, he will ba able to 
 sec as well as you or I. The greatest difficulty is his menial condi- 
 tion. If his present depression continues 1 can't answer for his 
 health or senses. Now, you are a bright little woman, Mattie ; you 
 really must amuse him. 
 
 3Iatt. But, good gracious, I have been trying my very hardest, 
 ay, and my very softest— for the last ten day's—newest books— but 
 he g< nerally begins to yawn before I get through a chapter — I'm 
 afraid I must read badly. 
 
 Lutt. Novels ! all about s;irls who don't brush their hair. 
 
 
MARJOKIE DAW. 
 
 Matt. Ah! ou<rht I to read him about good and great men — 
 Massaroni, Jack Turpin, Robert Roy 
 
 Lutt. My dear child, novels are n. g. — no go, no good! Interest 
 him in actualities — divert his mind — take him out of himself- 
 
 Matt. Wouldn't lie then be be ride himself ? 
 
 Lutt. In short, prevent his brooding on his affliction. 
 
 Matt, (lira ] f crying.) But how? I'm sure I tell him every Rcrap of 
 family news — the family I board vith is not an interesting family, 
 but their quarrels are almost amusing. But even they do not seem 
 to interest Frank. 
 
 Lutt. Of course not. How could he be interested in a shabby- 
 genteel family who eke out their means by taking in boarders ? 
 
 .Matt. But it's only for the sake of my cheerful and musical soci- 
 ety — " see Advertisement !" 
 
 Lutt. The old style ! How long would you have good cheer and 
 how long any listeners to your music if you did not pay your board ? 
 
 Matt. I am afraid not very long. 
 
 Lutt. Now, to amuse your cousin tell him about some one cr 
 some thing that will rouse his curiosity — awaken his interest. 
 
 Matt. I understand, but I don't know any. 
 
 Lutt. What does that matter? Draw on vour imagination. 
 
 Matt. What, tell fibs? 
 
 Lutt. Anything is better than to let Frank fret himself to death 
 with gloomy anticipations about the operation and the result. I 
 re you T never saw a fellow in a worse state of mind. 
 
 Matt. I'll do it — anything for his good. And if led into anything 
 very dreadful, I can be a model of penitence when he gets better. 
 
 Lutt. Of course. Ah! (up c. a little, looking l.) here he comes. 
 Good-bye. [exit, e. d. 
 
 Enter Feank Heatitcote, l. d., feeling Ms way with a stick. Mat- 
 tie runs to him and guides Mm to easy cha'r, u. c. 
 
 Matt. Poor darling! I do hope you feel just a little better this 
 morning. 
 
 IIeathcote. (testily.) Oughtn't to hope anything so foolish. How 
 can I be better till this wretched business is over ? Take life easily 
 when I don't know how this operation may result ? Perhaps total 
 failure — life -long blindness. (Mattie clasps her hands.) And just 
 as I was beginning to make some way — make a name. 
 
 Matt, (leaning over him.) It is very hard, dear, very ! But other 
 people have had to go through the same trial. 
 
 Heath. Do you think that makes it a jot easier for me? Other 
 people? What do I care for other people? (Mattie sighs, he catcMs 
 her hand.) How plaintive ! I — I do care about you, Mattie, and I 
 do appreciate all your goodness to me, my little sister of charity. 
 What should I do without you ? 
 
 Matt. Other people have to do without me — I mean when I run in 
 here. It might be just a little worse, mightn't it, if I were not living 
 close by, and abb' to run in and sit with you for an hour or two. 
 (Com \ng down.) Oh ! I've brought you a few flowers — (offers to h 'm.) 
 
 Heath. Pah! sickly ! primroses, violets, eh? if I could only see 
 them ! Ah, Mattie, if you could understand what it is to a painter 
 
G MAR.TORIE DAW. 
 
 to lose the one fensc — source of all hi? happiness — to hunger for 
 
 light and color — to feel his occupation gone — his ambition balked — 
 his existence reduced to a dismal, purposeless, hopeless, life-in- 
 death — you would pity me, and forgive me for my fretfulness. 
 
 Matt. I do pity you, without understanding anything. And yet, 
 though I am a poor, ignorant little thing, and never painted so much 
 as a primrose, I think I can understand your feelings in some small 
 measure. I know how hard it must be to have all this beautiful 
 world darkened — not to see sun and flowers, or the clouds, and 
 
 horses and carriages— not even the house over the way 
 
 Heath, (turning towards the window involuntarily, then dropping 
 
 Ms head) — "What, that great barrack of a house "to let" so long 1 
 
 can endure that deprivation. 
 Matt. Was " to let," you mean. 
 Heath. Tis let ? 
 Matt. A week ago. 
 Heath. Why didn't you tell me ? 
 Matt. Never thought you'd care. 
 
 Heath. You're not generally so reticent. You tell me the twad- 
 dle about the old maids you live with. When are the family coming 
 in? 
 Matt. In, now ? 
 
 Heath. Impossible! Why the house was abominably dilapidated 
 from cellar to garret. 
 
 Matt. That's done — done up splendidly 
 
 Heath. Why, Aladdin's Palace is nothing to this. Have these 
 people the genius of the lamp at their command ? 
 
 Matt. No! but they have a silver mine in Mexico. But it's time 
 for your lunch, (rings bell.) You must have your game. 
 
 Heath. I say, little woman, is not game rather an expensive lux- 
 ury for a man in m} r circumstances. No large amount in my treasury 
 when I made you secretary — it must be running dry. 
 
 Matt. Oh, no,, plenty ! W"e shall get on very comfortably till you 
 sell your lovely picture, (gets tray at r. d. She arranges tray on 
 table, pulls it up to h's chair, etc. Then comes down l. front, where she 
 sits on a stool, and mends a sock. 
 1 1 eath. Have a wing ? 
 
 Matt. Thanks, no — game is too high for yours faithfully, (aside.) 
 And I do so love it! Poor fellow! "if he only knew that his last 
 money went a week ago, and we have nothing but my poor littl ■ 
 purse to depend upon. (IIeathcote has finished a bird.) There goes, 
 the worth of my keep for a week! 
 
 Heath. Please tell me about the new-comers (eat'ng.) 
 
 Matt. On another! (aloud.) You would be more than iaintly in- 
 terested if you could see them. 
 
 Heath. 80 very attractive, 
 
 Matt. As partridge itself! She is. 
 Heath. Who is ? 
 
 Matt. The daughter — an only daughter. Father is rather a com- 
 monplace person, don't you know ? sort of man who begins life on 
 nothing and ends it owing a million. Bought a silver mine for a bar- 
 rel of whiskey, a coon dog, and a sun-umbrella. Silver mine figured 
 
MARJORIE DAW. 7 
 
 up to be worthless till he took it in hand when he found the silver 
 lying in slabs like bricks. 
 Heath. 'Bout the girl— pretty ? 
 31 att. Pretty is no word for her— absolutely lovely. 
 Heath. I never think much of a woman's taste in beauty. Please 
 describe. Fair or dark ? 
 
 Matt. Complexion fair— exquisitely fair,— something between al- 
 abaster and ivory, with a faint rose' tint. Eves liquid blue, dark, 
 like those dewy violets, or sapphires— in short, the loveliest shade of 
 blue you can imagine. 
 Heath. Why not say ultra-marine at once ? Well, get alomr. 
 Matt. Features strictly classic, forehead low, nose delicately 
 Greek, hair gently waving— dark chestnut in shadow, pure gold 
 where the sun touches it. 
 
 Heath. Very sweet, but those Greek beauties are very apt to be 
 namby-pamby. 
 
 Matt. Not with her expression ! such a speaking countenance — 
 such variety — every emotion reflected in her face. 
 
 Heath. I see — face perfect, but figure imperfect. 
 
 Matt. Figure as perfect as her face. About the middle height, 
 slender yet plump— dignified, yet full of graceful movement, waist 
 willowy— shoulders a poem — arms a sculptor's dream — 
 
 Heath. If you are not exaggerating — 
 
 Matt. Exaggerate ! Did you ever know me exaggerate ? 
 
 Heath. No ! you are the essence of truth. And if your enthusi- 
 asm has not run away with you in this particular instance, Miss 
 What's-her-name must be a very sweet creature. By the way, or 
 rather, over the way — what's her name ? 
 
 Matt, (puzzled.) Is ame? her name: (rocking herself on the stool, 
 hums to herself. 
 
 Heath. Yes. She has a name, I suppose. 
 
 Matt, (singing in a low voice), "See-saw, Marjorie Daw!") 
 
 Heath. I say, do you say (raising his voice) your womanly curioi- 
 ity has not found out the name of these Silver King people ? 
 
 Matt. Why yes, of course. Her name is Daw.' 
 
 Heath. Pshaw ! 
 
 Matt. No, Daw— D— A— W. 
 
 Heath. Queer — unromantic. 
 
 Matt. But don't you see, Frank, her father rose from the ranks, 
 bought his silver niine for a barrel of apples, a mule, and a hand- 
 organ. 
 
 Heath. Eh? you said for a dog, an umbrella, and whiskey ! 
 
 Matt. Did I ? well, they differ in the tale, (aside-.) That mule has 
 driven him off the trail. 
 
 Heath. What is Miss Daw's front name ? 
 
 Matt. Er, er — her. name is Marjorie. Now that is romantic. 
 
 Heath. Rather Arcadian. Marjorie Daw ! 
 
 Matt. Novel? 
 
 Heath. Very much novel ! I've seen a book of that name. The 
 Marjorie is pretty ! but Daw— I cannot admire Daw 
 
 Matt. Luckily that's the one she can change. 
 
 Heath. True.' Tell me* all about this Mexican millionairess. You 
 
H MARJORIE DAW. 
 
 women have a marvellous knack of picking up information from the 
 tinker and the taiior, the soldier and the sailor, and the baker and 
 candle-stick maker ! Is she what the girls call " a daisy ?" 
 
 Matt. She is simply perfect. And (dignified)! am happy to say 
 my knowledge of her character has not been obtained from butchers, 
 retailers or candlestick bakers, but from personal experience. Miss 
 Daw and I are acquainted. 
 
 Heath. Wha-aat! only in the neighborhood two days, and 
 "chummy"! Did you call on her? I had no idea you were so 
 pushing. 
 
 31 att. I am not pushing, and I did not what you call call on her, 
 though I had a right as the older inhabitant (loftily.) Accident 
 made us friends. You remember the shower yesterday ? 
 
 Heath. Yes, I heard the rain, and could not help thinking how 
 exquisite the spring foliage would look after it. 
 
 31 att. I was out in that shower. 
 
 Heath. Poor little woman ! (wheeling his chair down front, without 
 rising. ) 
 
 Matt. And what's more, I had on my best bonnet — to give a 
 
 lesson to my swell pupil- 1 had just left to come to you when I 
 
 was caught in that deluge. No car, no umbrella ! I suppose my 
 distress was visible in my attitude and countenance, for the big 
 house door suddenly opened and a servant ran to me with an im- 
 mense carriage umbrella — as big as a dome — and most politely re- 
 quested me to step indoors. 
 
 Heath. Good gracious, child, why didn't you come here ? 
 You must have been as near us as that one ? Why stand in the 
 street — a spectacle for a servant ? why not have crossed ? 
 
 Matt, (laughing faintly.) Never crossed my mind ! Well, the 
 footman was so crushingly polite I could not say a word. I went 
 across the street like a lamb— and allowed myself to be ushered up 
 into Miss Daw's morning room, on the floor opposite this. I feel 
 powerless to describe that room ! 
 
 Heath. Skip it — I don't care for still life, except in my own pic- 
 tures — and come to the heroine. 
 
 Matt. Oh, but the lady and the room made an harmonious whole 
 — picture a lovely dark-haired girl against a background of creamy 
 satin — 
 
 Heath. Dark! why, you said she was fair ! 
 
 Matt. Did I? Ye-es, of course, she is fairly fair — complexion ala- 
 baster, but hair chestnut — I think I am positive sure I said dark 
 chestnut. 
 
 Hkath. Well, perhaps you did. Women have so little feeling for 
 color 
 
 Matt. But then they have so much color for feelings! (touches her 
 cluck with back of her hand.) 
 
 Heath. But I know there was something about sunshine, and 
 golden lights, and I have pictured my Miss Daw with golden hair- — 
 
 Matt. Golden hair against sage-green velvet— — 
 
 Heath. Eh ? you said cr< amy satin ! 
 
 Matt. The — the room was — in panels — alternate green velvet and 
 cream satin— 
 
MARJOKIE DAW. 9 
 
 Heath. Awfully Bpotty effect. 
 
 Matt. Not in the least — the gilding carried that off. I tell you the 
 
 room is an ideal room — not its like anywhere. And, she's unequalled 
 — so sweet, so caressing— she received me like a Bister. 
 
 Heath. Bad. I detest gush. 
 
 Matt. Oh, but you would like it in her, she's so natural — quite 
 my fancy! 
 
 Heath. And this beautiful bird lives in a golden cage opposite ? I 
 see her in my mind's eye, with her eyes of liquid grey- 
 
 Matt. Grey! yes ! (aside) I must look to that, (repeats " grey " to 
 herself Vke a school girl.) 
 
 Heath. What does the pretty bird do all day? 
 
 31 att. Sings, of course! divinely! the old mellow ballads — if it 
 were warmer (aside) I'm warm enough! (aloud) and the windows 
 open (as 'de) I'd no idea telling crams w r as such hot work I (aloud) 
 you'd hear her. 
 
 Heath. That would be a treat. 
 
 31 att. (aside.) I have roused him. 
 
 Heath. Any other amusements has Miss Daw ? 
 
 Matt. Why not Marjoric? So much softer. 
 Heath. So it is! (fatuously) Mar j oriel sweet Marjoram — no, no, 
 fie! "MyMarjorie" — what alliteration! 
 
 Matt. She paints — flowers, fruit, china — our tea was in eggshells 
 of her own tinting — 
 
 Heath. Ov^r which you swore eternal friendship — of course. 
 
 Matt. And we agreed to go shopping. 
 
 Heath. Then you'll quarrel over a remnant ! your Daw is as vain 
 as a Peacock! Vivid portraiture, though fcr her appearance I 
 could stand the twaddle you talked 
 
 Matt. Our subject was you ! 
 
 Heath. Me ? Come, that's too much of a good thing ! 
 
 Matt. Not to her — she wanted to hear more ! I was afraid you'd 
 be angry. But when one is eternally thinking of a person, it's al- 
 most impossible to keep that person out of the talk (fondly) and 
 since you have been a sufferer, I have never had you out of my 
 thoughts. 
 
 Heath, (takes her hanging hand.) Dear, tenderhearted, little Mat- 
 tie, how shall I ever be grateful enough to you for all your good 
 ness? And so you spoke of me to Marjorie? 
 
 Matt. Yes, dear, at length, full length. I told her what a genius 
 you were, and how you were getting on famously before this unfor- 
 tunate business with your eyes, and she was so interested, so sym- 
 pathetic. You Bhould have heard her say "Poor fellow!" like that, 
 with tearsin her eyes (aside) like these ! (?o ; pes her eyes.) 
 
 Heath. Deuced' tender hearted ! " Por.r felloAv!" like that— how 
 balmy it falls. 
 
 Matt. I told her of your picture, too. 
 
 Heath. Mattie, you' are a silly little thing; but your foolishness 
 is more comforting than other people's wisdom in the hour of trou- 
 ble. And so Marjorie was really interested in my picture ? 
 
 Matt. And you, 'specially you. She likes your eyes, and doats on 
 such a forehead, and if she has a fault to iind, it's with your chin — • 
 
10 MARJORIE DAW. 
 
 Heath. Chin-music. 
 
 Matt. I forgot — I showed her yonr photo. 
 
 Heath. How absurd to make an exhibition of me. (pleased.) 
 Which one ? • 
 
 Matt. Oh, the dreamy ! (throws herself into attitude.) You are 
 gazing into space, with that far away look- 
 
 Heath. As one evading- a creditor's eye. Ha! ha! you are too 
 ridiculous for anything. 
 
 Matt. She thought it lovely. 
 
 Heath. But could not get over the chin 
 
 Matt. She thought it showed weakness — faltering in pursuit of a 
 purpose. 
 
 Heath. Not if it were worth pursuing. Now an object like Mar- 
 jo 
 
 Matt. Do you call her an object ? 
 
 Heath. Lovely, innocent, fresh 
 
 Matt. And millions ! 
 
 Heath. Bah ! why raise that barrier ! impassable money! 
 
 Matt. Not a bit of it ! You don't know what a liberal-minded 
 man her father is! — passionately devoted to Art. I believe he would 
 be proud of a son-in-law celebrated as a painter. 
 
 Heath. Then I must make myself famous — to win such admira- 
 tion as this- — if the light of day ever dawn again on my miserable 
 life. But, there ! I will give way to despondency no more ! {rises) I 
 feel that my sight will be restored — under a blessing — that I shall ba 
 able to work at the art I love — win wealth, reputation, and — Marjo- 
 rie — (walking to and fr<>) — To think the beauty is yonder, near me, 
 in all her brightness, and (at window) no ray thrills me! 
 
 Matt. Pray b? careful! 
 
 Heath, (opens window.) Oh, for the blessed sense of sight ! if but 
 for a moment — for a glimpse of that fair young face ! (eagerly) Is 
 she there ? 
 
 Matt. N-no ! it's her hour to go out for a ride. 
 
 Enter Luttkell, k. d. 
 
 Lett. Frank ! Up and about ! (Mattie hushes him. In a lower 
 voice) Why what have you been doing to him? he's positively trans- 
 figured ! 
 
 Matt. He's in love ! 
 
 Lutt. Love ? with 
 
 Matt. Miss Marjorie Daw . 
 
 Lutt. Where does she hail from? 
 
 Matt. From my head ! (aside) From my heart ! 
 
 All form picture. Heathootb up at window, Luttkel, by r. d., 
 Mattie up u. c. 
 
 CURTAIN. 
 
MARJOKIE DAW. 11 
 
 ACT II. 
 
 SCE]STE — No change. Window open, and lights up at back. Mattie 
 discovered dusting. 
 
 Matt. There, all bright and at its best to-day, when our poor 
 Frank is to see it all again, after living so long in sorrow and dark- 
 ness, uncertainty and fear. I am glad it's a line day.' rainy and dull 
 it -would have seemed unkind of the clerk of the weather. (Bits) 
 Oh, dear, dear! I don't think I ever felt so unhappy — just when I 
 ought to feel so intensely the opposite. 
 
 Enter Luttrell, e. d. 
 
 Lutt. Joy, joy, Mat lie ! 
 
 Matt. Yes. I know the operation was a success, (rises.) 
 
 Heath. Not that ! that's ail serene. But such delightful news ! 
 Frank's picture has been accepted, and will be hung on the line — 
 a benevolent member of the Hanging Committee, too old to paint 
 now, has left oil being spiteful to rising talent ! Why, so solemn ? 
 
 Matt. I am miserable! It's all your fault, Mr. Luttrell ! You told 
 me to draw on my imagination : he accepted the draft, and now 
 what will I say when he protest- ? 
 
 Lutt. Tut, "tut ! 
 
 Matt. For the last six day- Frank has been living on Daw ! Mar- 
 jori* 1 has been his all-absorbing idea by day, his dream by night; 
 and to-elay that he comes out of his black-hole, he expects to see 
 her ! 
 
 Lutt. Pooh ! The success of his picture will put that out of Lis 
 head ! 
 
 [Clock strikes twelve. 
 
 Voice 0/Heathcote, l. d.) Any body here ? Luttrell ! Mattie ! 
 {Enter Heathcote, l. d., with silk handkerchief over eyes.) 
 
 Both. Ah! (they go to h 'm and bad h 'm to c, a little down.) 
 
 Heath. But I tell you this Hoodman Blind business is all su- 
 perfluous — the surgeon said I might come out, and said nothing of a 
 blinker. 
 
 Lutt. But he meant it. To bring you into the glare would never 
 do. We must let you down gently 
 
 Matt. Gently is the word, {they force him to .sit down) In your fav- 
 orite easy chair, with your favorite rose:' at your elbow. 
 
 Heath. A hothouse Marshal Neil— did she senel it? 
 
 Lutt. Yes, she made the gift. 
 
 Matt, (as'de) Slie did, with her last quarter, though you will 
 show her none when the battle- begins. 
 
 Heath. Bless her! (trying to remove handkerchief, they prevent it.) 
 
 Lutt. I say, olel fellow, such glorious news for you ! 
 
 Heath, (starting up.) She's coming. 
 
 Lutt. Oh, better than that. 
 
 Matt. Your picture is accepted ! 
 
 Lutt. Accepted with rapture ! 
 
 Matt, Already you are greeted as the painter of the future. 
 
12 MARJORIE DAW. 
 
 Heath. And she will see it! Have you told her? 
 
 Lutt. Told whom ? 
 
 Heath. Marjorie ! 
 
 Matt, (in an emotionless tone.) He alludes to Miss Daw, of 
 course. 
 
 Lutt. There 's not been time enough 
 
 Heath. She must be told. And she will be at the window at 
 at twelve— you know yon asked her to agree to that. Let me go, Lut- 
 trell — what's the matter ? 
 
 Matt. The fact is — we have a sort of a — surprise for you 
 
 Heath. Ah, a surprise party, over at her house ? 
 
 Matt. Her house is empty 
 
 Heath. Ah! she is — is dead 
 
 Matt. Not that, but g-g-one ! 
 
 Heath. Gone? You are trembling — your voice, too. — Oh, she is 
 ill ? {tears off bandages.) Why do you try to humbug me ? You stop 
 me from going to thank her, a lady so attentive during my ailment 
 — to whose sympathy I owe ah 1 the house is empty 
 
 Lutt. It's never been let I 
 
 Heath. Then the Mexican millionaire the beauteous girl ? 
 
 Matt. All my imagination, to keep you amusedl (Heathcote 
 comes down o., disconsolate, they following perplexed, Mattte on his 
 left.) You were so dreadfully low-spirited that Mr. Luttrell said you 
 must be diverted. 
 
 Heath. And Marjorie — Marjorie 
 
 Matt. Dwells nowhere save in the nursery jingle (sings) 
 
 Seesaw, Marjorie Daw ! 
 
 Sold her bed to lie on straw. 
 
 Wasn't she a nasty flirt 
 
 To sell her bed and lie on dirt ? 
 
 Heath, (overcome) And I have fallen in love with a shadow ! 
 
 Lutt. Whilst you neglected the substance. 
 
 Heath. The substance? what substance. 
 
 Lutt. (presenting Mattte.) Why, here's the best sub. for Marjo- 
 rie ! 
 
 Heath. Mattie, you have broken my heart with your lies! I never 
 will, never can forgive you ! 
 
 Matt. I am sorry for thai ! 
 
 Luttrell prevents her kneel 'rig. 
 
 Lutt. You sorry ! and going away? no! stay till lie has asked you 
 to forgive him, on his knees. Heathcote, are you a fool as well as 
 an ingrate ? Are you so young in vital experience as not to know 
 the difference between romance and reality I Are you a slave to 
 a vision of a pretty face, and a tyrant to real worth at your side ? 
 Have you no heart for the truthful and unselfish girl who has watch- 
 < d over your hours of trouble and lightened all your cares by her 
 devoted attention, her unfailing good temper, her inexhaustible pa- 
 tience 1 No, Matlie, (detaining lu r) you shall not go till you have 
 ti< ar I me testify to the worth of the noblest heart I ever met with 
 in woman. You have been bind for the last month, Heathcote, but 
 1 have been able to see — ay, all this woman's devotion; and if you 
 do not reward it with the tribute of a faithful heart, I at least 
 
MARJORIE DAW. 13 
 
 have given her mine. Hang it ! Mattie, my hand and heart are at 
 your disposal if you will have them ! (aside) that's a dig of the scalp- 
 el ! (aloud) Leave him to Marjorie Daw! 
 
 Heath. But I don't want Marjorie. Luttrell, I am beholden to you 
 for showing me what an ass I have been. But you are not going to 
 beguile Mattie from me. You can have Marjorie, the creature of your 
 invention — 
 
 Matt. She really was your suggestion ! 
 
 Heath. Can you bring yourself to forgive me? 
 
 Matt. You said you could never forgive me. 
 
 Lutt. It 's the silver mine he 's regretting 
 
 Heath, (embracing Mattie.) Notfl! with this gold mine on aay 
 heart ! 
 
 Lutt. And I suppose I am to be left out in the cold ? 
 
 Matt. So sorry, for you are good and nice, but Frank and I were 
 engaged when babies. 
 
 Heath. Never mind, old fellow. Always have a chair at our fire- 
 side, so long as you are a bach. 
 
 Lutt. And when there comes batch of them, I reckon you will 
 call one 
 
 All. Marjorie Daw .' 
 
 MUSIC—" Seesaw Waltz." 
 P I G"T U K E . 
 
 Lutteell. Mattie. Heathcote. 
 
DE WITT'S ACTING PLAYS. 
 
 £3=- Tlease notice that nearly all the Comedies. Farces and Comediettas in the following 
 Last of "Dt Witt's Acting Plays" are very suitable for representation in small Amateur 
 Theatres and on Parlor Stages, as they need but little extrinsic aid irom complex sceuer- 
 >i expensive costumes. They have attained their deserved popularity by their droll situs.* 
 tk as. excellent plots, great humor and brilliant dialogues, no less than by the fact that 
 they are the most perfect in every respect of liny edition of plays ever published either in 
 Hit Onited States or Europe, whether as regards purity of text, accuracy and fullness of 
 stagj directions and scenery, or elegance of typography and clearness of printing. 
 
 «=** In ordering please copy the figures at the commencement of each piece, which 
 indi ;ate the Lumber of the piece in " De Witts List of Acting Plays.*' 
 
 Ja®= Any of the following Plays sent, postage free, on receipt of price— Fift een Cents 
 sach. 
 
 J8bg= The, figure following the name of the Play denotes the number of Acts. The 
 j<nireo in th t columns indicate the number of characters— II. male; F. female. 
 
 75. Adriennt, drama, 3 acts 
 
 231. Ad that Glitters is not Gold,- comic 
 
 drama, '2 acts 6 
 
 308, All on Account of a Bracelet, come- 
 dietta. 1 act 2 
 
 114. Anything for a Change, comedy.l act 3 
 167. Apple Blossoms, comedy, 3 acts. .. 7 
 93. Area Belle, farce, 1 act 3 
 
 40. Atchi, comedietta, 1 act 3 
 
 89. Aunt Charlotte's Maid, farce, 1 act. 3 
 
 258. Aunt Dinah's Pledge, temperance 
 
 drama, 2 acts G 
 
 287. Bachelor's Box (La Petite Hotel), 
 
 comedietta, 1 act 4 
 
 166. Bardell vs. Pickwick, sketch. 1 act. fi 
 
 310. Barrack Room (The), comcdietta,2a. 6 
 
 41. Beaut if id Forever, farce, 1 act 2 
 
 141. Bells (The), drama, 3 acts 9 
 
 223. Betsey Baker, farce, 1 act 2 
 
 67. Birthplace of Podgers, farce, 1 act.. 7 
 36. Black Sheep, drama, 3 acts 7 
 
 279. Black-Eyed Susau, drama. 2 acts. . . 14 
 
 296. Black and White, drama, 3 acts 6 
 
 160. Blow for Blow, drama. 4 acts 11 
 
 ..79. Breach of Promise, drama, 2 acts. . 5 
 25. Broken-Hearted Club, comedietta.. 4 
 
 70. Bonnie Fish Wife, farce, 1 act 3 
 
 261. Bottle (The), drama, 2 acts 11 
 
 226. Box and ('ox. Romance.^ act 2 
 
 24. Cabman No. 93, farce, 1 act 2 
 
 199. Captain of the Watch, comedietta, 
 
 1 act 6 
 
 1. Caste, comedy. 3 acts 5 
 
 175. Cast upon the World, drama, 5 acts. 11 
 55. Catharine Howard, historical play, 
 
 3 acts 12 
 
 GZ. Caught by the Cuff, farce. 1 act 4 
 
 80. Charming Pair, farce. 1 act. 4 
 
 65. Checkmate, comedy, 2 acts .. 3 
 
 68. Chevalier do St. George, drama, 3a. 9 
 219. Chimney Corner (The), domestic 
 
 drama, 3 acts 5 
 
 76. Chops of the Channel, farce, 1 act.. 3 
 205. Circumstances alter Cases, comic 
 
 operetta, 1 act 1 
 
 149. Clouds, comedy, 4 acts. 8 
 
 121. Comical Countess, farce, 1 act 3 
 
 M. F. 
 
 7 3 
 
 M. F. 
 3 2 
 
 222. Cool as a Cucumber, farce, 1 act... . 3 
 248. Cricket on the Hearth, diama, 3 acts 8 
 
 107. Cupboard Love, farce. 1 act 2 
 
 152. Cupid's Eye Glass, comedy, 1 act.. 1 
 
 52. Cup of Tea. comedietta, 1 act 3 
 
 148. Cut Off with a Shilling, comedietta, 
 
 1 act 2 
 
 113. CynPs Success, comedy, 5 acts 10 
 
 20. Daddy Gray, drama, 3 acts 8 
 
 286. Daisy Farm, drama. 4 acts 10 
 
 4. Dandelion's Dodges, larco, 1 act... 4 
 22. David Ga rick, comedy, 3 acts 8 
 
 275. Day Alter the Wedding, farce, 1 act 4 
 96. Dearest Mr mma. comedietta, 1 act.. 4 
 
 16. Dearer than Life, drama. 3 acts 6 
 
 58. Deborah (L r ah), drama, 3 acts 7 
 
 125. Deerfoot, fa.ee, 1 act 5 
 
 71. Doing for tie Best, drama, 2 acts. . 5 
 
 142. Dollars and Cents, comedy. 3 acts. . 9 
 
 204. Drawing Foom C&r(A).comedy,l act 2 
 
 21 . Dreams", i*-<ama, 5 acts 6 
 
 260. Drunkard's Warning, drama. 3 acts 6 
 210. Drunkard's Doom (The), drama, 2a. 15 
 
 263. Drunkard (The), drama. 5 acts 13 
 
 186. Duchess de la Valliervplay, 5 acts.. 6 
 242. Dumb Belle (The), farce, 1 act 4 
 
 47. Easy Shaving, farce. 1 act 5 
 
 2S3. E. C. B. Susan Jane, musical bur- 
 lesque, 1 act 8 
 
 202. Eileen (Ve, Irish drama. 4 acts 11 
 
 315. Electric Love, farce, 1 act 1 
 
 297. English Gentleman (An), comedy- 
 drama, 4 acts 7 4 
 
 200. Estranged, operetta. 1 act 2 1 
 
 135. Everybody's Friend, comedy. 3 acts 6 5 
 230. Family Jars, musical farce. 2 acts.. 5 i 
 103. Faust and Marguerite, drama, 3 acts 9 1 
 9. Fearful Tragedy in the Seven Dials, 
 
 interlude, 1 act 4 ; 
 
 128. Female Detective, drama, 3 acts. . . . 11 i 
 
 101. Fernande. drama. 3 acts ^1 If 
 
 99. Fifth Wheel, comedy, 3 acts. .. . ,_0 U 
 
 262. Fifteen Years of a Drunkard's L-fe, 
 
 melodrama. 3 acts .... 13 4 
 
 145. First Love, comedy, 1 act 4 X 
 
 102. Foiled, drama. 4 acts n 1 
 
 88. Founded on Facts, farce, 1 act 4 
 
/ DE WITT'S ACTING PLAYS.-Oontinued., 
 
 «5s. Fruits of the Wine Cup, drama, 3 cts 
 192. Game of Cards (A), comedietta, la.. 3 
 
 74. Garriok Fever, farce, 1 act 7 
 
 53. GurHrude's Money Box, farce, 1 act. 4 
 73. «Ji en Fetters (Fettered), drama, 3.11 
 30. Goos ->, with the Golden Lggs, farce, 
 
 iact 5 
 
 131. Go to ?utuey, farce, 1 act 4 
 
 276. Good lor Nothing, comic drama, la. 5 
 306. Givat Success (A), comedy, 3 acts. . 8 
 
 277. Gnmshaw, Bagshaw aud Bradshaw, 
 
 lui'ce, I act i 
 
 20i. HeL? Api areut (The), farce. 1 act... 5 
 
 241. Haudy Ax:dy, drama. 2 acts 10 
 
 28. Ha] ]>v Pa r. comedietta, 1 act 1 
 
 1.31. Hai .ICase [A), farce, 1 act 2 
 
 8. Heury Uuubar, drama. 4 acts 10 
 
 ISO. Heur'v the Fifth, hist, play, 5 acts.. 38 
 
 03. He; Only F.ult, comedietta, 1 act.. 2 
 
 .'.). He * a Luua ;:c, farce, 1 act 3 
 
 SO. Hic.de' Hand, drama, 4 acts 5 
 
 il. Hi£.h o', comodietta, 1 act 3 
 
 .40. High Life Below Stairs,farce,2 acts. 9 
 
 301. Hinko, romai. L : .c drama, 6 acts 12 
 
 221. Hiia Last Legs., farce, 2 acts . . 5 
 
 is;. Hi .j Own Euemj, farce, 1 act 5 
 
 174. Home, eomedj . 3 acts 4 
 
 211. H mesty is the Best Policy, play. 1. 2 
 
 04. Household Faivy, sketch, 1 act. ... 1 
 100. Hunting the Slippers, farce, 1 act.. 4 
 
 197. Hunchback (Tin ), play. 5 acts 13 
 
 223. L'i on Parle Frai.cais, farce. 1 act... 3 
 
 52. Idiot Witness, nidlodrama, 3 acts. . . 6 
 is If I had a Thousand a Year, farce. 1 4 
 116. I'm not Mesilf at all, Irish stew, la. 3 
 
 12',). In for a Holiday, farce. 1 act. 2 
 
 150. In the Wrong Hcnse, farce, 1 acr.. . 4 
 278. Irish Attorney (The), farce. 2 acts.. 8 
 282. Irish Broom Maker, farce. 1 act ... 9 
 
 273. Irishman in London, farce, 1 acts.. 6 
 
 243. Irish Lion (The), farce, 1 act 8 
 
 •'.71. Irish Post (The), drama. 1 act 9 
 
 4. Irish Tutor (The), farce, 1 act 5 
 
 V>J0. Irish Tiger (The), farce. 1 act 5 
 
 274. Ii ,sh Widow (The), farce, 2 acts. ... 7 
 
 122. Isabella Orsini, drama, 4 acts 11 
 
 177. I Shall Invite the Major, comedy, 1 4 
 
 10(1. Jack Long, drama, *acta '. . . 9 
 
 299. Joan of Arc, hist, play, 5 acts 26 
 
 [39. Joy is Dangerous, comedy, 2 acts. . 3 
 
 17. Kind to a Fault, comedy." 2 acts 6 
 
 "33. Kiss in the Dark (A), farce. 1 act... . 2 
 309. Ladies" Battle (The), comedy, 3 acts 7 
 
 80. Lady of Lyons, play, 5 acts.* . 12 
 
 137. L'Article 47, drama, 3 acts 11 
 
 72. Lame Excuse, farce, 1 act 4 
 
 114. Lancashire Lass, melodrama. 4 acts. 12 
 34. Larkins' Love Letters, farce. 1 act.. 3 
 
 189. Leap Yeai\ musical duality, 1 act 1 
 
 253. Lend Me Five Sbilliims. farce. 1 act 5 
 
 111. Liar (The), comedy, 2 act-; 7 
 
 119. Life Cha<e, drama. 5 acts 14 
 
 239. Limerick Boy (The), farce, 1 act. ... 5 
 48. Little Annie's Birthdav. farce, 1 act.. 2 
 32. Little Rebel, farce, 1 act 4 
 
 164. Little Ruby, drama. 3 acts 
 
 295. Litlle Em'iy, drama, 4 acts 8 
 
 165. T ivinj* Statue (The), farce. 1 act 3 
 
 2"S. Loan of a Lover (The), vaudeville,!. 4 
 
 109. Locked in. comedietta, 1 act 1 
 
 85. Locked in with a Lady, sketch 1 
 
 87. Locked Out, comic scene ] 
 
 143. Lodgers and Dodgers, farce, 1 act. . 4 
 212. Louden Assurame. comedy. 5 acts 10 
 
 291. M. P.. comedy, 4 acts .' 7 
 
 210. Mabel's Manoeuvre, interlude, 1 act 1 
 
 103. Mareoretti, drama, 3 acts 10 
 
 154. Maria and .Aiaydalena, play. 4 acts.. 8 
 03. Marriage at any Price, farce. 1 act.! 5 
 
 249. Marriage a Lottery, comedy. 2 acts. 3 
 208. Married Bachelors, comedietta, la.. 3 
 
 39. Master Jones' Birthday, farce, 1 act 4 
 7. Maud's Peril, drama. 4 acts 5 
 
 49. Midnight Watch, drama, 1 act. 8 
 
 15. Milky White, drama. 2 acts 4 
 
 40. Miriam's Crime, drama, 3 acts 5 
 
 51. Model of a Wife, larce, 1 act 3 
 
 302. Model P<ur (A), comedy, 1 act 2 
 
 1 84 . Money, comedy, 5 acts 17 
 
 250. More Blunders thau One, farce, ia. 4 
 312. More Sinned against than Sinning, 
 
 original Irish drama, 4 acts 11 
 
 234. Morning Call (A), comedietta. 1 act. 1 
 
 108. Mr. Scroggins. farce. 1 act 3 
 
 188. Mr. X.. farce. 1 act 3 
 
 109. My Uncle's Suit, farce, 1 avt 4 
 
 216. My Neighbors Wife, farce, 1 act 3 
 
 230. My Turn Next, farce. 1 act : . . . 4 
 
 193. My Walking Photograph, musical 
 
 duality, 1 act 1 
 
 207. My Wife's Bonnet, farce. 1 act 3 
 
 130. My Wife's Diarv. farce, 1 act 3 
 
 92. My Wife's Out. farce. 1 act 2 
 
 218. Naval Engagements, farce. 2 acts. .. 4 
 140. Never Reckon your Chickens, etc., 
 
 farce. 1 act. 3 
 
 115. New Men and Old Acres, comedy, 3 8 
 
 2. Nobody's Child, drama, 3 acts...*. . .18 
 57. Noemie, drama, 2 acts 4 
 
 104. No Name, drama, 5 acts 7 
 
 112. Not a bit Jealous, farce, 1 act 3 
 
 298. Not if I Know it. farce, 1 act 4 
 
 1S5. Not so bad as we Seem, play, 5 ajts.13 
 
 84. Not Guilty, drama. 4 nets . .* 10 
 
 117. Not such a Fool as he j^ooks, drama. 
 3 acts 5 
 
 171. Nothing like Paste, farce. 1 act. ... 3 
 14. No Thoroughfare, drama. 5 acts. . . 13 
 
 300. Notre Dame, drama. 3 acts 11 
 
 209. Object of Interest (An), farce. 1 act. 4 
 
 208. Obstinate Family (The), farce, 1 act. 3 
 
 173. Off the Stage, comedietta. 1 act 3 
 
 227. Omnibus (The), farce. 1 act 5 
 
 176. On Bread and Water, farce, 1 act.. . 1 
 254. One Too Many, farce, 1 act 4 
 
 S3. One Too Many for Him, farce, 1 act 2 
 
 3. £100,000, comedy, 3 acts 8 
 
 90. Only a Halfpenny, farce, 1 act 2 
 
 170. Only Somebody, farce. 1 act 4 
 
 289. On the Jury, drama. 4 acts 5 
 
 97. Orange Blossoms, comedietta, 1 act 3 
 00. Orange Girl, drama. 4 acts IS 
 
 209. Othello, tragedy, 5 acts 16 
 
 172. Ours, comedy. 3 acts 6 
 
 94. Our Clerks, farce. 1 act 7 
 
 4.~>. Our Domestics, comedy-farce, ^vct; 
 
 155. Our Heroes, military play, 5 acts.. .21 
 17S. Out at Sea, drama, 5 acts 17 
 
DE WITT'S ACTING PLATS —Continued. 
 
 147. 
 305. 
 285. 
 156. 
 
 82. 
 127. 
 
 23. 
 
 203. 
 62. 
 61. 
 
 138. 
 217. 
 110. 
 
 50. 
 
 59. 
 
 95. 
 •280. 
 
 181. 
 
 196. 
 
 195. 
 
 247. 
 1.14. 
 
 13. 
 229. 
 158. 
 201. 
 264. 
 
 79. 
 203. 
 
 37. 
 
 35. 
 J 13. 
 
 43. 
 
 6. 
 
 *21. 
 
 ]0. 
 
 26. 
 207 
 204. 
 
 78, 
 215, 
 
 232. 
 
 31. 
 150, 
 120, 
 
 M. 1". 
 
 Overland Route, comedy, 3 acts 11 5 
 
 Pair of Shoes (A), force, 1 act 4 3 
 
 Partners for Life, comedy, 3 acts — 7 4 
 
 Peace at any Price, farce, 1 act 1 1 
 
 Peep o' Day, drama, 4 t acts 12 4 
 
 L'eggy Green, farce, 1 act 3 10 
 
 Petticoat Parliament, extravaganza, 
 
 lact 15 24 
 
 Philomel, romantic drama, 3 acts... G 4 
 
 Photographic Fix, farce, 1 act 3 2 
 
 Plot and Passion, drama, 3 acts. ... 7 2 
 
 Poll and Partner Joe, burlesqe, la.. 10 3 
 
 Poor Pillicoddy, farce, 1 act 2 3 
 
 Poppleton's Predicaments, farce, la. 3 
 
 Porter's Knot, drama. 2 acts 8 2 
 
 Post Boy, drama. 2 acts o 3 
 
 Pretty Horse-Breaker, farce 3 10 
 
 Pretty Piece of Business (A), come- 
 dy. 'l act 2 3 
 
 182. Queen Mary, drama. 4 acts 37 9 
 
 Queerest Courtship (The), comic 
 
 operetta, 1 act 1 1 
 
 Quiet Family, farce, 1 act 4 4 
 
 Quite at Home, comedietta, 1 act. . . 5 2 
 
 Race for a Dinner, farce, 1 act 10 
 
 Regular Fix (A), farce, 1 act G 4 
 
 Richelieu, play, 5 acts 12 2 
 
 Rightful Heir, drama, 5 acts 10 2 
 
 Roll of the Drum, drama, 3 acts 8 4 
 
 Romeo on the Gridiron (Ah mono- 
 logue, for a lady 1 
 
 R.>semi Shell, burlesque, 4 scenes.. G 3 
 
 Rough Diamond (The), farce, 1 act. 6 3 
 
 Rum. drama, 3 acts 7 4 
 
 Ruy Bias, drama, 4 acts 12 4 
 
 Sarah's Young Man, farce, 1 act 3 3 
 
 School, comedy, 4 acts, 6 G 
 
 School lor Scandal, comedy, 5 acts. .13 4 
 
 S 'rail of Paper (A), comic drama, 3a. G G 
 
 Sheep in Wolf s Clothing, drama, la. 7 5 
 
 She Stoops to Conquer, comedy, 5a. 15 4 
 
 Silent Protector, farce. 1 act , 3 2 
 
 Silent Woman, farce, 1 act 2 1 
 
 Single Married Man (A), comic ope- 
 retta, 1 act 6 2 
 
 Sisterly Service, comedietta, 1 act. . 7 2 
 
 Si\ Months Ago, comedietta, 1 act.. 2 1 
 
 Slasher and Crasher, farce. 1 act, .. 5 2 
 
 Snapping Turtles, duologue, 1 act. . .1 1 
 
 Society, comedy, 3 acts 16 5 
 
 Sild Again, comic operetta, 1 act. . . 3 1 
 
 Sparking, comedietta, 1 act 1 2 
 
 Special Performances, farce, 1 act. . 7 3 
 Still Waters Run Deep, comedy, 3a. 9 2 
 Sweethearts, dramatic contrast, 2a.. 2 2 
 Tail (Tale) of a Shark, musical mon- 
 ologue, ] scene. 1 
 
 Taming a Tiger, farce, 1 act 3 
 
 Tell-Tale Heart, comedietta. 1 act.. 1 2 
 Tempest in a Teapot, comedy, 1 act 2 1 
 
 M. r. 
 
 Ten Nights in a Bar Room, drama, 
 
 5 acts 8 2 
 
 There's no Smoke without Fire, 
 
 comedietta, 1 act 1 2 
 
 Thrice Married, personation yv 
 
 1 act 6 1 
 
 Thumping Legacy (A), 1 act 7 1 
 
 Ticket of Leave Man, drama, \ acts. 9 3 
 
 Time and the Hour, drain a, 3 acts. 7 3 
 
 Tune and Tale, drama, 4 acts 7 5 
 
 Timothy to the Rescue, farce, 1 set 4 2 
 "lis Better to Live than ij Die, 
 
 farce, 1 act 2 1' 
 
 Tompkins the Troubadour, farce. 1. 3 2 
 
 'foodies (The), drama, 2 acts 10 2 
 
 To Oblige Benson, comedietta, 1 Ji-ct 3 2 
 
 Trying It On, farce, 1 act 3 3 
 
 Turning the Tables, farce, 1 act. ..5 3 
 
 Turn Him Out, farce. 1 act 3 2 
 
 Tweedie's Rights, comedy, 2 acts. . 4 2 
 
 Twice Killed, farce, 1 act 6 3 
 
 'Twixt Axe and Crown, play, 5 acts. 24 13 
 
 Twin Sisters, comic operetta. 1 act. 2 2 
 
 Two Bonnvcastles, farce, 1 act 3 3 
 
 Two Buzzards (The), farce, 1 act .... 3 2 
 
 Two Gay Deceivers, face, 1 act . 3 
 
 Two Polts, farce, 1 act 4 4 
 
 Two Roses (The), comedy. 3 acls. . . 7 4 
 
 Two Thorns (The), comedy, 4 acts.. 9 4 
 
 Uncle Dick's Darling, drama, 3 acts 6 5 
 
 Uncle's Will, comedietta, 1 act 2 1 
 
 Up for the Cattle Show, farce, 1 act 6 '2 
 
 Vandyke Brown, farce, 1 act 3 3 
 
 Veteran of 1812 (The), romantic mil- 
 itary drama, 5 acis 12 2 
 
 Volunteer Review, farce. 1 act 6 6 
 
 Walpole, comedy in rhyme 7 2 
 
 Wanted, a Young Lady, farce. 1 act. 2 1 
 Wanted, One Thousand Spirited 
 Young Milliners for the Gold Re- 
 
 giousT farce, 1 act 3 7 
 
 War to to the Knife, comedy. 3 acts 5 4 
 
 What Tears can do. comedietta, la.. 3 2 
 
 Which of the Two? comedietta, la.. 2 10 
 
 Who Killed Cock Robin? farce, 2a.. 2 2 
 
 Who is Who ? larce . 3 2 
 
 Widow Hunt, comedy, 3 acts 4 4 
 
 Widow (The), efmiedy. 3 acts 7 6 
 
 William Tell with a Vengeance, bur- 
 lesque 8 2 
 
 (Window Curtain, monologue. . . 1 
 I Circumstantial Evidence " .... I 
 
 Woman in Red, drama, 4 acts G 8 
 
 Woman's Vows and Masons' Oaths, 
 
 drama, 4 acts 10 4 
 
 Woodcock's Little Game, farce. 2a.. 4 4 
 Wrong Man in the Right Place (A), 
 
 farce, 1 act 2 3 
 
 Young Collegian, farce, 1 act 3 J 
 
 A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT- 
 ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
 ecntaining Plot, Costume, Scenery. Time of Representation, and all other informa- 
 tion, mailed free and post paid on application. Address 
 
 I>E WITT, 33 Rose Street, New York. 
 
DE WITT'S ETHIOPIAN AND COMIC DEAMA.-Coiitiimed 
 
 33. 
 
 94. 
 
 103. 
 
 1. 
 36. 
 
 18. 
 
 60. 
 
 37. 
 
 90. 
 109. 
 
 19. 
 149. 
 151. 
 
 96. 
 147. 
 
 129. 
 
 101. 
 
 117. 
 
 44. 
 
 8. 
 
 119. 
 
 49. 
 132. 
 145. 
 
 22. 
 
 27. 
 125! 
 
 30. 
 114. 
 
 76. 
 91. 
 
 135. 
 
 92. 
 
 9. 
 
 57. 
 
 65. 
 
 66. 
 115. 
 
 14. 
 105. 
 
 45. 
 
 55. 
 
 M. F. 
 
 Jealous Husband, sketch 2 1 
 
 Julius the Snoozer. burlesque, 3 sc. 6 1 
 Katrina r s Little Game, Dutch act, 
 
 1 sceue : 1 1 
 
 Last of the Mohicans, sketch 3 1 
 
 Laughing Gas, sketch, 1 scene 6 1 
 
 Live Iujun. sketch, 4 scenes 4 1 
 
 Lost Will, sketch 4 
 
 Lucky Job, farce, 2 scenes 3 2 
 
 Lunatic (The), farce, 1 scene 3 
 
 Making a Hit, farce, 2 scenes 4 
 
 Malicious Trespass, sketch, 1 scene. 3 
 'Meriky, Ethiopian farce, 1 6cene. . . 3 1 
 Micky Free, Irish sketch, 1 scene.. 5 
 Midnight Intruder, farce, 1 scene . 6 1 
 Milliner's Shop (The), Ethiopian 
 
 sketch, 1 scene 2 2 
 
 Moko Marionettes, Ethiopian eccen- 
 tricity, 2 seenes 4 5 
 
 Molly * Moriarty, Irish musical 
 
 sketch, 1 scene 1 1 
 
 Motor Bellows, comedy, 1 act 4 
 
 Musical Servant, sketch. 1 scene — 3 
 Mutton Trial, sketch, 2 scenes .... 4 
 MyWife'sYisitors, comic drama,lsc. 6 1 
 Night in a Strange Hotel, sketch, lsc. 2 
 Noble Savage, Ethi'n sketch, 1 sc. .. 4 
 No Pay No Cure, Ethi'n sketch. 1 sc. 5 
 Obeying Orders, sketch, 1 scene.... 2 1 
 
 100th Night of Hamlet, sketch 7 1 
 
 Oh, Hush ! operatic olio 4 1 
 
 One Night in a Bar Boom, sketch.. 7 
 One Night in a Medical College, 
 
 Ethiopian sketch, 1 scene 7 1 
 
 One, Two, Three, sketch, 1 scene.. 7 
 Painter's Apprentice, farce, 1 scene. 5 
 Pete and the Peddler, Negro and 
 
 Irish sketch, 1 scene 2 1 
 
 Pleasant Companions, Ethiopian 
 
 sketch, 1 so^ne 5 1 
 
 Polar Bear (The), farce, 1 scene 4 1 
 
 Policy Players, sketch, 1 scene 7 
 
 Pompey's Patients, interlude, 2 sc. 6 
 Porter's Troubles, sketch, 1 scene.. 6 1 
 
 Port Wine vs. Jealousy, sketch 2 1 
 
 Private Boarding, comedy, 1 scene. 2 3 
 
 Recruiting Office, sketch, 1 act 5 
 
 Rehearsal (The), Irish farce, 2 sc. . . 3 1 
 Bemittauce from Home.sketch.l sc. 6 
 Rigging a Purchase, sketch, 1 sc. . . 3 
 
 84. 
 38. 
 74. 
 46. 
 69. 
 56. 
 72. 
 13. 
 16. 
 7. 
 121. 
 
 47. 
 
 54. 
 100. 
 102. 
 
 34. 
 
 122. 
 
 2. 
 104. 
 
 5. 
 
 28. 
 131. 
 
 39. 
 75, 
 
 93, 
 29, 
 97. 
 
 137. 
 
 143. 
 
 99. 
 
 85. 
 116. 
 
 M. F. 
 
 Rival Artists, sketch, 1 scene , . 4 
 
 Rival Tenants, sketch 4 
 
 Rival Barbers' Shops (The). Ethio- 
 pian farce. 1 scene 6 1 
 
 Sum's Courtship, farce, 1 act 2 1 
 
 Sausage Makers, sketch, 2 scenes*. . 5 1 
 
 Scampini, pantomime, 2 scenes 3 3 
 
 Scenes on the Mississippi, sketch, 
 
 2 scenes.. g 
 
 Serenade (The), sketch, 2 scenes'.'. '. ! 7 
 
 Siamese Twins, sketch, 2 scenes 5 
 
 Sleep Walker, sketch, 2 scenes 3 
 
 Slippery Day, sketch, 1 scene 6 1 
 
 Squire lor a Day, sketch 5 1 
 
 Stage-struck Couple, interlude, 1 sc. 2 1 
 
 Stranger, burlesque, 1 scene 1 2 
 
 Streets of New York, sketch, 1 sc.'. . 6 
 Storming the Fort, sketch. 1 scene. 5 
 Stupid Servant, sketch, 1 scene. . . . 2 
 Stocks Up! Stocks Down! Negro 
 
 duologue, 1 scene 2 
 
 Take It, Don't Take it. sketch, 1 'sc. 2 
 
 Them Papers, sketch, 1 scene., 3 
 
 Three Chiefs (The), sketch, 1 scene. 6 
 
 Three A. M., sketch, 2 scenes 3 1 
 
 Three Strings to one Bow, sketch, 
 
 1 scene 4 \ 
 
 Ticket Taker, Ethi'n farce, 1 scene. 3 
 
 Tricks, sketch 5 2 
 
 Two A wiul s (The>, sketch, 1 scene.'. 5 
 
 Two Black Roses, sketch ...4 1 
 
 Uncle Eph's Dream, sketch, 2 6c. . . 3 1 
 Unlimited Cheek, sketch, 1 scene.. 4 1 
 
 Vinegar Bitters, sketch, 1 scene 6 1 
 
 Wake up. William Henry, sketch. . . 3 
 Wanted, a Nurse, sketch, 1 scene... 4 
 Weston, the Walkist, Dutch sketch, 
 
 1 scene 7 1 
 
 What shall I Take ? sketch, 1 scene. 7 1 
 Who Died First ? sketch, 1 scene. ..31 
 
 Who's the Actor? farce. 1 scene i 
 
 Whose Baby is it ? Ethiopian sketch, 
 
 1 scene . 2 1 
 
 ■Wonderful Telephone (The), Ethio- 
 pian sketch, 1 scene 4 1 
 
 Wrong Woman in the Right Place, 
 
 sketch. 2 scenes 2 2 
 
 Young Scamp, sketch, 1 scene.. 3 
 
 Zacharias' Funeral, farce, 1 scene. . 5 
 
 WW--^ A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT- 
 *P£gT^NG PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
 containing Plot, Costume, Scenery, Time of Representation, and all other informa- 
 tion, mailed free and post paid on application. Address 
 
 DE WITT, Publisher, 
 
 Rose Street, New York. 
 
LIBRARY OF CONGRESS 
 
 014 526 488 1 » 
 
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 how to macta&e 
 amateur theatricals, 
 
 Being plain instructions for construction and arrangement of Stage, 
 making Scenery, getting up Costumes, "Making Up " to represent 
 different ages and characters, and how to produce stage Illusions and 
 Ejects. Also hints for the management of Amateur Dramatic Clubs, 
 and a list of pieces suitable for Drawing Eoom Performances. Hand- 
 somely illustrated with Colored Plates. 
 
 Price, 25 Cents, 
 
 DE WITT'S SELECTIONS 
 
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 AMATEUR Ai PARLOR THEATRICALS. 
 
 Nos. 1, 2, 3, 4 & 5, 
 
 Being choice selections from the very best Dramas, Comedies and 
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 Parlor and Drawing Room Entertainments. 
 
 Each number, 25 Cents. 
 
 PANTOMIME PLAY , 
 
 "HUMPTY DUMPTY." 
 
 The celebrated-Pantomime, as originally played for 1,000 nights by the 
 late.G-EOKGE L. Pox. Arranged^by John Denier, Esq. Eight male, 
 four female characters: 
 
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