"'Jilwsi.vs Older " DE WlTT^S '' Aitiiis Play** PRICE 15 CF.NTS. '^^: rij^L DE WITT'S ACTING PLAYS (]ViiTiil>ev 34.7.) A HAPPY DAY, A Farcical Comedietta^ IPO" T TT^ O -A. O T JS BY J. H. ^^^ALLACE. TOGETHER WITH A Desciipliou of tlje Costumes — Cast of tlie Cluiracters— JKutrances aiid-Exits — Relative Positions of tlie Peifonneis on the Stage — and tlie wliole of tlie Stage Business. DE WITT. PUBLISHER, No. 33 Mose Street. REIADT I ^* A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACTINB PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing Plots, Costume, Scenery, Time of Representation, and every other informa- tion, mailed free and post-paid. DE ^^ITT'S ETHIOPIAIi AND COMIC DMMA. 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, but all the situations,^y-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. *^* In ordering please copy the figures at the commencement of each piece, which indicate the number of the piece in " De TVitt's ETHI0PIA^f and Comic Dkama." j^= Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents each. j@@= The figure following the name of the Play denotes the number of Acts. The I fif^ures in the columns indicate the number of characters — M. male; F. female. M. F. 141. Absent Minded, Ethiopian farce, 1 act 3 1 73. African Box, burlesque, 2 scenes. . . 5 107. Africauus Bluebeard, musical Ethi- opian burlesque, 1 scene 6 2 113. Ambition, farce, 2 scenes 7 133. Awful Plot (An) Ethiopian farce, la. 3 1 43. Babv Elephant, sketch, 2 scenes.. . . 7 1 42. Bad" Whiskey, Irish sketch, 1 scene. 2 1 79. Barney's Courtship, musical inter- lude, lact 1 2 40. Big Mistake, sketch, 1 scene 4 fi. Black Chap from Whitechapel, Ne- gro piece 4 10. Black Chemist, sketch, 1 scene 3 11. Black-Ey'd William,sketch,2 scenes 4 1 146. Black Forrest (The),Ethiopian farce, 1 act 2 1 110. Black Magician (De),Ethiopian com- ■ icalitv 4 2 126. "Black Statue (The), Negro farce 4 2 127. Blinks and Jinks, Ethiopian sketch. 3 1 128. Boboliuo, the Black Bandit, Ethio- pian musical farce, 1 act 2 1 120. Body Suatchers (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 tlie Hash Brigade, comic Irish musical sketch 2 2 148. Christmas Eve in 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 1 41. Cremation, sketch, 2 scenes 8 1 144. Crowded Hotel (The), sketch, 1 sc. 4 1 140. Cupid's Frolics, sketch, 1 scene 5 1 12 Daguerreotypes, sketch, 1 scene .... 3 53. Damon and' Pythias, burlesque, 2 sc. 5 1 63. Darkey's Stratagem, sketch, 1 scene 3 1 131. Darkey Sleep Walker (The), Ethio- Dian sketch, 1 scene 3 1 124. 111. 139. 50. G4. 05. 67. 4. 135. 98. 52. 25. 83. 51. 152. 106. 83. 77. 31. 20. 82. 130. 86. 70. 61. 142. 23. 118. 3. 48. 68. 150. 71. 123 M. F. Deaf as a Post, Ethiopian sketch 2 Deeds of Darkness, Ethiopian ex- travaganza, 1 act 6 1 Despei'ate Situation (A), farce, 1 sc. 5 2 Draft (The), sketch, 2 scenes 6 Dutchman's Ghost, 1 scene 4 1 Dutch Justice, laughable sketch, 1 scene 11 Editor's Troubles, farce, 1 scene.. . 6 Eh ? What is it ? sketch 4 1 Election Day, Ethiopian farce, 2 sc. 6 1 Elopement (The), farce. 2 scenes. . . 4 1 Excise Trials, sketch, 1 scene 10 1 Fellow that Looks like Me, inter- lude, 1 scene . 2 1 First Night (The", Dutch farce, 1 act 4 Fisherman's Liick. sketch, 1 scene. 2 Fun in a Cooper's Shop, Ethiopian sketch 6 Gambrinus, King of Lager Beer. Ethiopian buiiesqiie, 2 scenes 8 1 German Emigrant (The), sketch, Isc. 2 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 Rest, sketch, 1 scene. 3 Go and get Tight, Ethiopian sketch, 1 scene 6 Gripsack, sketch, I scene 3 Guide to the Stage, sketch 3 Happy Couple, 1 scene 2 1 Happy Uncle Rufus, Ethiopian mu- sical sketch, 1 scene 1 1 Hard Times, extravaganza. 1 scene. 5 1 Helen's Funny Babies, burlesque. 1 act 6 Hemmed In. sketch 3 1 High Jack, the Heeler, sketch, 1 sc. 6 Hippotheatron, sketch 9 How to Pay the Rent, farce. 1 scene 6 In and Out, sketch. 1 scene 2 Intelligence Office (The), Ethiopian sketch, 1 scene 2 *■ A Happy Day. ^ ?I)omc6ttt jTarce, IN ONE ACT. By I^ICHAI^T) HENRY. /..^.x^X ^^ ADAPTED FOR THE AMERICAN STAGE '' "^" J ^ ' By H. L. WILLIAMS. FIEST PRODUCED AT THE GAIETY THEATRE, LONDON, OCT. 11, 1886. TOOETHEB WITU A DESCRIPTION OP THE COSTUMES— CAST OP THE CHARACTERS — ^EN- TRANCES AND EXITS — RELATIVE POSITIONS OF THE PERFORM- ERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. DE WITT, PUBLISHER, No. 33 Rose Street. Copyright, 188G, by A. T. B. Dk Wixx. \ ^ ^^tT^^ "L A HAPPY DAY. CAST OF CHARACTERS. Gaiety Theatre, London, Oct. 1886. T. Jawkins (foreman aud father of eight) low comedy Mr. Arthur Williams. Mrs. Jawkins (his wile), comic old woman Miss H. Coventry. Angelina (beloved by Edwin, age seventeen), ^ Miss Beale. SoPHONisBA (age fourteen aud a half), Tommy (twelve and a half), William Frederic (ten), Francis Robert (eight), Bertie Adolphus (six), Montague ) . Montmorency S ' j Edwin (beloved by Angelina), walking gent Kewton (a detective), character or heavy Mr. Le Hays. Miss Terriss. \ their family. , . TIME IN REPRESENTATION— ONE HOUR. SCENERY. A plainly furnished sitting-room in 2 or 3 grooves. I Door. I I Window. | Fireplace, Door, Door, Door, /^^m„i,,» Door. (2) Table. O O OOOOOOOOOOOOOOO Closed in. Door in flat and at r. 1 e., l. 1 e., r. v. e. and l. tt. e., all practicable; cai'pet down; cheap engravings and prize chromes on walls; round table and two chairs, r. c. ; painted fireplace and window on flat. Fireplace has gas fire ready to be touched up alight. COSTUMES. Jawker.— Appears in trousers and vest; afterwards in a fancy tweed suit; rather English in appearance. Edwin. — Walldng suit, straw hat. Kewton. — Dark suit, Derby hat. Mrs. Jawkins.— Appears partly attired; then in a showy summer dress; sun um- biella. Angelina.— Appears in wrapper and curl papers. She is sentimental. Summer dre.ss. SoPHONiSBA.— Appears in wrapper; front curls in paper. She is lively and laugh- ing. Summer dress. The Children. — Appear in night-dresses, then in best clothes. [For Properties and Stage Directions, see last page. /2-39/ZZ^ A HAPPY DAY. SCENE. — Jawkins' 2?a»*^or. Early morning ; lights down; stage darJc. Curtain rises in silence. Ckildren make a noise off L., scuffling and screaming. Enter, l. u. e., Tommy, William. Francis, and Bertie, quietly, in their bedgowns, hair on end. They creep on tiptoe to R. 1 E. door and knock loudly. Boys. Fatlier! Mother! It's time to o-et up. We sliall miss the train ! we sha'ii't catcli the train ! {and so on ad. lib. Then they knock loudly.) Voice of Jawkins {off r. 1 e.). Confound you all! Be quiet! Shut up! Mrs. Jawkins' voice is now heard same ; then a lull ; then enter, l. u. e., Montague (ind Montmorency, witJt toy spades and pails. The boysjight and hammer 0)t door r. 1 e. Enter, R. 1 e.. Jawkins, partly dressed, with a candle. Lights up. He has a bootjack in hand. He hunts the children rorind three times ; they go offL. u, e. at the tliird round ; lie hits at the last, he misses him, gets his Jinger caught in the, door, hoiclsy is released, staggers to R. c, and sinks exhausted into chair. Jaw. {puffing). Oh. to think thnt I, an in(hila-ent parent, should have to persuade niv offspring' into obedience by means of a bootjack ! And all this comes of arraniiini;- to i\\\ie. 'em out for a day's pleasurins:. I told Mrs. J. what it would l)e when we first beijan to siive up. so as to enjoy ourselves on this, our eiuhteenth weddir.ir-day. Directly she pro- posed to take the children I warned lier that the lives of Fox's Book of Miirtyrs woidd be peaceful and liappy compared to our.s. But of course she had lier way. I should like to tind a woman who didn't— especially when, as often happens, that wonnin is a wife. Of course I yielded. I sliould like to see a man who wouldn't — especially when, as al.so often happens, that man is a husband. And tliis is the result. Here they are beuinnini;- before daybreak. What it will be by noon, iroodness only knows! I shudder to think of it. Ah, well, it won't be much use to go to bed auain. I should have to hiudanum the lot before there'd be a chance to get a single wink, let alone forty. I may as well potter about and quietly get ready, (rising) I'll call Angelina, for her mother won't l)e up yet — not she! Not that you can expect your missis to be too much of a bond-slave on lier eighteenth wedding-day— eighteenth anni- 4 A HAPPY DAY. versary, I mean, of course. So here goes ! (c7'osses to r. 1 e.) Angelina ! {pause) Augy, my child, wake up! It's getting late. Better tell her that, or sheWon't move for liours. Augy, I say ! Voice of Angelina {<>ffR- in muffled tones). Yes, pa ! Jaw. "Pa," indeed! That's some of lier mothet's lofty teaching. Hi ! emerge from under that there blanket, I say. We shall miss the boat. Ange. (sobbing). I don't care if we do— so there. Jaw. {coming c). Hoity-toity! here's some more of it. Got one of her tunlrums on, I suppose. I've he:ird some old ciiap in>the play, when I went in with an order once, tell parents to "make straws their child- ren." I s'pose tiiese grow up to make the men of straw in tlie savings baid^s that we've all been bitten l)y. I wish I'd taken his advice. Tll()u^■h I find those twins something similar. They're the last straws— they iu-e ; and I'm the camel's back — I am. They say there's no rest for thewicked. I don't know about th;it ; but, judging fronj my own case, I'm sure there's none for the virtuous. Angelina, I s:iy— do you hear me? Sophie, just punch her, will you? And also rouse yourself while you are iibout it. {coming doioi r.) I don't see why I should do every- thing, even if I am going to take you all out for the day. D'ye hear? Wake up, I say ! Enter, r. 1 e., Angelina and Sophonisba, both in deshabille and curl- papers. Angelina sinks dolefully into chair, r. o, wliile Sopho- nisba lights fire, etc. {Fire can be off, and Sophonisba can re-enter quickly. ) Ah, that's right, Sopli ; you're the sort of gal for my motiey. That's right, bustle jibout. And you, Angelina, for goodness sake wake up and do something. Go and dress them twins, or wash the others, or do something. Don't sit there looking like Mrs. Macbeth when she walks in her sleep. Wake up, I say, and pull yourself together. We sha'n't get to Coney Island to-daj'. Ange. {weeping). I don't w:int to go to Coney Island to-day, pa! Jaw. Don't "pa "me! Why not? It's the place to spend a happy daj', ain't it? Ange. {romantically). Not without him. There can be no happy diiy for me where he is not! Jaw. He I Come, none of these hiiihsterics ; they don't suit your sta- tion in life. Just dry them tears and bustle about. Dry theni tears, I say, and at once! If you don't want to go to Coney Island, I'm sure I don't mind. It will be one fare less to pay. And I'm sure we've aot l)lenty of fares to find, to say nothing of feeding you all. {during this .speech Sophonisba makes faces at Angelina and teases her, aside) It won't take long to make a hole in the little sum your mother and me has l)eeM i)utting by for tliis auspicious occasion. The first outiui!; we've had since the end of our honeymoon, when we went to Lincoln Park for a. day, out of an X as was sent to the newspapers for me for pullinii- a chap out of the water as wanted to drown himself. Seemed as though he also wanted to poison himself, seeing as lie jumped into the river at Astoria,-the stream is very sti-o))g there, in more ways than one. I drew out our savings yestenlay. Let me see ; how do we stand? Three wholes at one-half : seven halves— Soph will pass for under twelve Soph, {pouting). Oh, shall I? and in my new long dress, too? Jaw. Be quiet : don't interrupt me when I'm counting. I can't bear being interrupted when I'm reckoning up figures. Go you and help A HAPPY DAT. 6 those youngster, if Angy won't. Let me see ; where was I? There will be seven lialves at a quarter, and three wlioles at a half ; that's tliirleen quarters for fares alone. Whew! Then there's a quart of ice creiiin at fifty cents, with another dime for the waiter — for we'll take our own plates along. Ange. {haughlily). Please, pa, I don't want to go. I tell you. Jaw. {s)iKeri)iglij). Then stop at home, my weeping-wilier; and na for the ice cream, there'll be more for tlien» as wants il. And, if you don't just droj) those airs and graces, I'll know the reason why, or my name ain't Jawkins. Soph, {dancing av'ldl// round Angelina). Yah ! 1 know wiiy slu? don't want to go. It's because her liancee, Edwin, can't get away to go too. Yah ! Ange. {furtons and weeping). You forward young minx! I'll box your ears for you— that I will. And I won't have him called Edwin l)y every one in the house. His name's Mr. Walkerton to all in this house but me — so there. Jaw. Oh, that's why you're lolling about, and refusing to ttdce them '•crackers " out of your hair, is it? Putting on airs about that highty- flighty clerk chap, are 30U? Well, we'll soon see about that. Mrs. Jawkins, also in curl-papera, appears at r. u. e. She pauses, aghast, as she is about to enter room. Ange. {slapping Sopiiontsba viciously). But, pa Jaw. Don't "pa" me. I won't be pa'd. I'm your parent, and I work for a living, and father's good enough forme. "Pa " is only for peoi)le who belong to the aristocracy, or who want to make you think they do. I won't have such ways. It's some of your mother's loftiness, that's what that is. Mrs. Jawkins {at doorway). Oh, indeed, Mr. J.! Is that the way you undermine a mother's authority? Jaw. Oh, it's you, mother, is it? Come at last, and not before you're wanted, either. Here, just talk to this young woman. Here she is niopinii' Jind carrying on, and won't do this, and won't do that, just be- cause that nainljy-pamby lawyer's clerk has "gone to business," and can't go to Coney Island. Business! Bah! We used to call it going to work, but most of the young fellers of the day don't know what work means. Mrs. J. Well, Mr. J., is that any reason why the poor child should be brow-beaten? Just because she is sensitive, like myself. Jaw. I wouldn't mind her being sensitive if she'd only be sensil)le. She's loo romantic— tliat's what's the matter with her Vviiy ain't she like Soph yonder? (Angelina ^^kZ Sofhonisba quarrelling apart.) Mrs. J. I presume you mean So[)honisba, Mr. J. She is a hoyden - a perfect hoyden. I admit that she is industrious ; but that's no rea.soii why this poor frail girl should be made a butt Sopii. Yali ! She ouiiht to be put in one. Mrs. J. Silence, Sophonislia! How dare you? Ange. {weeping and clinging to her mother). Yes, liow dare you? Jaw. {to Mrs. J.). Bah ! You are as bad as she is— worse, in fact, for you're older. Mrs. J. And what if I am older, Mr. J.? Is there anything surprising in that? Jaw. No. I suppose not. It's not an unusual thing, though some mothers would like make themselves out younger than their dauiihters. b A HAPPY DAY. But whnt I complain of is, that you encourage Angy in making up to this quill-driving cliup, instead of making her choose a solid, steady work- ing-man like her lallier. (Sophonisba is busy at back 'jetting youngsters ready. Occasional hubb/ib.) Mrs. J. {loftily). Do you think tliat your manners and customs, Mr. J., are of a kind to induce our tirst-born to yearn for a husband selected from liie working classes? /do not. If 1 stooped so low, my child shall not. Jaw. (c). Stooped, indeed! I like that— I mean, I don't like that. If I wasn't wealthy when you nuirried me, I was at least handsonie, and you know it — and {u'ith emotion) you used to call me your own "Jaw- key " in the days when you were a lady's-maid, and I was foreman at Woodlog & Co.'s timberyard. And you used to say that you was proud of me, and so you w;is. And when you saved up, and 1 saved up, and we got married, and my fellow-workmen came and pelted us with liand- fuls of rice as we came out of church, and drove ofi' in the liack, you said you was the happiest woman in all the four heniispheres of the globe— and so you was. And I said I wouldn't changti places with the head of the Vanderbllts. {icith -pathos) No, was it ever so, nor more I wouldn't. And now here we are on tiie eighteenth anniversary of what we both know was the most happiest day of oiu' lives, squabbling over our first-born, our dauiiliter and heiress. Now, mother, old gal, {draw- ing near her coaxinyly) I ask you, as a maternal woman, does this strike you as being a appropriate and also fitting manner of celebrating our united nupchules? Jest you answer me that, mother. Mrs. J. {softening). Well, jawkins, I don't say that it is. But you do carry on and aggravate a person so. Now, for instance, last Saturday night, you took yourself oil', knowing very well that Angelina had gone walking out with her beau, and that Soi)honisba had gone to fetclf the arrants, and there was no knowing when she'd be back, and the two boys was out a-parading the streets with the Salivation Army, and I was obliged to keep indoors and mind the children, and couldn't come out to see after you- and otfyou went, and came home at a nice time ! Jaw. {uneasily, and trying to avoid the subject, and assisting to r/et the children ready at back). Well, my dear, never mind that now. I^ Mrs. J. But I do mind, Jawkins. It's a wife's place to mind,' and to mind that she makes her husband mind, {aside to Angelina) Bear that in mind, my dear, (a/oud) And I think I had cause to mind, seeing- that you took yourself oflf again on Sunday morninii" before anvbody was up, and came lion)3 when it suited you, an hour and a half after the dinner- had been fetched from the Diiich baker's, (Jawkins tidgets uneasily about) and refused to give an account of yourself. But I have not done with the suliject yet. I warn you! Jaw. {aside). I can quite believe that, {aloud, coming forward) Well, even hu.i tiie proper one to punish him; {jmiht-ticatl//) uud oh, sir, he is otherwise innocent of anything nol)le, lordly or British, I assure you he is. 1 have known him many years, sir. lie is tlie father of these dear children, and I'm tlieir mother— his lawful wedded wife, sir: and none can say l)lack's the white of my eye. And though my i)Oor Jawkuis is the most aggravating man that ever was, I know he couldn't be crim- inal if he tried ever so hard. Jaw. {)iO(v doicn r. c, leaning on Angelina, iv/to is weeping). True, true ; and I never even tried to be. Mrs. J. {sharpl/j, seeing Kewton immoTuble). And b(>sides, man, it's all rul)bish. His name is Jawkins, and was Jawkins long before I changed my own name for it. So you're only wasting your breath, my good man. Kew. (c). Ah, ma'am, you are his wife ; lience, of course you'll take liis part. Jaw. {dreamily). That doesn't always follow. Kew. But, perhaps you'll tell me where he was on Sunday morning and afternoon? Mrs. J. {looking severely at SxwKi'&s, who quails). No; I do not know. Yet Kew. He was not at church, I suppose? Jaw. {aside). No ; it was collection Sunday. Kew. And so you thought to view the beauties of the ocean, I pre- sume ; and for that purpose j'ou wenr with some of your fellow conspir- ators to Rockaway Beach ; and there, in a lonely part Mrs. J. Rockaway Beach ! The wretch ! wasting money and enjoying himself, and me at home, slaving to get his food ready, and minding his children ! Is this true, Jawkins? Jaw. {uneasily, coming c, and avoiding her gaze — aside). Oh, lor'! now for it! {aloud) Well, my dear, it is true in a way ; but only in a ^vay. I — er— that is. Jones, who goes to the English saloon, and sinus "See me Dance tlie Polka"— I mean, "The Heart Bowed Down" — he S!,i(| — or rather insisted — that I— that is, he, or rather, we— should just for once in a way — not a regular thing, you know — should try — that is, attempt Mrs. J. Enough, sir Kew. {crossing to Jawkins). No, ma'am, it is not enough. There is more to come— much more. Perhaps your husband will explain what 12 A HAPPY DAY. was in the black box which be carried wiien lie went away from Rock- away ? Jaw. {nerroHsly). NoLliiii:;-. Kew. And wluil was in it. i)ray, when you broug'ht it back? Jaw. Nothing- still ; or, at least, very little more. Kew. Hum ! That remains to be proved. Mrs. J. Black box ! He has no such box. Kew. Piirdon me, ma'am ; you mean, not that you're aware of. Ah, I see tliat, althouuh you may be his wife, you are not in his confidence. But to resume. That box he was seen to take witli him. His compan- ion had a similar box ; but that companion I have not yet tried to trace. No. The ringleader lirst, said I ; the rest will follow. Or, rather, I will follow them. Well, ma'am, when this unblushing criminal Jaw. Yes, you can see me unblush. Kew. Wlien he, I say. and his companion arrived on the Beach they separated, and went diflSrent ways. I, disguised as a ferrotype likeness taker, observed them well. Tlien I missed them l)Oth. But later (fori kept hovering near the spot) they met again at the same place, and on their way back to the station they were heard to speak in a mysterious manner of '• skeletons " and " deadheads." • Mrs. J. rtwcZ Girls {ffhrieJcinrf). What? Where? Jaw. {holloiiiij). Ha, ha ! Kew. There, now! I usk you, is that the laugh of an honest man? No, ma'am. There is secret assassination in every modulation of that guffaw ! But to resume. And as tiiey mentioned these horrible things, they grinned and tapped their boxes significantly. When your husband arrived home, fagged out, lie was seen to bring that box here, {move- ment of Jiorror) And it has not yet left the place, {all scream and start to different corners) Nor lias it, I presume, gone off, or none of you would be here now. Yes, {crossing to r.) that box is secreted some- where in these apartments ; being saved, no doubt, in order that the infernal machines it contains may be used to blow up our shipping, or even the Statue of Liberty ! All. No! Kew. Yes ; or some other useful ornament. And now, sir, {crossing to Jawkins, who is going up stage furtively) I demand to know where you placed that box? Mrs. J. Good heavens I Not in this house, I hope ! Kew. Produce it, I say ! Jaw {aside). If that box is seen before I can smuggle it awav to Jones, I am lost. No more Sunday outing for me. But I'll liave'one more try. {aloud) Look here, Mr. Intruder, I object to these charges in to-to. I'm an honest man— a man who works for his living, not one who would stay a fisherman from making his way, much less "shy "a revenue cutler! What right have you to imagine that I belong to those vile vermin? Kew. The box, sir— the box! I am waiting— Slinkerton is waiting ! Mrs. J. For goodness' sake, Jawkins, get rid of this man ! Tell hfm the box he speaks of is not here. It cannot be. Kew. Let him deny it at his peril ! Jaw. {aside). Oh, well, I suppose I must face it, or I shall never get rid of him. Besides, it's evident I sha'n't get let out auaiii on Sunday, so I may as well confess all. {aloud, c.) Very well, then, that box is here! It is imder the children's bed. {Rushes off, r. u. e. Mrs. J. {shrieking). What, under the dear children's bed! The mon- A HAPPY DAT. 13 ster! It is there, then. And he would huve blown the darlings into iitoins 1 Kew. Just so. Be-eute)' Jawkins, r. 2 e., with small black box. All sa-eam and get bade to corners. General conj'u&ion. Mrs. Jawkins shielding Utile ones under her s/iawl." Kew. {starting back to doo7% r,). Put it down. It will go ofl. Jaw. (c). I slla'n't put it down. Go ofl"* yourself, if you don't like it. It's mine, and I mean to open it. {he goes to r. loith it, and folioivs Kewton all about stage) 1 say I will open it, and clear ofl* this charge lor ever. Kew. Yes. and he'll clear us all ofl with it. {tre^nbling) I wish I hadn't so strongly insisted on its production. Jaw. {frantically trying to open box with poker). Now you shall see. {fastens doors and comes doicn) No one shall stir. Kew. {desperately). You shall not open it. Ai)art from these tremb- ling persons, {trembling) the life of Slinkerton's most intelligent officer shall not he jeopardized in this uianner. {they struggle, and box falls open on floor. All but Jawkins start back as far as possible, and cover their eyes, waiting for the explosion. Pause.) Kew. {nervously). What's this? It doesn't explode ! Jaw. Explode ! Did you ever know lishbones and "sheepsheads" to blow anyl)ody up? All. Fishbones ! Jaw. Yes ; tisld)ones. Here they are. Two sheepshead heads and a skeleton soldier crab. At least, that's what Jones, who stuck the pins through 'em, snid they was. Kew. {coming forward). Fish ! fishy ! A subterfuge that shall avail you nothing, {aside) All seems safe; I will arrest him. {bravely) You are my prisoner. Jaw. Am I ? Not if I know it. Tliey struggle all over the room. Wife opens the door and sci'eams. Jawkins and Kewton struggle to doorway. Suddenly Edwin enters, R., and jnills them forward, still clutching each other, Edwin. What's nil this? Hold! Jaw. {clutching YLEWTO'i(). We are holding! Ange. (rushing to Edwin). Oh, Edwin dear ! My Edwin ! part them, if you love me. Mrs. J. Yes ; part them, if yon love her. Jawkins. Edwin. Kewton. Ed. Leave it to me. {separating them) You, sir, {to Kewton) explain the meaning of this terrific strugiile. Kew. {p^'ffiug, r.). Tliat man is a dynamiter! Jaw. ( puffi)ig, l.). That man is a fool ! Kew. Think not to evade the eye or tlie hand of the law. People don't carry black boxes and talk about skeletons and deadheads for nothing! Jaw. Skeletons and heads be blowed ! Here tliey are. {opening box again) Two little fish anatomies! Specimens of Iclitliyology, Jones calls 'em. All I did was to keep filling my shoes with sand, and was 14 A HAPPY DAY. five times threatened for trespassiiiii; ; and it strikes nie j'ou don't get me goini;- Ichtiiyology hunting again on the Sabbath. Mrs. J, (R. c). No! I'll take care you don't. Ed. {laughing). I say, I see it all. as tliey say on the stage, {to Kew- ton) You seem to have made a nice muddle of all this. How came you to confound entomology witli treason? Ange. {aside to Iter mother). W'iiat a flow of languge Edwin lias, ma! Kew. Entom— what's his name, l)e hanged! That's all very well. That explains tlie black box and the deadheads, I grant you ; l)Ut what about the foreign song? Wiiat about tlie new explosive " to blow out the pantry," eh"? Jaw. {laughing, and dancing ahoiit). Ha, ha! The new explosive! {7iudging Edwin) You know, {sings.) There was cake and pie and beer and ale, And we swam in a Bay of Bantry Of genuine cliam., till we all liot full, At the blow-out in tlie pantiT ! {all join in and dance around, as Kewton glares on them furiously.) Kew. (rt^ f^oor). Ugh ! Empty-headed frivol lers! But no matter. If you're not a criminal now, you may be yet, and then look out. Eemem- ber, I've got my eye on the lot of you. {Bangs door and exit, r. Jaw. He must have a big optic, mustn't he? {preparing to stai't) Well, now, let's be oflf. Ed. (c. stopping him). Stay! I have something to say to you. All. You! Jaw. {sinking i7ito cJiair). Oh, go ou ! Keep it up! Any more of you going on ? Ed. Before yon leave this house, I want jour consent to my marrying your eldest daughter, Angelina. Soph, {at hack, with children). Oh, how nice! Jaw. And if I refuse? Ed. Beware! Jaw. Oh ! Mrs. J. (0.). Leave that to me, Edwin ; I will arrange that. Ed. Thanks. But the husband's the head of the house, or at least he ouulit to be. So I want his consent. Mrs. J. {haiightily). Head of the house! Is he? Oh, indeed! We live !ind learn, {aside) Wait till he's my son-in-law; he shall sufler for this insult. Jaw. {rising). A sensible joung fellow, upon my word. Well, I sup- pose I must, so Ange. and Ed. (r. and L. o/ Jawkins). O bless j'ou for those words! Jaw. But I haven't said 'em yet. Ed. Oh, that's all right, {embraces Angelina) You liave given me your dauiihter. Generous man ! You shall not lose by the transaction. I will give you something in return. Here {placing papers in his hand) is a cottage villa. Jaw. {looking at papers sharply). A wlij^t? Where? {all come for- ward.) Ed. At Sunnyside. Some years ago a man threw liimself into the East Elver. He threw himself in because lie was in love. You pulled him out. Ange. {shocked). What! Out of love? Ed. No: out of the water. The newspapers called you a "Heroin humble life." A HAPPY DAY. 15 Jaw. {proudly). They did— jiikI llie public subscribed u ten-dollar bill for nie. {to Mrs. J.) We went ;i buster ou il. Ed. Tiie uuui whom you rescued came uui of the water a sadder, wiser and a wetter man. Soon lie became a belter m;in. yeariiin^- to do some- tiling for liie l)enelit of his feilow-m;in, burrowed some money, look a liquor saloon, and, being a liumtuie man, he dihiled liis spu'lts acconiing to price, even more than is usiud. Hence lie prospered. Last nu)nth he died. This is a copy of his will (made by us). He, out of gratitude, having no relatives, leaves his cottage villa in New Jersey to you. All. What! Jaw. Aha! {dancing about) Virtue is rewarded at last. I shall be a Vanderbilt yet. Come to my arms, all of you. {hugs them all. To Edwin) You always had my good wishes, Edwin. Take my Angelina. She is yours; nay. more, you shall come with us to Coney Island. Ed, I meant to do so, if you hadn't started. I got away earl}' for that purpose. Ange. Oh, Edwin de:ir! I'm so glad. I shall now be able to look those ices in the face with a clear conscience. {tJiey retire vp fondl//.) Mrs. J. Well, I must s:iy things have turned out better than I ex|)ect- ed, and {embracing Jawkins) to think of my kind old husband being a Nero! Jaw. {bustling about). Come on! Hurry up! Two by two- little 'uns first, {arranges procession) To the mountain's brow — I mean, the river's brink—that is, the pier, the dock, or whatever they call it. For- ward! March! Away! {music lively. They march up stage all in order, and imss out, as the children all sing) We're all a-going to Coney, oh ! {repeat twice.) To spend a Hapi)y Day. Hip, hip, hip, hooray I {twice.) Tl^n repeat "We're all a-going," etc. As Mr. and Mrs. Jawkins {last of the procession) file out ivitJi others at the door, CUBTAIN FALLS. PROPERTIES. Lamp and candle, bootjack, toy sand spades and pails, large picnic basket, a col- lector's small black box. STAGE DIRECTIONS. R!" means Right of Stage, facing the Audience; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre; D. F. Door in the Flat, or Scene rnuniug across the back of the Stage; C. D. F. Centre Door in the Flat; R. D. F. Right Door in the Flat; L. D. F. Left Door in the Flat; R. D. Right Door; L. D. Left Door; 1 E. First Entrance; 2 E. Second Entrance; U. E. Upper Entrance; 1, 2 or 3 G. First, Second or Third Groove. R. R. C. C. L. C. L. The reader is supposed to be upon the stage facing the audience. DE WITT'S ACTING PLAYS. XQ- Please noticfi that nearly all the Comedies, Farces and Comediettas intho following List of "De Witt's Acting P1uA.ys " are very suitablt) lor rex^reseutatiou iu small Amateur Theatres and ou Parlor Stages, as they need but Lttle extrinsic aid from complex sceuery or expensive costumes. They have attained their deserved popularity oy tneu- droll situa- tions, excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the most perfect iu every respect of any editiou of plays ever published either iu the United States or Europe, whether as regards purity of lext, accuracy and fullness of stage di)-ectious and scenery, or elegance of typography aud clearness of printing. *^,* In ordering please copy the figures at the commencement of each piece, which indicate the number of the piece in " De Witt's List of Acting Plats." jQS- Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents each. XiS" The figure following the name of the Play denotes the number of Acts. The figures ia the columns indicate the number of characters— II. male; F. female. ^ M. r. jj^ j.^ Cool a3 a Cucumber, farce, 1 act 3 Cricliet on the Hearth, drama, 3 acts 8 Cupboard Love, farce, 1 act 2 Cupid's Eye-Glass, comedy, 1 act.. 1 Cup of Tta, comedietta, 1 act 3 Cut Off with a Shilling, comedietta, 1 act 2 Cyril's Success, comedy, 5 acts 10 Daddy Gray, drama, 3 acts 8 Daisy Earm, drama, 4 acts 10 Dandelion's Dodges, farce, 1 act... 4 David Garrick, comedy, 3 acts 8 Day After the Wedding, farce, 1 act i Dearest Mamma, comedietta, 1 act.. 4 Dearer than Life, drama, 3 acts 6 Deborah (Leah), drama, 3 acts 7 Deerfoot, farce, 1 act 5 Doing for the Best, drama, 2 acts. . 6 Dollars and Cents, comedy, 3 acts. . 9 Drawing Loom Car(A),comedy,l act 2 Dreams, drama, 5 acts 6 Druntard's Warning, drama, 3 acts 6 Drunli'-rd's Doom (The), drama, 2a.l5 Drunkard (The), drama, 6 acts 13 Duchess de la Valliere.play, 5 acts.. 6 Dumb Belle (The), farce, 1 act i Easy Shaving, farce, 1 act 5 E. C. B. Susan Jane, musical bur- lesque, 1 act 8 Eileen Ope, Irish drama. 4 acts 11 Electric Love, farce, 1 act 1 English Gentleman (An), comedy- drama, 4 acts 7 Estranged, operetta. 1 act 2 Everybody's Fi'iend. comedy, 3 acts 6 Family Jars, musical farce, 2 acts.. 5 Faust and Marguerite, drama, ^acts 9 Fearful Tragedy in the Seven Dials, interlude, 1 act 4 Female Detective, drama, 3 acts 11 Fernande, drama, 3 acts 11 10 Fifth Wlieel, comedy, 3 acts 10 2 Fifteen Years of a Drunkard's Life, melodrama, 3 acts 13 4 First Love, comedy, I act 4 1 Foiled, drama. 4 acts 9 3 Founded ou Facta, farce, 1 act..., ..4 2 75, 231. 308, IU 167, 93. 40. 89. 258. 287, 166, 310, 41, 141, 223 67, 36, 279 296, 160, 179, 25, 70, 261 226. 24, 199. 175, 55, 69, 80, 65, 68, 219 76. 205, 149, 121, Adrienne, drama, 3 acts 7 All that Glitters is not Gold, comic drama, 2 acts 6 All ou Accouutof a Bracelet, come- dietta, 1 act 2 Anything for a change, comedy,! act 3 Apple Blossoms, comedy, 3 acts. . . 7 Area Belle, farce, 1 act 3 Atchi, comedietta, 1 act 3 Aunt Charlotte's Maid, farce, 1 act. 3 Aunt Dinah's Pledge, temperance drama, 2 acts 6 Bachelor's Box (La Petite Hotel), comedietta, 1 act 4 Bardeli vs. Pickwick, sketch. 1 act. G Barrack Room (The), comedietta,2a. 6 Beautiful Forever, farce, 1 act 2 Bells (The), drama, 3 acts 9 Betsey Baker, farce, 1 act 2 Birthplace of Podgers, farce, 1 act.. 7 Black Sheep, drama, 3 acts 7 Black-Eyed Susau, drama, 2 acts. . .li Black aud White, drama, 3 acts.... 6 Blow for Blow, drama, 4 acta 11 Breach of Promise, drama, 2 acts.. 6 Brokeu-Hearted Club, comedietta. . 4 Bonnie Fish Wife, farce, 1 act 3 Bottle (The), drama, 2 acts 11 Box and Cox, Romance, 1 act..- ... 2 Cabman No. 93, farce, 1 act 2 Captaiu of the Watch, comedietta, 1 act 6 Caste, comedy, 3 acts.^ 5 Cast upon the Woi-ld. drama, 5 acts.H Catharine Howard, historical play, 3 acts 12 Caught by the Cuff, farce, 1 act 4 Charming Pair, farce, 1 act 4 Checkmate, comedy, 2 acts 6 Chevalier de St. Geo'-ge, drama, 8a. 9 Chimney; Corner (The), domestic drama, 3 acts 5 Chops of the Channel, farce, 1 act.. 3 Circumstances alter Cases, comic operetta, 1 act 1 Clouds, comedy, 4 acts 8 Comical Countess, farce, 1 act..* >.. Z a 222 'MS 3 107 15-2 2 52 3 148 3 2 113 2 20 3 28G 4 3 22 275. 1 93 2 IG 2 i58. 2 125. 3 71. 2 142. 3 204. 6 21. 2 2G0. 3 210. G 2G3. 2 186. 8 212. 1 47. 6 283. 1 2 202. 315. 2 297. 5 200. 135. 5 C30. 1 103. 3 9. 5 3 128. 101. 2 9^. 2 262. 1 145. 7 102. 1 88. DE WITT'S ACTING PLAYS -Continued. M, F. 259. Fruits of the Wiue Cup, drama, 3 cts 6 3 192. Game of Cards (A), comedietta, la. . 3 1 74. (iarrick Fever, farce, 1 act 7 4 53. Gertrude's Mouey box, farce, 1 act. 4 2 73. Goldeu Fetters (Fetter«d).diama, 3.11 4 30. Goose with, the Goldeu Fj^ys, farce, lact 5 3 131. Go to Putuey, farce, 1 act 4 3 276. Good for Nothiuy. comic drama, la. 5 1 306. Great Success (A), comedy, 3 acts. . 8 5 277. Grimshaw, BagsLiaw aud liradsliaw, farce, 1 act 4 2 206. Heir Apparent (The), farce. 1 act... 6 1 241 . Haudy Andy, drama, 2 acts 10 3 28. Happy Pair, comedietta, 1 act 1 1 151. Hard Case (A), farce, 1 act 2 8. Heury Duubar, drama, 4 acts 10 3 180. Henry the Fifth, hist, play, 5 acts.. 38 5 303. Her Only Fault, comedietta, 1 act. . 2 2 19. He's a Lunatic, farce, 1 act 3 2 60. Hidden Hand, drama, 4 acts 5 5 191. High C, comedietta, 1 act 3 3 246. High Life Below Stairs, farce.2 acts. 9 5 301. Hiuko, romantic drama, 6 acts 12 7 224. His Last Legs, farce, 2 acts 5 3 187. His Owu Enemy, farce, 1 act 5 1 174. Home, comedy, 3 acts 4 3 211. Honesty is the Best Policy, plaj'. 1. 2 64. Household Fairy, sketch, 1 act. ... 1 1 190. Hunting tlie Slippers, farce, 1 act. . 4 1 197. Hunchback (The), play, 5 acts 13 2 225. Ici on Parle Fraucais, farce, 1 act... 3 4 252. Idiot Witness, melodrama, 3 acts. ..6 1 18. If I had a Thousand a Year, farce, 14 3 116. I'm not Mesilf at all, Irish stew, la. 3 2 129. In for a Holiday, farce, 1 act 2 3 159. In the Wrong House, farce, 1 acr. . . 4 2 278. Irish Attorney (The), farce, 2 acts.. 8 2 282. Irish Broom :\Iaker, farce, 1 act 9 3 273. Irishman in Loudon, farce, 1 acts. 6 3 243. Irish Lion (The), farce, 1 act 8 3 271. Irish Post (The), drama, 1 act 9 3 244. Irish Tutor (The), farce, 1 act 5 2 270. Irish Tiger (The), farce, 1 act 5 1 274. Irish Widow (The), farce, 2 acts. ... 7 1 122. Isabella Orsiui, drama, 4 acts 11 4 177. I Shall Invite the Major, comedy, 14 1 100. Jack Long, drama, 2 acts 9 2 299. Joan of Arc, hist, play, 5 acts 26 6 139. Joy is Dangerous, comedy, 2 acts. . 3 3 17. Kind to a Fault, comedv,"2 acts 6 4 233. Kiss in the Dark (A), farce. 1 act... . 2 3 309. Ladies' Battle (Tlie). comedy, 3 acts 7 2 86. Lady of Lyons, play, 5 acts 12 5 137. L'Article 47, drama, 3 acts 11 5 72. Lame Excuse, farce, 1 act 4 2 144. Lancashire Lass, melodrama.4 acts. 12 3 34. Larkins' Love Letters, farce. 1 act.. 3 2 189. Leap Year, musical duality, 1 act... .1 1 253. Lend JVIe Five Shillings, farce, 1 act 5 3 111. Liar (The), comedy, 2 acts 7 2 119. Life Chase, drama. 5 acts 14 5 239. Limerick Boy (The), farce, 1 act 5 2 48. Little Annie's Birthdav. farce, 1 act.. 2 4 32. Little Rebel, farce. 1 act 4 3 164. Little Ruby, drama, 3 acts 6 6 295. Little Em'ly, drama, 4 acts 8 8 165. Living Statue (The*, farce. 1 act 3 2 228. Loan of a Lover (The), vaudeville, 1. 4 1 M. F. 109. Locked in, comedietta, 1 act 2 2 85. Locked in with a Lady, sketch 1 1 87. Locked Out, comic scene 1 1 143. Lodgers and Dodgers, larce, 1 act.. 4 2 212. London Assurance, comeuy, 5 acts 10 3 291. M. P.. comedy, 4 acts 7 2 210. Mabel's Manoeuvre, interlude, 1 act 1 3 163. Marcoretti, drama, 3 acts 10 3 154. Maria aud Magdalena, play, 4 acts.. 8 6 03. Marriage at any Price, farce, ] act.. 5 3 249. Marriage a Lottery, comedy, 2 acts. 3 4 208. Married Baclielors. comedietta, la.. 3 2 39. Master Jones' Birthday, farce, 1 act 4 2 7. Maud's Peril, drama, 4 acts 6 3 49. Midnight Watch, drama, 1 act 8 2 15. Milky White, drama, 2 acts 4 2 46. Miriam's Crime, drama, 3 acts 5 2 51. Model of a Wife, farce, 1 act 3 2 302. Model Pair (A), comedy, 1 act 2 2 184. Money, comedy, 5 acts 17 3 250. More Blunders than One, farce, la. 4 3 312. More Sinned against tban Sinning, original Irish drama, 4 acts 11 234. Morning Call (A), comedietta, 1 act. 1 1 108. Mr. Scroggius. farce, 1 act 3 3 188. Mr. X., farce, 1 act 3 3 1G9. My Uncle's Suit, farce, 1 act 4 1 216. My Neighbor's Wife, farce, J act 3 3 2;!6. My Turn Next, farce, 1 act 4 3 193. My Walking Photograph, musical duality, 1 act 1 1 267. My Wiles Bonnet, farce. 1 act 3 4 130. My Wife's Diary, farce, 1 act 3 1 92. My Wife's Out.'farce. 1 act. 2 2 218. Naval Engagements, farce, 2 acts. . . 4 2 140. Never Reckon your Chickens, etc., farce. 1 act 3 4 115. New Men and Old Acres, comedy, 3 8 6 2. Nobody's Child, drama, 3 acts 18 3 57. Noemie, drama, 2 acts 4 4 104. No Name, drama, 5 acts 7 6 112. Not a bit Jealous, farce, 1 act 3 3 298. Not if I Know it, farce, 1 act 4 4 185. Not so bad as we Seem, play, 5 acts.lS 3 84. Not Guilty, drama, 4 acts 10 6 117. Not such a Fool as he Looks, drama, 3 acts 5 4 171. Nothing like Paste, farce, 1 act 3 1 14. No Thoroughfare, drama, 5 acts. . . 13 6 300. Notre Dame, drama, 3 acts 11 8 269. Object of Interest (An), farce, 1 act. 4 3 268. Obstinate Family (The), farce, 1 act. 3 3 173. Off the Stage, comedietta, 1 act 3 3 227. Omnibus (The), farce, 1 act 6 4 176. On Bread and Water, farce, 1 act.. . 1 2 254. One Too Many, farce, 1 act 4 2 33. One Too Many for Him, farce, 1 act 2 3 3. £100,000. comedy, 3 acts 8 4 90. Only a Hiillponny, farce, 1 act 2 2 170. Only Somebody, farce, 1 act 4 2 '289. On the Jury, diama, 4 acts 6 5 97. Orange Blossoms, comedietta, 1 act 3 3 66. Orange Girl, drama. 4 acts 18 4 209. Othello, tragedy. 5 acts 16 2 172. Ours, comedy, 3 acts 6 3 94. Our Clerks, farce, 1 act 7 6 45. Our Domestics, comedy-farce, 2 acts 6 6 155. Our Heroes, military play, 5 acts... 24 5 178. Out at Sea, drama, 5 acts 17 DE WITT'S ACTING PLAYS.-Ooiitmued. ^ »^«> » M. F. < 47. Overland Route, comedy, 3 acts — H 5 •05. Pair ol" Shoes (A), larce, 1 act 4 3 85. Partuers for Lile, comedy, 3 acts 7 4 56. Peace at auy Price, laice, 1 act 1 1 82. Peep o' L>ay, draiaa, 4 acts 12 4 27. Peggy Gx'eeu, larce, 1 act 3 10 23. Petticoat Parliameut, extravagauza, 1 act 15 24 93. Philomel, romantic drama, 3 acts... 4 62. Photographic I'ix, farce, 1 act 3 2 61. Plot aud Passiou, drama, 3 acts. ... 7 2 38. Poll aud Partuer Joe, burlesqe, la.. 10 3 17. Poor Piliicoddy, farce, 1 act 2 3 10. Poppletou's Predicameuts. farce, la. 3 6 50. Porter's Knot, drama, 2 acts 8 2 59. Post Boy, drama. 2 acts 5 3 95. Pretty Horse-Breaker, farce 3 10 80. Pretty Piece of Busiuess (A), come- dy, 1 act 2 3 81. 182. Queen Mary, drama, 4 acts 37 9 L96. Queerest Courtship (The), comic operetta, 1 act 1 1 i55. Quiet Family, farce, 1 act 4 4 157. Quite at Home, comedietta, 1 act. . . 6 2 132. Race for a Dinner, farce, 1 act 10 237. Regular Fix (A), farce. 1 act 6 4 183. Richelieu, play, 5 acts 12 2 38. Rightful Heir, drama, 5 acta 10 2 77. Roll of the Drum, drama, 3 acts .... 8 4 316. Romeo on the Gridiron (A), mono- logue, for a lady 1 195. Rosemi Shell, burlesque, 4 sceues.. 6 3 247. Rough Diamond (The), farce, 1 act. G 3 194. Rum, drama, 3 acts 7 4 13. Ruy Bias, drama, 4 acts 12 4 229. Sarah's Young Man, farce, 1 act 3 3 158. School, comedy, 4 acts, 6 G 201. School for Scandal, comedy, 5 acts. .13 4 264. Scrap of Paper (A), comic drama, 3a. 6 C 79. Sheep inWolf's Clothing, drama, la. 7 5 203. She Stoops to Conquer, comedy, 6a.l5 4 37. Silent Protector, farce. 1 act 3 2 35. Silent Woman, farce, 1 act 2 1 313. Single Married Man (A), comic ope- retta, 1 act 6 2 43. Sisterly Service, comedietta, 1 act.. 7 2 6. Six Months Ago, comedietta, 1 act.. 2 1 221. Slasher and Crasher, farce. 1 act... 5 2 10. Snapping Turtles, duologue, 1 act. . .1 1 2(5. Society, comedy, 3 acts 16 5 207. Sold Again, comic operetta, 1 act... 3 1 304. Sparking, comedietta, 1 act 1 2 78. Special Performances, farce, 1 act. . 7 3 215. Still Waters Run Deep, comedy. 3a. 9 2 .'"i6. Sweethearts, dramatic contrast, 2a.. 2 2 232. Tail (Tale) of a Shark, musical mon- ologue, 1 scene 1 31. Tamuxg a Tiger, farce, 1 act 3 150. Tell-Tale n •* comedietta, 1 act. . 1 2 120. Tempest in a i ou^^ot comedy, 1 act 2 1 257 146, 83 245 251 42 27 1133, 153, 134. 272. 235. 238. 29. 214. 108. 126. 234. 198. 265. 220. 56. 123. 288. 292. 294. 1G2. 106. 81. 317. 124. 91. 118. 231. 44. 311. 105. 266. 98. 12. 213. 5. 314. 136. 161. 11. 290. 64. ST. r. Ten Nights in a Bar Room, drama, 5 acts 8 2 There's no Smuke without Fire, comedietta, 1 act 1 2 Thrice Married, personation piece, 1 act 6 1 Thumping Legacy (A), 1 act 7 1 Ticket of Leave Man, drama, 4 acts. 9 9 Time and the Hour, drama, 3 acts. 7 3 Time and Tule, drama, 4 acts 7 6 Timothy to the Rescue, farce, 1 act 4 2 'Tis Better to Live than to Die, farce, 1 act 2 1 Tompkins the Troubadour, farce. 1.3 2 Toodles (The), drama, 2 acts 10 2 To Oblige Benson, comedietta, 1 act 3 2 Trying It On, farce, 1 act 3 3 Turning the Tables, farce, 1 act 6 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 Bonnycastles, farce, 1 act 3 3 Two Buzzardfc (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 acts. . . 7 4 Two Thorns (The), comedy, 4 acts.. 9 4 Uncle Dick's Darling, drama, 3 acts 6 6 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 acts 12 1 Volunteer Review, farce, 1 act 6 i 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- gions, 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 ? farce 3 2 Widow Hunt, comedy, 3 acts 4 4 Widow (The), comedy, 3 acts 7 6 William Tell with a Vengeance, bur- lesque 8 2 (Window Curtain, monologue. ... 1 I Circumstantial Evidence " 1 Woman in Red, drama, 4 acts 6 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 2 DE WITPS DRAWING-ROOM OPERETTAS, TO MUSICAL AMATEURS. ,^^J The number of Musical Amateurs, both ladies and gentlemen, is not only very targe, but is constantly increasing, and very naturally, for there is no more r«> fin^d and pleasant mode of spending leisure hours than in singing and playing tha •hoice productions of the best Composers. Hitherto there has been an almost total ,lack of suitable pieces adapted to an evening's entertainment in Parlors by Amateurs. Of course whole Operas, or even parts of Operas, require orchestral accompani- ments and full choruses to give them effect, and are therefore clearly unfit for Amateur performance, while a succession of songs lacks the interest given by a plot and a contrast of characters. In this series (a list of which is given below) wo have endeavored to supply this want. The best Music of popular Composers is wed- ded to appropriate words, and the whole dovetailed into plots that are effective as jnere petite plays, but are rendered doubly interesting by the appropriate and beau- iifvl Music, specially arranged for them. LIST OF DE WITT'S MUSICAL PLAYS. PRICE 15 CENTS EACH. LEAP TEAE.— A Musical Dual- ity. By Alfred B. Sedgwick. Mu- sic selected and adapted from Of- fenbach's celebrated Opera, " Gene- vieve de Brabant.'''' One Male, one Female Character. THE TWIN SISTEES-Comic Operetta, in One Act. The Music selected from the most popular num- bers in Le Cocq''s celebrated Opera Bouffe, " Girofie Girofla,'''' and the Libretto written by Alfked B. Sedo- wicK. Two Male, Two Female Characters. jsold agattt and got the MONEY.— Comic Operetta, in One Act. The Music composed and the Libretto written by Alfked B. Sedg- wick. Tliree Male, One Female Character. THE QUEEREST OOTJETSHIP.. — Co.nic Operetta, iu One Act. Thef Music arranged from Offenbach's celebrated Opera, " La Princesse de Trebizonde,''' and the Libretto writ- ten by Alfred B. Sedgwicx. One Male, One Female Character. ESTEANGED— An Operetta, in One Act, The Musi« arranged from Verdi's celebrated Opera, " II Trov- atore.'''' and the feibretto adapted by Alfred B. Sedgwick. Two Male, One Female Character. OIEOUMSTANOES ALTEE CASES.— Comic Operetta, in Ono Act. The music composed and the Libretto written by Alfred B. Sedg- wick, One Male, One Female Char- acter. MY WALKING PHOTOGEAPH. — Musical Duality, in One Act. Tho Music arranged from Le Cocq's Opera, "Za Fille de Madame Angot,'''* and the Libretto written by Alfred B. Sedgwick. One Male, One Fe- male Character. i SINGLE MAEEIED MAN.- Comic Operetta, in One Act. The Music arranged from Offenbach's celebrated Opera Bouffe, " Madame V Archidvc,'"' and the Libretto writ- ten by Alfred B. Sepgwick. Six Male, Two Female Cha: acters. MOLLY MOEIAETY. -All Irish Musical Sketch, in One Act The Music composed and the Dialogue written by Alfred B. Sedgwick. One Male, one Female Character. Suitable for the Variety Stage. THE OHAEGE OF THE HASH BRIGADE.— A Comic Irish Musical Sketch. The Musie composed and the Libretto written by Joseph P. Skelly. Two Male, two Female Characters. Suitable for the Variei^ Staf^e. GAMBEINUS^ KING OF LAGEE BEER.— A Musical Ethiopian Bur- lesque, in One Act. Music and Dia- logue by Frank Dumont. Eight Male, one Female Character. Suita- ble for the Ethiopian Stage. AFEIOANUS BLUEBEAED.-A Musical Ethiopian Burlesque, in Ono Act. Music and Dialogue by Frank Dumont. Four Male, four Feraal* Characters. Suitable for the EUiM, jitm Stage. POPULAR HAND BOOKS FOR — R eadingS-M^Recitations. "VON BOYLE'S'" RECHERCHE RECITATIONS. A new compilation by this celebrated elocutionist and character delineator, containing many pieces which cannot be found elsewhere^ having been written by him expressly for this book ; also many selections from this genial humorist's " repertoire," which now, fov the first time, appear in print ; all the pieces, old and new, having been adopted and used by him, with special reference to variety and good taste. 200 PAGES, ILLUMINATED PA FEU COVER, DE TWITT'S Cloicfi Mm aiiJ Select Eecitatioas. Five Numbers. One hundred pages each. Specially adapted for the School and the Family: being the best pieces of their kind ever written. Almost every different phase of passion and sentiment finds its bebt and most effective expression in some of the pieces in this series. r^IMOE, lO CEIVTS. Copies of any of the above I'Ooks sent ly mail to any address,