p^ F>RIOE 15 OJENTS Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur Lewis Tubbs. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is" a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubbs. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written, Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW^ HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA The Red, White, and Blue Drill By MARGUERITE W. MORTON Author of ' 'Ideal Drills ' ' PHILADELPHIA THE PENN PUBLISHING COMPANY 1919 Copyright 19 19 by The Penn Publishing Company The Red, White, and Blue Drill A 5 3 2 8 9 The Red, White, and Blue Drill COSTUMES, ETC. This drill is for twelve girls, or a larger number if desired. The drill may be given as a " Red, White, and Blue Drill," as a " Dance of the Frost Maidens," or as a ** Springtime Dance." If given as a ** Red, White, and Blue Drill " the cos- tume may be ^vhite cheese-cloth, with round neck and short flowing sleeves. White stockings, and shoes. Scarfs of the national colors. Hair flowing, or tied with ribbons of the colors. For the " Dance of the Frost Maidens " the same white costumes, but without shoes. Hair flowing. Garlands sixty inches long, of heavy Christmas tree tinsel. Band of tinsel in the hair, and dress decorated with touches of the same. For the " Springtime Dance " use green or white ribbon or strip of cheese-cloth for the garland, and decorate hair and dress with flowers. STAGE For the " Red, White, and Blue Drill " use a stage with a simple background of white or green. Do not 3 4 THE RED, WHITE, AND BLUE DRILL overdecorate with the national colors, as to do so will spoil the effect of the colors carried by performers. Or, the stage may be set with palms, etc., to furnish a background. For " The Dance of the Frost Maidens " the stage should be set to represent or suggest a winter forest scene. A spring-like forest scene will be appropriate for the " Springtime Dance," or a green curtain may be used. The use of changing colored lights adds greatly to the effect for any form of the drill. STEPS The following steps are used: Run, four short, dainty steps to a measure. Walk, two steps to a measure. Polka, three steps and a hop to a measure, the right and the left foot alternatingly lead- ing, thus: I 234 12 Right — left — right — hop ; left — right — 3 4 left — hop, etc. Glide, long sliding step to side, two steps to a measure. MUSIC "Le Secret," by Leonard Gautier. Number the measures, beginning with the third, call- ing it one, as the first two are merely introductory. Play through to end of measure 136; then repeat from measure 105, substituting the last two notes of measure 104 for the last two notes of measure 136. ^HE RED, WHITE, AND BLUE DRILL 5 Increase the length ut the rests in measure 140. The different numbers of the drill begin respectively on the measures indicated below. It may be a help to mark the number of the movement above the measure on which it begins. Movement. Measure, Movement Measure. I beg ins I X begins 89 II 17 XI - 97 III ' 33 XII, XVI " 105 IV 41 XIII, XVII " 113 V 49 xiv,xvm" 121 VI, VII ' 65 XIX " 129 VIII ' n XX " 137 IX * 81 THE DRILL I (Sixteen measures.) Run in from side or rear of stage in single file, and around stage in a circle. The leader of the line must time her steps so as to fall in directly behind the last one who enters, thus completing the circle. Scarfs * held, looped, above heads, faces lifted. All stop short on third beat of eighth measure, turn quickly on fourth beat, and continue running in the circle, the direction being now reversed. Stop short on third beat of sixteenth measure. Odd numbers face out, even numbers face in, on fourth beat. * Or garlands, according to the title of the drill. 6 THE RED, WHITE, AND BLUE DRILL II (Sixteen measures.) Scarfs at shoulders. Odd numbers stand still in place, weight on right foot, left foot pointed in front of right. Even numbers take polka step (one measure) back of and just past the performer on the right; then polka step again (one measure) in front of and just past the next one in the circle. All raise scarfs above heads and turn around in place with eight tiny, springy steps on the tips of the toes, even numbers turning to right, odd numbers to left. Even numbers continue thus around the circle, until they reach their original places. End by stepping in front of and facing the odd number at the right. The polka steps must be very long and free. When turning in place, all performers must be care- ful to keep within a very limited space, not more than ten inches square, otherwise the form of the figure will be lost. When all are turning in place, the relative position of the performers is as indicated in Diagram i. Small circles indicate odd numbers ; crosses, even numbers. X Diagram i. In Diagram 2, the small circles represent the odd THE RED, WHITE, AND BLUE DRILL 7 numbers, who remain in place, and the dotted lines the paths of the even numbers as they dance around. Ill (Eight measures.) Even numbers are now facing odd numbers. All hold scarfs with left hand at shoulder, right hand raised obliquely forward. Slide obliquely forward on right foot (first beat of measure) ; bring left foot up behind right (second beat) ; rise on toes (third beat) ; sink (fourth beat) , step obliquely back on left foot (first beat); bring right foot back in front of left (second beat) ; rise on toes (third beat); sink (fourth beat). Polka for two measures, starting with right foot, passing partner and turning to face, thus exchanging places. Repeat, ending in original positions. IV (Eight measures.) All face audience, and, holding scarfs at shoulders 8 THE RED, WHITE, AND BLUE DRILL and using polka step, dance to positions indicated in Diagram 3. C 1 2 3 4 B 1 2 3 4 A 1 2 3 4 Diagram 3. Eight measures is allowed for this, and the per- formers dance forward, backward, or to the side as may be necessary in order to reach positions. No formal regularity is necessary, except that the rhythm must be kept throughout, and those who get to position first must continue dancing in place until all are in position. All come to rest on third beat of eighth measure. Suppose that the preceding movement ends with the dancers in this position: X X Diagram 4. The back row may be formed by 5, 6, 7, and 8 ; the middle row, by 3, 4, 9, and 10; the front row, by i, 2, II, and 12. Red, white, and blue scarfs being used, the colors should be distributed thus : C (Red) 4 1 7 10 B (White) 2 5 8 11 A (Blue) 3 6 9 12 THE RED, WHITE, AND BLUE DRILL 9 In carrying out the movements described below each performer must know just what point she is to reach, and there must be no crowding. From this point, all numbers refer to those indicated in Diagram 3. {Sixteen measures.) Right hand raised obHquely forward, left at shoul- der, poise forward on right foot, on first beat, left foot extended back in opposition, face lifted. Hold pose to end of second measure. Scarf held above head in both hands, turn completely around in place, to left, with eight tiny steps on the tiptoes, the first of which will be taken with the left foot. This occupies two measures. Poise forward on left foot, right hand at shoulder, left hand raised, right foot extended back in opposition. Hold pose two measures. Turn completely around in place, to right, with eight tiny steps, right foot leading. Repeat the whole movement. VI {Eight measures.) Hands at waist, i and 2 in each row glide four long, vigorous steps to left, and 2 and 4 glide four steps to right, I and 2 passing in front of 3 and 4. Positions are now reversed, thus: C 3 4 1 2 B 3 4 1 2 A 3 4 1 2 Diagram 5. I and 2 face each other, as do also 3 and 4, and using the polka step twice (two measures) pass each other, thus exchanging places, and face audience. Positions will now be as shown in Diagram 6. 10 THE RED, WHITE, AND BLUE DRILL C 4 3 2 1 B 4 3 2 1 A 4 3 2 1 Diagram 6. Repeat both movements, ending with all perfonners in original positions (Diagram 3). VII (Eight measures.) A 2 and 3, C 2 and 3, and B i and 4, stand still, with scarfs held by extreme ends at shoulders. Partners, using polka step, dance in front of them and then around behind them, throwing scarfs over the heads of those who are standing still. (See Dia- gram 7.) Pose, the one at back looking over partner's A< 3' Q. ^.^ B(/ i 3 4) Diagram 7. shoulder and into her face. The dancing to position will require four measures, and the pose is sustained for two measures. During the pose, A i and C i each transfer one end of scarf to 2's left hand, and take the other end of 2's scarf in right hand. This change must be made as inconspicuqusly as possible, while the hands of A i and C i are resting lightly on the shoulders of 2. The other couples make a similar THE RED, WHITE, AND BLUE DRILL II transfer; but note that when the change is made A i, C I, and B 3 have an end of each scarf in right hand ; A 4, B 2, and C 4 have the ends in the left hand. A I and 4, C i and 4, and B 2 and 3, now dance backward to original positions and kneel, holding their ends of the scarfs above head, and facing audience. (Two measures.) VIII {Eight measures.) Partners, holding other ends of scarfs, dance around the kneeling ones and back to place (polka step, four measures). On the third beat of the fourth measure, the kneeling ones rise, and on the first beat of the next measure, their partners kneel, and the others dance around them (four measures) . At close, recover scarfs and stand in original posi- tions, except that row A now faces row B. Scarfs at shoulders. IX {Eight measures.) Those in row A, passing to the right of those in the other rows, run towards rear of stage with eight tiny steps. At the same time those in rows B and C walk forward four steps. This will bring row A to the rear, row C to the middle, and row B in front (two meas- ures). Raising scarfs above head, all turn in place with eight steps (two measures). I and 2 in each row, and 3 and 4 in each row face each other, join right hands, and using polka steps twice (two measures), make a half turn, ending with each in partner's place; then, without pause, release right hands, join left hands, and turn back to original places (two measures). X Same as V, without the repeat (eight measures). 12 THE RED, WHITE, AND BLUE DRILL XI ( Eight measures. ) Front row kneel, holding scarfs horizontal and straight, in front of chest. C I steps back of and to the right of B i (who is kneeling). At the same time, A i steps back of and to the left of B I (two measures). The three form a triangle with their scarfs, and hold pose (four measures). The same thing is done by the others simultaneously. Front row rise, and all retuiTi to former positions (two measures). XII {Eight measures,) Same as VI. XIII {Eight measures,) Row B facing row C, repeat IX. This will bring row C to the front, row B to the rear. Same as VII. XIV {Eight measures,) XV {Eight measures,) Same as VIII. XVI {Eight measures.) Same as IX. All will then be in original positions shown in Diagram 3. THE RED, WHITE, AND BLUE DRILL 1 3 XVII (Eight measures.) 2 in each row hands one end of her scarf to 3, and receives one end of 3's scarf. They then raise their arms as high as possible, stretching the scarfs hori- zontally to form an arch. This must be done quickly, and at the same instant the others turn, facing rear of stage. They then, using polka step, dance under the arch from the rear, in the following order: C i, C 4, B I, B 4, A I, A 4. The I's turn to right, the 4's turn to left. As soon as A 4 has passed under the scarfs held by C 2 and 3, the latter lower arms, recover scarfs, and follow. B 2 and 3 and A 2 and 3 do the same, follow- ing their respective leaders, who should move in the arc of a large circle, dancing towards the sides of the stage after tney have passed under the arch. The two leaders should so time their steps that they meet face to face at the rear of the stage at the third beat of the eighth measure, when all stop. When the arch is dis- solved, the positions should be approximately as indi- cated in Diagram 8. The form of the circle can be perfected during the next movement. ,''' CI 04 "-v^ /Bl B4 \^ /A, \C2 A4 \ 1 *■ C3/ \ 82 ^A2 B3 / Diagram 8. 14 THE RED, WHITE, AND BLUE DRILL On last beat of eighth measure, B 4 turns to face A 4, C 3 faces B 3, A 3 and A 2 face each other, C 2 turns to face B 2, and B i turns to face A i. XVIII (Eight measures.) Each dances around the circle in the direction in which she is now facing, passing those whom she meets at her right side (touching right hands in pass- ing) and her left side (touching left hands in passing), alternately. Use polka step, two measures being re- quired for passing each new vis-a-vis. The steps will be short, and the path of each dancer should be a series of graceful curves. If, as often happens, some one has a tendency to get ahead of the others and spoil the regularity of the figure, it is an indication that she is dancing too straight ahead, instead of in a serpentine course. Continue this for eight measures, stopping on the third beat. Every other one turns completely around on the fourth beat. All are now in a circle facing in the same direction. XIX {Eight measures.) Run around in large circle, on tiptoe, scarf above head, face lifted. [Note. If preferred, XVIII may be continued throughout twelve measures (which will bring each performer back to the place jn the circle from which she started), and four measures, only, given to XIX.] XX {Five measures.) Without losing a beat, break circle at middle of front, all face towards center of stage, and those on each wing run backward until large semi-circle is THE RED, WHITE, AND BLUE DRILL I5 formed. Of course those who are nearest the point where the circle is broken will have to move farther than the others, but the rhythmic movement must be kept up by all, even though they are simply stepping in place. All stop on the first chord of fourth measure. On the second chord, the ones next the audience at the ends of the semi-circle, and every other one towards the rear, step forward, facing audience; on the last chord, these kneel, scarfs above heads. At the same time the two at the center rear raise hand towards partner until the hands touch and raise the other hand to shoulder next to partner, the scarfs thus being gracefully looped between them. The same is done by the other couples who are standing. Hold pose as the curtain falls. The final positions are shown in Diagram 9. 9 (^ Ix X ! 4' Diagram 9. As an alternative ending change the music to " The Star Spangled Banner," and wave scarfs in time to the music, coming back to the pose and holding it a few moments before the curtain falls. Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have' planned a birthday surprise party for Mary Brinkley, recently! graduated from college. They all join in jolly games, songs,* conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. Price, 15 cents» JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter-^ tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten^ females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt. Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort, Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA / LIBRARY OF CONGRESS T h e P o I 11^ III Ir ^ ^ * ^ " Expression and 014 212 1037* The power of clear and forceful expression brings confi- dence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sur^ of himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY 17 14 De Lancey Street Philadelphia LIBRftRY OF CONGRESS 014 212 103 7