PS 3515 
 .fl575 
 17 
 
 1917 
 Copy 1 
 
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 WALTER H BAKER 8 CO 
 \ BOSTON- 
 
Jl. m* Pinero's Plays 
 
 Price, 50 Cctite 6acb 
 
 THF AMA7nN^ Farce in Three Acts. Seven males, five fe- 
 lOEi AlTl/M.vli»? rnales. Costumes, modern; scenery, not 
 difflcHlt. Plays a full evening, 
 
 TUr rAUINlTT MINIQTI71? Farce in Four Acts. Ten 
 ItlEi LADlilE.1 lTliriidl£.ti males, nine females. Gos 
 tmnes, modern society; scenery, three interiors. Plays a full evening. 
 
 flANDY nir*!? JFarce In Three Acts. Seven males, four fe- 
 I/Alli/ 1 l/l'UIV males. Costumes, ifiodern ; scenery, two inte- 
 riors. Plays two hours and a half. 
 
 TUr r* AV I nPn AITEY comedy in Four Acts. Four males, 
 inC U/li lAJRU \lVluA ten females. Costumes, modern; 
 scenery, two interiors and an exterior. Plays a full evening. 
 
 UIQ |J/\|TQf7 I'M Apni7R Comedy in Four Acts. Nine males, 
 fllO ni/UOEi 111 VrnLniin. four females. Costumes, modern; 
 seenery, three interiors. Plays a full evening. 
 
 TUr UnnnV UnPCr comedy in Three Acts. Ten males, 
 in£i IlVDDl nv^IVOlJ five females. Costumes, modern; 
 scenery easy. Plays two hours and a half. 
 
 ipiC Drama in Five Acts. Seven males, seven females. Costumes, 
 ■i**^ modern ; scenery, three interiors. Plays a full evening. 
 
 I AHY RfllTNTIFITI Play in Four Acts. Eight males, seven 
 MttxlJl Ov/UlilirULt females. Costumes, modern; scen- 
 ery, four interiors, not easy. Plays a full evening. 
 
 I FTTY Drama in Four Acts and an Epilogue. Ten males, five 
 **"» » * females. Costumes, modem; scenery complicated. 
 Plays a full livening. 
 
 THF M Afl^TR ATF Farce in Three Acts. Twelve males, 
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Isosceles 
 
 A Play in One Act 
 
 By 
 WALTER BEN HARE 
 
 Author of ''The Hoodoo" "The Boy Scouts" "Teddy, or 
 The Runaways" "A College Tow7t" "A Rustic Romeo" 
 "A Southern Cinderella" "Aaron Boggs, Freshman " " The 
 Fascinators," "Savageland" "Laughing Water" " Mac- 
 beth a la Mode" "Mrs. Tuhbs of Shantytown" "The 
 Adventures of Auntie" "Aboard the Good Ship Jane" 
 "My Little Chaufeur," "A Couple of Million," etc. 
 
 NOTE 
 
 The acting rights of this play are strictly reserved. Performance 
 may be given by amateurs on payment to the author of a royalty 
 of two dollars and a half (;?2.50). Correspondence on this 
 subject should be addressed to Walter H. Baker & Co., 
 5 Hamilton Place, Boston, Mass. The professional stage rights 
 are also strictly reserved, and performance by professional actors, 
 given in advertised places of amusement and for profit, is for- 
 bidden. Persons who may wish to produce this play publicly 
 and professionally should apply to the author in care of the pub- 
 lishers. 
 
 BOSTON 
 
 WALTER H. BAKER & CO. 
 
 1917 
 
./)575i7 
 
 \^7 
 
 Isosceles 
 
 CHARACTERS 
 
 Jim Lyons 
 Paul Vekdier. 
 Reba Lyons. 
 
 Copyright, 1917, by Walter Ben Hare 
 Professional stage and moving picture rights reserved, 
 
 ©CIO 46340 
 MAR -7 1917 
 
PLEASE NOTICE 
 
 The professional stage-rights in this play are strictly reserved 
 by the author, to whom applications for its use should be ad- 
 dressed in care of the publishers. Amateurs may obtain per- 
 mission to produce it privately on payment to him of a fee of 
 two dollars and a half (i?2.5o) for each performance, in ad- 
 vance. Correspondence on this subject may be addressed to the 
 publishers. 
 
 Attention is called to the penalties provided by the Copyright 
 Law of the United States of America in force July i, 1909, for 
 any infringement of his rights, as follows : 
 
 Sec. 28. That any person who wilfully and for profit shall infringe any 
 Copyright secured by this Act, or who shall knowingly and wilfully aid 
 or abet such infringement, shall be deemed guilty of a misdemeanor, and 
 upon conviction thereof shall be punished by imprisonment for not ex- 
 ceeding one year or by a fine of not less than one hundred dollars, or both, 
 at the discretion of the court. 
 
 Sec. 29. That any person who, with fraudulent intent, shall insert or 
 impress any notice of Copyright required by this Act, or words of the 
 same purport, in or upon any uncopyrighted article, or with fraudulent in- 
 tent shall remove or alter the copyright notice upon any article duly copy- 
 righted shall be guilty of a misdemeanor, punishable by a fine of not less 
 than one hundred dollars and not more than one thousand dollars. 
 
Isosceles 
 
 SCENE. — An elaborate Innng-room of an apartment house in 
 a large city in the middle west. Tlie decorations and hang- 
 ings are in shades of gold and brozvn. Library table stands 
 down u. ; elaborate reclining chairs R. C. and down i.. To 
 the left of this latter chair and tiear the L. i e. there is a 
 nook, closed on three sides and open in front, used as a tele- 
 phone booth. Near the chair down L. is a taborette on 
 which lies a fancy box containing t/ie remains of five pounds 
 of chocolates, and a vanity bag. Center door entrance with 
 hall visible beyond. Entrance R. 2 with practical door to 
 slam. Bay-windo7v in fiat at L. Library furniture and 
 palms ad libitum. Time, mid-afternoon. Lights on full 
 throughout the play. 
 
 (At rise, Reba Lyons is discovered lolling in easy chair 
 do7vn L. She is a large, beautiful woinan ivith dull gold 
 hair and, altho^cgh she is not stout, ten years hence, when 
 she will be forty, there is every evidence that she will be a 
 seeker after the specialists. She is dressed in t/ie skirt of 
 an old gold coat-suit. The coat has been removed, however, 
 and she is taking every comfort in a lace upper-garment 
 with elboiv sleeves and cut slightly loiv in the neck. She 
 opens the vanity bag and lazily takes out a sinall hand 
 mirror. She regards her image thoughtfully and, evi- 
 dently pleased with the effect, smiles pleasantly. She 
 replaces the mirror in the bag, and carefully selecting a 
 huge chocolate from the box leans back and nibbles daintily. 
 Electric bell ritigs. Steps are heard and then a?i outer 
 door [iiot visible') is opened and closed. Reba does not 
 change her position. Slight pause and then the voice of 
 Paul Verdier is heard at back r.) 
 
 Verd. Thank you, Crane. (Ife enters c. D. He is a 
 handsome young chap of about tzventy-six, slim and dark, 
 
 5 
 
6 ISOSCELES 
 
 rather carelessly dressed with a flowing black crepe Windsor 
 tie. He carries a cluster of violets. Reba, still lolling down 
 L., smilts and holds out her hand. Vekd. grasps it eagerly.) 
 Reba! Alone? (^Kisses her hand.) Where's your husband ? 
 
 Reba. I haven't seen him to day. He's out with the Van 
 Sickle crowd again. He knows llie very thought of that boat 
 gives me the nial de mer. That's the reason he's so fond of it. 
 
 Veud. How beautiful you are to day. You are my sun, 
 Reba, my warm golden sun shining througli the fog of the 
 world's indifference. All afternoon I've been walking in the 
 cold mist waiting for this moment, longing for the warmth of 
 your smil^, the gleam of your wonderful hair. 
 
 (^He attempts to take her in his arms.) 
 
 Reba. I wish you wouldn't, Paul. I'm so unhappy to-day. 
 
 Verd. Unhappy? You should never be unhappy. Your 
 whole life, every moment, should be one uninterrupted joy. 
 
 Reba {sighing contentedly). You are so sympathetic. You 
 understand my temperament. 
 
 Vekd. See, 1 have brought you a little bunch of violets. I 
 found them underneath a bench in the park. They had .been 
 neglected by the gardener, forgotten. They typified you. 
 Alone, neglected, abused by 
 
 Reba. No, he doesn't abuse me. (Petulantly.) But he 
 thinks he has a perfect right lo do as lie pleases witli my money. 
 I won't stand that. He bouglu twenty sliares of Tarantula last 
 week directly against poppy's advice. Jim never had a busi- 
 ness head. And poppy — well, Israel Cohan doesn't often make 
 mistakes. Jim thinks he knows it all. I've put a stop to it, 
 though. After this I'll make my own investments, 
 
 i^Eats a chocolate rather viciously.) 
 
 Veud. Can't you see, Reba, that a man like Jim Lyons 
 could never understand you, never appreciate your finer nature 
 or help you realize your beautiful ideals? 
 
 Rf.ba. I know it. Popi>y always says that as far as money 
 is concerned I'm the man of the family. 
 
 Vepjd. And then your dreams, your purple dieams waiting 
 to be quickened into thought. Can he appreciate your dreams? 
 
 RilBA. He can't appreciale my temperament. He doesn't 
 like music or poetry or sculpture. His only ambition is to be 
 funny, to write a few foolish songs and fifiy pages of trash and 
 
ISOSCELES 7 
 
 call it musical comedy. (^Moiirufitlly.) Then he reads it to 
 me. {Sniffs.') Oh, Paul, even you don't realize all I suffer, 
 
 Vekd. I know, 1 know. Some day when the white violets 
 are blooming, and our own south wind calling gently, magnolia- 
 throated, I'm going to drive you away in your car and we'll 
 mix with tlie sweet air and white wind in the Land of Love's 
 Deliglit. it's a wonderful country, Reba, of life — the bright 
 warm life of eternal youth and love. (Reba selects a very large 
 chocolale and begins to nibble as he encircles her ivith his arm.') 
 And we'll, live there together, just you and I, with never a 
 thought of the world outside. You'll go with me, dear heart ? 
 Say that you'll go. 
 
 {His face is very close to hers and she does not resist as he, 
 with passionate eagerness, attempts to press his lips on 
 hers. Suddenly she chews. Her mouth is filled with 
 chocolate. He draws away and, disengaging himself 
 gently, takes the box of chocolates from her and crossing 
 to the other side of the stage, puts it on the table. She 
 watches him languidly .) 
 
 Reba. It is not right for you to talk to a married woman 
 like that. 
 
 Vekd. {at c). You have no right to be married without your 
 soul-mate's love. 
 
 Reba. How do you know that Jim doesn't love me? 
 
 Vekd. By his every attitude, his neglect. Where is he 
 now? Out on tiie lake with his men friends, maybe with 
 ladies. 
 
 Reba. No, Jim doesn't care for other women. 
 
 Vekd. Well, he neglects you. He should be here to de- 
 vote every second of his time to you, to idolize you by day, 
 dream of you by night. 
 
 Reba {sighing). You understand me so well. 
 
 {Misses the chocolates and looks for them.) 
 
 Verd. This can't go on any longer. My devotion to you 
 has never changed. I came here at your husband's invitation 
 determined to steel my heart against its love for you. I saw 
 yon yesterday for the first time in five years. You were the 
 golden incarnation of all my youthful dreams. You cared for 
 me once, Reba. You still care for me. You are mine. Mine 
 now and for all eternity. 
 
8 ISOSCELES 
 
 (^He starts to embrace her. She rises.') 
 
 Reba. Don't, Paul, don't. You take advantage of my 
 temperament. But it's all true. My husband does neglect 
 me. Me ! To whom he owes all his success. I paid his bills 
 when I married him, I produced his first play, yes — and lost 
 money on it, too. Eight thousand dollars. He's not even 
 grateful for what I have done. Just because 1 don't laugh at 
 his stupid jokes, he neglects nie. And I don't move in any 
 better society now than I did before. He doesn't run with his 
 own set, but has taken up lately with a lot of men — actors and 
 writers and musicians who never care for society. (^IVith tti- 
 creasing intensity.') He neglects me. He's a strange man 
 whom 1 don't know. I'm just a source of money supply. I'm 
 a doll, a plaything ! I'm like Mrs. Fiske in the Doll's House. 
 Jim doesn't appreciate me. {Crosses to table R. and takes tip 
 box of chocolates dramatically.) He's gone too far — it's all 
 gone too far. Do you see that door, Paul Verdier ? {Points 
 to practical door.) That's just like Mrs. Fiske's door in the 
 play. {Opens door.) I'm going to open it like that some day 
 and go through, just like she did. And slam it. {Slams it.) 
 ril leave him. {Sinks in chair u. c. and eats chocolate.) 
 
 Verd. {crossing to her eagerly). And come with me. 
 We'll go to the Land of the Sleeping Waters and float upon 
 the sea's breast of blue and turquoise. In the old days I wor- 
 shipped you 
 
 Reba. You left me. You didn't show this appreciation of 
 my temperament then. 
 
 Verd. I was poor. How poor even you never suspected. 
 Do you remember the garden with the lily pond at Magnolia 
 Hall where you used to play with your dolls ? I would come 
 to the iron fence and watch you, a golden princess, in a gar- 
 den of enchantment. Then the night we met 
 
 Reba. The Charity Ball. I cut six dances for you. 
 
 Vekd. The old boat-house, the silver crescent moon kiss- 
 ing the lake, the south wind kissing the jessamine 
 
 Reba. And you kissing me 
 
 Verd. I learned to love the world that night. You gave 
 me your heart with your kisses. 
 
 Reba. It was my temperament. 
 
 Verd. It was your self. Your golden responsive self. 
 Then the moon drifted from the lake and the wind drifted 
 from the jessamine 
 
ISOSCELES g 
 
 Reba. And you drifted from me. 
 
 Vekd. The next day 1 was sane. What had I, Paul 
 Verdier, penniless, son of old drunken Joe Verdier, to do with 
 Reba Cohan the richest girl of the Carolinas? People said 
 that you were engaged to Jim. Everything seemed hopeless. 
 I was a coward and left you. But now that 1 see you again, 
 Reba, 1 want you. Love must conquer all. Give me a 
 chance. Say you'll go with me. 
 
 (A'/jT on the aim of lie r cliair.) 
 
 Reba {iifter a slight pause throws her arms around his 
 necfi). Paul ! (She kisses him.) 
 
 Enter Jim Lyons, c. d., hurriedly. 
 
 Jim {standing fixed at c. at t/ie scene; then speaks in a 
 threatening voice). Reba ! 
 Reba. Jim ! My God ! 
 
 {iMechanically eats a chocolate.) 
 
 Jim {strained voice). Go to your room. Get out. I 
 want to speak to this — cur — alone. 
 
 Reba. 1 won't do it. You forget yourself, Jim Lyons. 
 How dare you speak to me like that? Whose apartments are 
 these? Jf you have anylliing lo say, say it here and now. 
 
 {She has risen and confronts him r. c. Verd. crosses 
 down R.) 
 
 Jim. Anything to say? Do you think I am going to be 
 silent? Do you think that I am going to stand liere and let 
 this snake that i have warmetl at my hearth-fire make love to my 
 wife ? (Verd. makes movement toward him; Reba intercepts 
 him.) I introduced you into my house as a friend and return 
 and find my wife in your arms. What have you to say for 
 youiself? {Very loud.) 
 
 Verd. {confronting him angrily. Reba sinks in chair and 
 hides face in hands, but peeks through fi/igers). I — I'll tell 
 you 
 
 Jim. Don't spenk. Don't try to explain an\thing. I want 
 no explanations. We'll not quarrel an<l fight like a couple of 
 street arabs. I'll not throw you down the stairs. But there 
 
10 ISOSCELES 
 
 must be a decision made at once. (Verd. shrugs shoulders 
 and crosses to l. i e.) Reba, do you love this man? 
 
 Reba {raising head). 1 
 
 Jim (^quickly interrupting). You do. I see it in your eyes. 
 You, tlie only woman in the world I ever loved. (^Brokenly.') 
 Reba, Reba, you've broken my heart. 
 
 Reba {sniffing). Don't, Jim, don't. 
 
 Jim. Go with him. If 1 can't have your heart, your love 
 and your life, for God's sake go and leave me alone. I know 
 what it is to be alone. But after you have gone — after you 
 have deserted me, I'll go to the dogs as fast as I can. Some- 
 times I'll dream of the woman who once was mine, of the home 
 I have lost 
 
 Reba {sobbing). I can't bear it, Jim, I can't bear it. I'll 
 not leave you. I'll not go. 
 
 {Rises and clings to him.) 
 
 Jim {quickly). Yes, you will. Do you think that I want 
 you when you love another man ? Out of my sight. I've 
 done with you forever. 
 
 {Sinks in chair and buries his face in arms.) 
 
 Verd. Do you hear him, Reba? He casts you off. 
 
 Jim. I found you in his arms. You, the woman I loved 
 and trusted, on whose honor 1 would have staked my life. Go ! 
 
 Reba. You — want — me — to — go ? 
 
 Verd. Come ! 
 
 Reba. I will go. I'll leave you, Jim Lyons. I'll go. No 
 man can talk about my honor. \^Exif, r., banging door. 
 
 Verd. {after a pause). I suppose you will consent to a 
 divorce ? 
 
 Jim. Don't talk to me. It's all I can do to keep calm. 
 You've won and I've lost. Take her and go. 
 
 Veud. {crossing to hall and getting hat, the?i coming sud- 
 denly down c). Jim Lyons, why did you ever ask me to come 
 here? 
 
 Jim [looking up quickly ; slight pause). That's what I ask 
 myself, why ? 
 
 Verd. You knew that I loved your wife — that I under- 
 stood her temperament. You neglected her 
 
 Jim {7vith a sneer). Why didn't you try to win her five 
 years ago ? 
 
ISOSCELES 1 1 
 
 Verd. Five years ago I was poor and she was rich 
 
 Jim {ilrily). She is still rich. 
 
 Veud. Vou mean? {Slight pause, and then suddenly.') 
 I'll not do it. 
 
 Jim {quickly). Not do what? 
 
 Verd. I've wronged you, Lyons. She's your wife in the 
 sight of God and man. I'll sacrifice myself for her. I'll leave 
 her for you. You can win her love again. Good-bye. 
 
 {Starts up.) 
 
 Jim {in a rage). What! {Rushes at Verd., drags him 
 do7vn c, much against his will. Verd. struggles.) You 
 shan't go away. 
 
 Verd. Don't you understand ? I am sacrificing my very 
 heart and soul, my life, my love. Good-bye ! {Struggles.) 
 
 Jim {unable to hold him longer, stands before the door and 
 cries). Reba ! 
 
 (Reba enters from 'R., fully dressed ivith coat and large yel- 
 loiv hat.) 
 
 Reba. Why did you call me? Do you want to insult me 
 again? Or do you want to borrow some more of my money? 
 
 Verd. {protestin^ly). Reba ! 
 
 Reba {paying no attention). You'll never have another 
 chance. {Takes cafidy box and crossing to practical door, 
 opens it.) I'm tired of living with a man who doesn't know 
 me — whom I don't know. I'll no longer live in a Doll's 
 House. {Dramatically.) I'm going to close the door like 
 Mrs. Fiske. 
 
 Verd. But Reba 
 
 Reba {seizing him). I'll go with you — to live in your Land 
 of Love's Delight. The highway of Love is beckoning me I 
 Come ! 
 
 {She sweeps Verd. out of practical door and slams it dra- 
 matically.) 
 
 Jim {seated R. c, staring in front of hifn with tense fixed 
 look. Pause. The outer door slams. A great change passes 
 over his face. Heaves a sis^h of relief, then smiles broadly, 
 then laughs, then in uncontrolled laughter lies back in chair 
 ivifh his sides shaking). The Land of Love's Delight. Poor 
 Verdier ! And he's a poet, too. {Laughs.) A poet and 
 
12 ISOSCELES 
 
 Reba ! {^Enters telephone booth.') Hello, Central. 6722 — 
 Party X — Green. {Pause.) No. 6722. Yes, thank you. 
 {Pause. Reba enters hurriedly, crosses to her room at u. and 
 exits.) Hello, Jake. {Pause.) No, I want Mr. Jay Van 
 Sickle. Is this 6722 — Party X — Green? Oh, wrong num- 
 ber. Beg pardon. Hello, Central. Central ! For Heaven's 
 
 sake! VVhat the Hello, Central. Yes, you made a 
 
 mistake. 1 wanted 6722 — Party X — Green. {Reenter Ri-ba 
 from R. with two enormous je^vel caskets. She hurriedly ex- 
 amines je7vels at table and locks each box.) Hello, Jake — this 
 is Jim. Everything's all right. The scheme worked to a fiire- 
 thee-vvell ! Reba has left for good. (Reba hears, pauses, 
 comes near booth and listens.) Can you put me up on the 
 boat to-night? {Pause.) Great! The very thing. We can 
 sail to-morrow. Ready? Why, I'm ready now. {Pause.) 
 Sure, it's settled. No trouble at all. The slickest thing I ever 
 did. {Pause.) Congratulations? Much obliged. I'm going 
 to write a book, " How to Get Rid of a Wife." I'll be with 
 you in an hour. You've got to promise though that we won't 
 see a woman's face on the whole trip. {Pause.) Sure thing. 
 Good-bye. 
 
 ( Comes from the booth and is confronted by Reba standing 
 c, like a Goddess of Vengeance, her breast heaving.) 
 
 Reba (//; a hollow voice). It — was — a — trick ! 
 
 Jim {nonplussed). Why did you come back? 
 
 Reba {holding up the jewel casket while the storm gathers). 
 I'm glad I did come back. It has shown you in your true 
 despicable nature, Jim Lyons. 1 hate you. Paul is th<rre 
 waiting — the man that I love — the man who loves me; but do 
 you think I am going with him? No, Jim Lyons, I am going 
 to stay right here. I'll show you how to get rid of a wife. 
 I'm here and not all the world can take you from me. {Crosses 
 quickly to booth. Rings. Jim 7vafches apprehensively.) Hello, 
 Central. Please give me 6722 — P^rtv X — Green. {Exit']\^\, 
 u., very quietly.) Hello, is this Mr. Van Sickle? This is Mrs. 
 Jim Lyons. Ye;s, Reba Lyons. Reba Cohan Lyons. {Pause.) 
 Oh, yes, I'm at iiome. I just wanted to apologize to you for 
 Jim's atrocious joke. I'm afraid he carried it too far. He's 
 standing riglit here by me. He says that he wanted to see 
 how gullible you were. {Reenter ]iMfrofn u., 7Z'ith coat, hat 
 and grip. He tiptoes across stage and exits c.) No, you 
 know what it means to have a professional humorist for a bosom 
 
ISOSCELES 13 
 
 friend. I wish you a pleasant voyage, Mr. Van Sickle. And 
 so does Jim. Good-bye. i^Comes from booth?) Now, you 
 see. (^Looks around in avtazement. She exits u. quickly. 
 Pause. Door R. slams as she is supposed to go from room to 
 room. A faint cry of "Jim ! " is heard and then she reenters 
 at R.) The coward, the coward, ( Goes to window and calls.) 
 Paul ! The taxi ! It's gone ! (^Rushes out c. D. Pause. 
 She reenters c. D.) He's gone ! 
 
 {Gives sigh. Takes off hat and coat and tosses thefn r. 
 Crosses to l. with box of chocolates and seats herself at 
 L., as she appeared at beginning of play. She selects a 
 very large chocolate and nibbles contentedly as the curtain 
 falls.) 
 
 CURTAIN 
 
THE HOODOO 
 
 A Farce in Three Acts 
 By Walter Ben Hare 
 Six males, twelve females and four childieii. Costumes, modern; 
 scenery, one interior and one exterior, or can be played in a single in- 
 terior. Plays two hours and twenty minutes. For a wedding gift Pro- 
 fessor Spiggot gives Brighton a marvelous Egyptian scarab. Under its 
 evil influence Brighton is blackmailed by a former flame ; the susceptible 
 Billy finds himself engaged to three ladies ; the Professor is accused of 
 bigamy ; and Dun, the clever burglar, is caught. Matters are straight- 
 ened out when the scarab is buried. Hemachus, the Professor's son, and 
 Paradise, the colored cook, afford exceptional character parts. Recom 
 mended for schools. Price, 2j cents 
 
 CHARACTERS 
 
 Brighton Early, about to be married. 
 
 Billy Jackson, the heart breaker. 
 
 Professor Solomon Spiggot, a« authority on Egypt. 
 
 Hemachus Spiggot, his son, aged seventeen. 
 
 Mr. Malachi Meek, a lively old gentleman of sixty-nine, 
 
 Mr. Dun, the burglar. 
 
 Miss Amy Lee, about to be married. 
 
 Mrs. Perkington-Shine, her aunt and Mr. Meek! s daughter. 
 
 Gwendolyn Perrington-Shine, who does just as mamma says. 
 
 Dodo De Graft, the Dazzling Daisy. 
 
 Mrs. Ima Clinger, a fascinating young widow. 
 
 Angelina, her angel child, aged eight. 
 
 Miss Doris Ruffles, Amy's maid of honor. 
 
 Mrs. Semiramis Spiggot, the mother of seven. 
 
 Eupepsia Spiggot, her daughter, aged sixteen. 
 
 Miss Longnecker, a public school-teacher. 
 
 Lulu, by name and nature. 
 
 Aunt Paradise, the colored cook lady. 
 
 Four Little Spiggots. 
 
 SYNOPSIS 
 
 Act L The lawn at Mrs. Perrington-Shine's country home. 
 
 Act IL The library at 8: oo P. M. A thief in the house. 
 
 Act in. The same library at ii : oo p. m. Trouble for the burglar, 
 
 THE CLINGING VINE 
 
 A Comedy in One Act 
 
 By Rachel Baker Gale 
 
 Sixteen females. Costumes, modern ; scene, an interior. Plays forty 
 
 minutes. Irish and Negro comedy parts. The Bartonville Woman's 
 
 Club brings Mrs. Redding to trial on the charge that she is neglecting the 
 
 club to attend to household matters. As the trial proceeds other members 
 
 confess to the same crime and the meeting breaks up with all agreeing to 
 
 pay a little more attention to their homes. Recommended for women's 
 
 clubs. Author's royalty of $ 5.00 asked for each performance. 
 
 Price, 2K cents 
 
THE TIME OF HIS LIFE 
 
 A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
 females. Costumes, modern ; scenery, two inleriors, or can be played in 
 one. Plays two hours and a half. A side-splitting piece, full of action 
 and a sure success if competently acted. Tom Carter's little joke of im- 
 personating the colored butler has unexpected consequences that give him 
 " the time of his life." Very highly recommended for high school per- 
 formance. Price, 2j cents 
 
 THE COLLEGE CHAP 
 
 A Comedy Drama in Three Acts by Harry L. Newton and John 
 Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, 
 two interiors. Plays two and a half hours. An admirable play for ama- 
 teurs. Absolutely American in spirit and up to date; full of sympathetic 
 interest but plenty of comedy ; lots of healthy sentiment, but notliing 
 " mushy." Just the thing for high schools; sane, effective, and not dif' 
 ficult. Price, 2^ cents 
 
 THE DEACON'S SECOND WIFE 
 
 A Comedy in Three Acts by Allan Abbott. Six males, six females, 
 Costumes, modern ; scenery, one interior, one exterior. Plays two hours 
 and a half. A play of rural life specially written for school performance. 
 All the parts are good and of nearly equal opportunity, and the piece is full 
 of laughs. Easy to produce ; no awkward sentimental scenes ; can b* 
 strongly recommended for high schools. Price, 2^ cents 
 
 THE TEASER 
 
 A Rural Comedy in Three Acts by Charles S. Allen. Four male, three 
 female characters. Scene, an easy interior, the same for all three acts ; 
 costumes, modern. Plays an hour and a half. An admirable play for 
 amateurs, very easy to get up, and very effective. Uraliah Higgins, a 
 country postman, and Drusilla Todd are capital comedy parts, introducing 
 songs or specialties, if desired. Plenty of incidental fun. 
 Price, 2^ cents 
 
 COUNTRY FOLKS 
 
 A Comedy Drama in Three Acts by Anthony E. Wills. Six males, five 
 females. Costumes, modern; scenery, one interior. Plays two and a 
 quarter hours. An effective and up-to-date play well suited for amateur 
 performance. All the parts good and fairly even in point of opportunity ; 
 the ladies' parts especially so. Easy to stage, and well suited for schools. 
 Well recommended. Price, 2j cetits 
 
 THE MISHAPS OF MINERVA 
 
 A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- 
 males. Costumes, modern ; scene, an interior. Plays one and a half 
 hours. An exceptionally bright and amusing little play of high class and 
 recommended to all classes of amateur players. Full of action an^ 
 laughs, but refined. Irish low comedy part. Strongly endorsed. 
 Price, 2J cents 
 
Jl. m« Pitiero's Plays 
 
 Price, 50 Cents Cacb 
 
 Miri fHANNFI Play in Four Acts. Six males, five females. 
 ITUiZ-^llAlTi^LiLi Costumes, modern; scenery, three interiors. 
 Plays two and a half hours. 
 
 THE NOTORIOUS MRS. EBBSMITH ^.tr'^.^Xl 
 
 males, five females. Costumes, modern; scenery, all interiors. 
 Plays a full evening. 
 
 THF PRflFIWlATF Playln Four Acts. Seven males, five 
 IIlLi I IW/I LilUA 1 Li females. Scenery, three interiors, rather 
 elaborate ; costumes, modern. Plays a full evening. 
 
 THE SCHOOLMISTRESS f^^r^^^Z^tost^^tsTSot 
 
 em; scenery, three Interiors. Plays a full evening. 
 
 THE SECOND MRS. TANQUERAY l^grl^^-.^St'e 
 
 females. Costumes, modern; scenery, three interiors. Plays a 
 full evening. 
 
 ^WFFT T AVI^NnFR Comedyin Three Acts. Seven males, 
 tJVVLiLiA Lii\y ItmULiIX four females. Scene, a single interior, 
 costumes, modern. Plays a full evening. 
 
 THF THITMnFDRflf T Comedy in Four Acts. Ten males, 
 inu inuni/£iI\Ol/Lil nine females. Scenery, three interi- 
 ors; costumes, modern. Plays a full evening. 
 
 THF TIMF^ Comedy in Four Acts. Six males, seven female*. 
 I ni:> 1 llllLtO Scene, a single interior ; costumes, modern. Plays 
 a full evening. 
 
 THF WVkWn QFY Comedyin Three Acts. Eight males, 
 int Wi:ii4I\£.I\ OCiA eight females. Costumes, modern; 
 scenery, two interiors. Plays a full evening. 
 
 A WIFE WITHOUT A SMILE ^^etl^^,t^^TeJiZ. 
 
 Costumes, modern ; scene, a single interior. Plays a full evening. 
 
 Sent prepaid on receipt of price by 
 
 l^alter ^. paiker & Companj> 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
LIBRARY OF CONGRESS 
 
 015 907 648 9 
 
 asa 
 
 Cfje Willmm WRXXtn €Qition 
 
 A^ Yftll I SEP IT Comedy in Five Acts. Thirteen males, four 
 AO IvV tfi^Li II females. Costomes, picturesque ; tcenery, t»- 
 rled. Plays a full eveniag. 
 
 CAMfl T V I^rama in Five Acts. Nine males, five females. Oos- 
 VAiUlLfLfii tnmes, modern ; scenery, varied. Plays a full evening. 
 
 INfiOMAD ^^7 i° ^^^ Acts. Thirteen males, three females. 
 mUvIuAA Scenery varied ; costumes, Greek. Playaafull evenltig. 
 
 MADY ^TFADT Tragedy in Five Acts. Thirteen males, four f»- 
 iuAIVl ^lUAul males, and supernumeraries. Costumes, of the 
 period ; scenery, varied and elaborate. Plays a full evening. 
 
 THE MERCHANT OF VENICE aWeffrml?:!: c7^^!^, 
 
 picturesque ; scenery varied. Plays a full evening. 
 
 DirHFl FPU Play In Five Acts. Fifteen males, two females. Bcen- 
 l\lvULiML<U ery elaborate ; costumes of the period. Playa a full 
 evening. 
 
 THR RIVAI ^ Comedy in Five Acts. Nine males, five females. 
 lUi) BHIALitJ Boenery varied; oostames of the period. Plays a 
 fall evening. 
 
 SHE STOOPS TO CONQUEll SS'^fC ff ja^eneeB^5^ 
 vied ; ooBtumes of the period. Plays a full evening. 
 
 TWEFTB NIGHT; OR, WHAT YOU WILL S^r'^en^J?^: 
 
 three females. CostiuDea, picturesque ; scenery, varied. Playa a 
 (all evening. 
 
 Sent prepaid on receipt of price by 
 
 Salter i^, isal^er a Company 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
 e. J, PARKHILL a CO., PRINTERS, BOSTON, U.S.A.