•^O PL,AYS EXCHANGED. .MCR'5 EDITION or PL7\Y:5 THE SUBSTANCE AMBITION OF Price, 15 Cents COPYRIGHT. 1889, BY WALTER H. BAKER & CO. Class P 5 35-^ 5 Book. /^7^5Sf ? CotpghtN". l^oQ COHfRIGHT DEPOSE The Substance of Ambition A Drama in One Act By MARIE JOSEPHINE WARREN Author of '''-The Elopeinent of Ellen^' ^^Tommfs Wfe^' ''Endyfmon^' etc. The professional stage rights in this play are reserved by the author, and all persons wishing to produce it publicly and for profit should apply for permission to the author in care of the publishers. Amateurs may produce it without permission. • BOSTON WALTER H. BAKER & CO. 1909 The Substance of Ambition P5 354-5 ; ./1 7^5 5^ i CHARACTERS Mr. Hudson. ' Faith, his daughter. Frank Sanders. Hector MacTaggart. Place. — Any small city in the United States. Time. — The present. Copyright, 1909, by MARIE JOSEPHINE WARREN As author an^pro'prietor All rights reserved ©CI.D 17J6:. The Substance of Ambition SCENE. — The parlor of the boarding-house kept by Faith Hudson. The room is very shabl)y, but the loorn furniture and threadbare hafigings must once have been handsome. There are a feiv excellent pictures and many books. Every- thing is exquisitely neat. At the left upper corner of the stage is a mantel over which there is a mirror ; at the left fro fit stands a large high-backed armchair ; at the ex- treme right is a desk furnished with pens, ifik, paper, etc. There are doors l,, r. and c. Enter, c. d., Faith Hudson, a slim youn^ girl of perhaps twenty. Her face is singularly pure and iimocent and wears a certain look of care and responsibility that makes the eyes and mouth pathetic. She is dressed very sifjiply in black. She comes down sloivly, sorting a pack- age of mail, and lays all on the desk except a bulky manila envelope ivhich she holds irresolutely. Faith. Oh, dear ! I can't bear to let him see it. Poor father ! The first of the month is bad enough with all the bills — and now his play-has come back again. He was so sure that this last manager would take it. {Sighs heavily.) I'll put it away until to-morrow, (Starts toward door, l., then pauses and turns back.) No, it's only cruel to let him keep on hoping. (JVith an outburst of feeling.') Oh, why doesn't somebody want it ? It is good ; it is, it is I Enter, c. d., Frank Sanders, a middle-aged man, conspicu- ously dressed and wearing much cheap jewelry which he fingers now and again ivith an air of self-satisfaction. Sanders. Good-morning, Miss Faith. Faith. Good -morning. Sanders {coming close to her). Well, ain't you going to shake hands? I must say you're nifty ! (Ymtb. unwillingly gives him her hand which he holds, and pats ivith his left.) Pretty little hand. {Playfully, as she tries to withdraw it.) Oh, no, don't try to leave me. Pve something to ask you. 3 4 THE SUBSTANCE OF AMBITION Faith {ivith gentle dignity). Please let go my band. Sanders {does so; shrugging). Say, don't you think it's time we were better friends? I've been boarding here over six weeks now, and paid my bills regular. Say, I suppose it would make quite a difference to you if I left? Faith {falters in a low voice). You know it would. Sanders {cojnfortably). Well, there ain't any danger. {As she turfis away.) Don't go away, — I want to talk to you. {He turns the desk-chair around and seats Jwnself astride of it, leaning his folded arms on its back.) Say, will you go to the dry-goods clerks' ball with me, Saturday night ? Faith. Thank you. I cannot leave my father. Sanders. Oh, come now. I'll fix it all right with him. It's all rot for a good-looking girl like you to stay cooped up every night. Say you'll go. Faith. Thank you. I — I think I would rather not. Sanders {a bit roughly). Say, is it always going to be like this? Say, is it? Faith {distressed). Yes. No. I don't know what you mean. Sanders {rising and flinging the chair out of his way). Oh, come off! You know well enough I've been trying to keep company with you ever since I came here. Faith {shrinking). Oh, please don't. Sanders {approaching her). What's the matter with you? Say, I wouldn't take such a turn-down from most girls, but I'm fond of you. Say, I'd just as soon marry you as not. Faith. Oh, no, no ! {She has backed away from him until she is stopped by the armchair. She shrinks back against it, clasping the large envelope, which she still holds, agaifist her breast as if for protection . ) Sanders. Stop acting up. I'm not going to eat you. {Playfully.) Though I don't say I wouldn't like a bite. But look-a-here. What'll you do when the old man drops off? You can't go on taking boarders then. You're too young. Faith {breathlessly). I know. I shall do — something. Oh, please go ! Sanders {a7igrily). Say, what's the matter wnth you? Anybody'd think I wasn't white ! Faith. I appreciate your kindness, but I do not — wish to marry. Please, please go ! THE SUBSTANCE OF AMBITION 5 Sanders {looking at her atriously). Say, you're a queer bird. 'Most any girl would jump at the chance. But I don't bear malice. You think it over and you'll come 'round O. K. Sure you won't go to the bail? Faith. No. Thank you. Sanders {going toward door, c). Well, ta-ta ! I don't bear malice, you know. \Exit. (Faith ivatches him out and stands staring at the doorivayy all her horror and repidsion growing in her face. Then she turns and buries her face against the high back of the chair. In a moment she raises her head resolutely , brushes the back of her hand across her eyes, and starts toward the desk, just as Mr. Hudson enters door, r. He is a man of sixty-five with irofi-gray hair and a scholarly, emaciated face. He has the indefinable air of breeding in spite of his very threadbare apparel. He seems very frail, but carries himself with a cheerful^ almost boyish air. ) Hudson. Faith ? Oh, there you are, little sunbeam ! Has the mail come yet? Faith {gently). Yes, father. Hudson {going to the desk and picking up the e^welopes, one after another, scrutinizing them through his spectacles and tossing them aside). Bills ! Bills ! It can't be the first of the month already ! Faith. To-day is the first of April, father. Hudson. So it is, so it is ! {Turns from the desk.) Well, never mind the bills, little sunbeam. When the play is ac- cepted we'll pay them all, eh? By the way, it is time I heard from that Western manager. We shall succeed this time, this time surely — eh, daughter? Faith {very gently). Father, the play has come back. It is here, dear. {She gives him the envelope. ) Hudson. Eh ? What ? {His face changes, seeming sud- denly infinitely old and care-2vorn. His shoulders droop, ajtd he seems quite feeble. He takes the package from Faith and looks at it blafikly.) What did you say, daughter ? The play has come back — come back — come 6 THE SUBSTANCE OF AMBITION {His voice trails off, a?id he stands tur?iing tlie envelope over and over in his hands.') Faith. Come and sit down, dear. {She leads him to the armchair where he sinks down heavily, still staring at the package. She kneels beside him, laying her cheek against his sleeve.) Please don't mind, father. Please, dear ! Hudson {dully). Failure. Always failure. My life-work — failure. Faith. Don't talk so, dear. It's just because they aren't wise enough to understand how splendid it is. We know — you, because you've read all those wise old Greek books, and I, because you've always taught me, and mother knew ! {Lays her hand gently on the envelope.) Let me take it, dear, and by and by we'll read it over together again, won't we ? Hudson. Yes, take it away, child ; take it away. {He gives her the envelope and leans forward, elbows on knees, shading his eyes zvith his hands. Faith rises and moves off a step or so, her face alight with protective tenderness. She hesitates a moment, then tears open the envelope and takes out the inafiuscript. A typewritten slip flutters to the floor but she does not see it. Hudson raises his head protesti?igly at the sound of teariiig paper, and looks at Faith as she stands with head bent over the ma?iuscript.) You are very like your mother, Faith — very like. Faith {goifig to him swiftly afid agaifi kneeling beside hifn). Vm so glad, father ! I want to be like my mother. Hudson (stroking her hair). Very like — very like. The same soft hair. Faith. And she was just my age when you first knew her. Hudson. Just your age. Faith. And you used to talk to her about the play. Hudson. About the play. Faith. And read her bits as you wrote — and she loved them. Hudson {taking the manuscript from her, turning the leaves). I had just begun to work on it then. I did not think that my best years of study and work would count for nothing. Faith. Oh, but they don't. Nothing fails that makes somebody happy, and the play did make her happy — and you and me. Hudson {tenderly). My little sunbeam. {He falls to turn- ing the leaves over and over, Faith watching him with almost THE SUBSTANCE OF AMBITION J maternal tenderness.') Ah, here's your favorite scene, little daughter, Helen' s plea for her children. Faith. Oh, no, father ! Dions defense is best ! Let's act it, the way we used to ! Come, I'll be Actus. (S/ie rises and stands off, folding her artns, and recites slowly and se- riously.') *' Stand forth, Dion, stand forth ! Deny the accusation an' thou canst ! " Hudson {rising also ; kindles as he recites). '' Willingly, oh, great Actus, will I speak. A man of peasant birth, with humble tongue, Unused to sue for justice in your courts. Yet pray I grace that you will listen to me." Faith. Splendid, father ! Go on ! No one else could do it half so well. (^As Hudson continues the speech, enter at c. d., Sanders, and -with him MacTaggart, an insignificant-looking yoimg man tvith pale hair and moustache. The two stand lost in a?nazeme?it at first, then Sanders laughs and taps his forehead and MacTaggart nods.) Hudson (j-eciting). *' Me, you accuse of having slain a man ; These hands, you say, are stained with spilled blood — These hands, that happy would have toiled for him A thousand lives of lifelong days and nights Rather than that one hair should come to harm." Sanders (coming down). Front seats in the dress circle for us. Eh, Mac? MacFaggart {following him dotvn). You can bet your bottom dollar on that. (Hudson starts and looks at the men ivithout recognition. Faith lays her hand on his shoulder, pushing him gently ifito his chair. After the first few words of the following conversatioft he turns to the 77ianuscript and becomes ab- sorbed in it.) 8 THE SUBSTANCE OF AMBITION Faith {to her father). Business, dear. I'll attend to it. (Zi? Sanders.) You wish to speak to me? Sanders {aside to her ; meaningly). I always want to speak to you. You see I don't bear malice. {Aloud, including Mac- Taggart.) Mac has come on business. MacTaggart {zvith elaborate wifiks at Sanders, who has seated himself, r., hands in his pockets, legs crossed). Yes, I've come on business. I've come to pay my board bill. First of the month. See? Ain't I prompt? ( Giggles and gives envelope to Faith. ) Faith {going toward the desk). I will write you a receipt, Mr. MacTaggart. Kindly wait a moment. MacTaggart {winking at Sanders). You'd better open it and see if the amount's right. I ain't quite sure. (Faith opens the envelope and takes out a large sheet of thin paper folded several ti7nes. She uifolds it, puzzled, and finds writ- ten across it in large, black letters : * ' April Fool / ' ' Sanders and MacTaggart laugh noisily.) April fool ! April fool ! {Crows delightedly as Faith quietly refolds the paper and drops it into the waste paper basket by the desk ; thefi says to Sanders with affected terror.) There now — she's huffy ! You hadn't ought to put me up to that. She'll put salt in the sugar bowl to pay us — see if she don't ! Sanders {to Faith). Oh, come offi What's the matter with you ? Don't you know a joke when you see one? Faith {smiling faintly). I think I do. {With grave polite- ness.) If I can do nothing for you, you'll pardon me if I leave you ? I have my marketing to do. (MacTaggart stops laugh- ing, somewhat abashed. Faith crosses to her father.) Will you come with me, father ? Sanders (rising). Let the old duffer alone. I'm coming with you. Faith (paying no heed, lays her hand on her father' s shoul- der to attract his attention). Will you go with me to market, father ? Hudson {starting; looks tip). ^E^h? What? Come with you? To be sure, to be sure. {He rises a bit feebly and puts his hand ofi Faith's artn. She leads him to the door, R. He puts the manuscript on the desk as he passes. At the door he stops and holds aside the curtain for Faith, then says to the men with old-fashioned courtesy.) Good-morning, gentlemen. \_Exit. THE SUBSTANCE OF AMBITION 9 MacTaggart (abashed y twiddling his hat). Good-morn- ing — sir. Sanders {tiirnijighis back, angrily). My, ain't we haughty ! I'd like to phiy a joke on her that she'd have to take notice of! MacTaggart \giggling). Might put crepe on the door. Sanders. Rats ! She wouldn't notice that any more than she did your other fool plan. {He strides across the floor and by chance kicks the slip of paper which dropped when the envelope containing the man- uscript ivas opened. He picks it up and looks at it curiously.) MacTaggart. Well — lemme see. How'd an auction flag do? Sanders {jiot heeding him, slaps his knee with delight). Oh, dry up and listen to this ! It's the best yet. (Reads.) << We regret that your play is unsuited to our present needs. Thanking you for the privilege of reading it " What do you think of that ? MacTaggart. What's it mean ? Sanders. It means the old duffer's been writing a play and that it got turned down. Well, if that ain't the best ! {Laughs silently.) MacTaggart {giggUng). Old Hudson? Well, I'll be blowed ! Sanders [crossing to desk and picking up manuscript ) . This wad he was mooning over must be it. Say, look at this ! (MacTaggart crosses arid looks over his shoulder as he turns pages. Sanders says suddenly.) I've got it ! MacTaggart. What ? Sanders. Make 'em think it's been accepted by a bang-up company. Write a letter. MacTaggart {looking at him a moment, then a sloiv smile of admiration dawning on his face). Say, you're a wonder ! (Suggestively .) Weber ' s ? Sanders. Not on your life. It's a tragedy. Look at this. {Points out place on pag^ he has been reading.) Charles Froh- man is the fellow we want. MacTaggart. All right. Charley'll do. Sanders [sitting at desk, slamming the ma?iuscript down beside him, and he lpi7ig himself to paper which he shows to Mac- Taggart, grinning). On his own paper ! 10 THE SUBSTANCE OF AMBITION MacTaggart. Make it good and strong. He'll swallow anything. Sanders. lYust me ! (^He writes, MacTaggart looking over his shoulder approvingly. Finally he holds tip the sheet. ^ How's that? Mac Taggart. Great ! Sanders {directing tlie envelope). J. P. Hudson — it is J. P., isn't it? MacTaggart. Yes. How are you going to send it? Sanders. Messenger boy, of course. Come on, lee's get one. {Seals e five lope ; rises.) MacTaggart. A hurry-up message. Important. Sanders. You bet ! {They go out l., laughifig. Enter, after a moment, Hud- son. He carries his hat.) Hudson. Faith, are you ready? Not here? {Calls.) Faith ! Faith ! Enter Faith, c. d. She wears a hat and gloves and carries her purse. Faith. Here, dear. Pve been down in the kitchen talking to Huldah to find out what we need. And I think, if you don't mind, that you'd better not go with me after all, dear. She is so busy, I hate to make her stop to answer the door-bell. We should have another maid. Hudson. Just as you wish, dear. Faith. And then, one of us ought to be here in case some one should come to look at those vacant rooms. There are three, now, you know. Hudson. I wish they were all vacant. The young men who were here this morning were very objectionable in appear- ance and manner. Why keep them here? Faith [gently). AVe need the money, dear. {Kisses hijn.) I'll hurry back as soon as I can. Good-bye, father. Hudson. Good-bye, little daughter. (Faith goes out l., turning at the door to throiu a kiss. Hudson waves cheerily to her, then turns toward the desk.) We need the money. Yes, yes. I suppose Faith is right. When the play is pre- sented this unfortunate lack of funds will be quite done away with. I must revise it and send it away again. {Sits at the desk and takes up the play, turni?ig pages.) No, I cannot re- THE SUBSTANCE OF AMBITION II vise it. It represents a lifetime of work. I can do no better — no better. {Shades his eyes with his hand and sits motionless. A bell rings off. lie raises his head wearily.) Tlie bell. Faith asked me to answer the bell. (Rises feebly and goes off, L. After a fnoment he returns with a letter in his hand.) A letter by messenger for me ! How very strange ! (He fumbles with the envelope, feels ifi his pocket for his glasses, and holds off the sheet, try i fig to read without them. Finally finds them and puts thetn on tremulously.') For J. P. Hudson, the boy said. Yes, it is certainly mine. [Reads with grow- ing excitement.) ''J. P. Hudson, Esquire. — Dear Sir: — Mr. Frohman is in town and wishes to see you at once to arrange for the production of your play, by an all-star company, in- cluding Mrs. Leslie Carter, Maude Adams, Hattie Williams, Sothern, and Faversham." What? What? {Takes off his glasses and polishes thejfi tremulously, then rereads, his face expressing first doubt and wonder, then lighting with joy.) "Wishes to see you at once to arrange for the production of your play." Mr. Frohman — production — Faith must read it. Faith ! Faith ! {Goes toward the door, calling, the?i returns.) I remember — she is marketing. My little girl ! My brave, patient little girl ! (Seats himself in the armchair, takes off his glasses, and polishes them violently.) How happy she will be ! If only her mother (He pauses for a inomentf staring straight before him, wistfully, then he smiles and nods his head.) Aye, she knows — she knows ! (He again refers to the letter.) "Wishes to see you at once " At once ! I must go at once ! Perhaps I would better not wait until Faith returns. (He rises and moves toward the desk ; then stops irresolutely.) But I want to see her face light up. How it will light up ! (Straightening up, he speaks as if ad- dressing some 07ie.) Faith, Mr. Frohman has bought the play. It is to be produced at once by a company of the most cele- brated artists in the country. (He sinks doivn on the desk- chair, chuckling and rubbing his hands.) My little girl ! — No, I might tell her casually. I might say, "Faith, I'm go- ing out for a short time. I must discuss the staging of the play with Mr. Frohman." Yes, yes, that would be better. How puzzled she will be. She will not believe me at first, — and then I'll let her look at the letter. She will want to keep the letter in her treasure-box with her mother's silk shawl — her mother's silk shawl. (He looks over the letter again.) Charles Frohman in town. I wonder where he would be ? He must tl THE SUBSTANCE OF AMBITION Stop at the Metropolitan. They can tell me at the box-office. Yes, yes. I'll go to the box-office first, so as not to lose time. (^Rises.) 1 ought not to wait for Faith. He says "at once," and the letter came by messenger. I ought not to wait. {He walks about irresolutely, stopping before the mirror over the mantel up l.) Eh, Mr. Frohman will find me looking shabby. I can't go like this — not like this. {He goes out r. and comes back immediately with another shabby coat over his arm. This he holds up and inspects critically.) I had not noticed how shabby my coats have become. But this is better, yes, this is better. {He laboriously removes the coat he is wearing^ hangs it over the back of a chair, and puts on the other coat ; then goes to the fnirror and carefully regards himself, pulli/ig at the collar, etc.) I must get a new suit at once, — several new suits. And Faith must have some new frocks, — some pretty, gay, new frocks. She's too sober. My little girl ! How happy she will be ! I must leave a note for her. {Crosses to desk and sits down. Brushes his coat- cuff with his hand, then ex- amines it, shaking his head.) Very worn — very shabby. Ah, here ! {Dips his pen in the ink and inks the worfi spots on the cuff, then holds it off to inspect it.) That's better — not so noticeable. Now for the note to Faith. {He pulls out a sheet of paper and poises his pen.) I'll put her off. I'll say that I have gone on business and explain when I get home. Then I can watch her face. [{ Writes busily, nodding and smiling to Jiimself.) Enter Faith, c. d. She carries a brown paper parcel which she lays on a chair near the door. She takes off her hat wearily and comes down, taking off her gloves, whe?i she sees her father. Faith. Why, father dear, I didn't see you. 'iii\jT>?,o-i^ {star ti?ig and turnijig joyfully). Faith! My little girl ! {He rises and stands holding to the back of his chair. He is shaking 7vith excitement ajid repeats over and over.) My little girl ! My little girl ! Faith {advancijig, troubled by his unusual ifiafiner). What is it, dear ? What is the matter ? Hudson {controlling himself with an effort). Good news ! Faith {eagerly). Oh, did some one come to look at the vacant rooms ? Hudson {i?npatiently). No, no ! Better than that ! THE SUBSTANCE OF AMBITION 1 3 Faith. Some one has really taken them, then ? Oh, father ! How splendid ! All of them ? Hudson. No, no, Faith ! It is nothing about the rooms. The play, child — the play ! Faith {clasping her hands, half frightened). The play, father ! What do you mean ? Tell me quickly ! Hudson. The play is — the play is (^Jle steps, his face working convulsively, and holds out the letter to her.) Faith (taking the letter and glancing quickly through ity theft looking up startled). But, father, this — this — I do not understand. When did this come ? Hudson. A boy brought it. And I must go at once. You see he says '' at once," and the letter came by messenger. Faith {tuho has been staring at the letter with groiving dis- tress, now puts out her hand to stay him). No, no, dear ! Don't go ! (^Turning away, to herself, passionately.) Oh, how could they ! Cruel ! Cruel ! Hudson. What's that, daughter? Not go? Why, of course I must go. What is the matter ? {Puzzled and dis- tressed.) I thought — I thought you would be so happy. Faith ! Faith {turning toward him pitifully, claspi?ig and unclasp- ing her hands). Oh, don't you see, dear? Mr. Frohman wouldn't send that kind of letter — with no signature — no ad- dress — no date Oh, don't you see, dear? He wouldn't write in that way ! Hudson {looking at the letter, dazed). No signature — why, no. But — {helplessly) what do you mean. Faith ? I don't understand. Doesn't he want the play ? He must want it, or why Faith {very gently). He did not send this, dear. To-day is the first of April — don't you remember ? Some one has done it for a joke, — ^just to tease you, dear. Hudson {staring at the letter). A joke — ^just to tease me — a joke {Suddeftly hirsts i?ito loud laughter.) Faith. Father ! Father, don't ! Hudson {his laughter dies away, and he sways slightly). A joke. Of course I should have known. {He puts out his hand gropingly.) Faith ! Where are you, child? 14 THE SUBSTANCE OF AMBITION (Faith takes his hand and leads him toward the armchair. He leans iipoji her heavily^ and sinks feebly into the chair. Faith kneels beside him, still keeping his hand ift hers. He stares before hifn unseeingly.') Faith (caressingly). Don't bother about it, dear ! Please don't ! Never mind about the play — or anybody or anything. We are so happy together ! Hudson {turning slo7vly and looking at her ; gradually a look of recognition comes into his dazed face, and when he speaks his voice is young and clear). Of course. So happy together. Faith is growing to be like you, dear, — very like. The same soft hair. {He touches Faith's hair gently.) Very like! {His hand slips down ; his head sinks against the back of the chair ; his eyes close.) Faith. Father ! {As he does not answer, she says again , with grozving terror.) Father ! Father / {For a mo7nent she gazes fearfully into his quiet face, then bows her head, hiding her face on the arm of his chair as) THE CURTAIN FALLS New Plays HIGBEE OF HARVARD A COMEDY-DRAMA IN THREE ACTS By Charles Townsend Five males, four females. Modern costumes ; scenes, two interiors and an exterior — the latter may be played as well in an interior, if preferred. Plays a full evening. A clever, up-to-date piece, well suited for amateur performance. No small parts ; all good. Good plot, full of incident, no love-making, no " heroics," interest strong and sustained. Based on a play that, in its time, had phenomenal popularity and can be strongly recom- mended. Price, 15 cents CHARACTERS "Watson W. Higbee, from Montana. Higgins, the butler. A good fellow with millions, who Eccentric Character. knowsneither fear nor grammar. NANCY WiTHBOW, the senator's Character Lead. daughter. An up-to-date, level-headed Hon. V. D. WiTHKOW, a blue-blooded girl. Juvenile Lead. ex-senator ivith a tall family tree and Madge CUMMlNGS,//-o?>i Montana, A a short bank account. First Old Man. quiet sort with temjier when needed. LoRiN Higbee, son of Watson. Cham- Ingenue Lead. pion athlete of Harvard. In love ivith Mrs. Ballou, the senator's sister frorn Madge. Juvenile Lead. New York, ivho meets her second affin- Theodore Dalrymple, called itp at the eleventh hour. Comedy. " Ted." Worked his ivay through Mrs. Malyina Meddigrew, origi- Harvard. In love with Nancy . nally from Missouri. Must always be Comedy Lead. shown. Comedy. SYNOPSIS ACT I.— The lawn at "Withrow's. A Jime afternoon. Planning a dou- blemarriage. ACT II.— Parlor at Withrow's. In a tangle. Cupid's arrows go wrong, and everything follows. Good-by, and a roaring climax. ACT III.— In Montana, five months later. Hard lines. " Thanksgiving to-morrow, and no chance to steal a turkey." The unexpected happens. Sudden wealth. " A Four-decker wedcUn' in a couple or three days." THE OTHER WOMAN A SKETCH IN ONE ACT By Ellis Kingsley Two females. Scene, an interior ; costumes modern. A clever and r©i fined sketch, strongly recommended. Very dramatic. Plays twenty min. utes. Price. 15 cents New Plays for Female Characters THE VISIT OF OBADIAH A FARCE IN TWO ACTS • By Eunice Fuller and Margaret C. Lyon Thirteen females. Costumes modern; scene, an easy interior, tlie same for botli acts. Plays an hour. A clever and original play, suited for school or college performance. Full of incident and oif ers a great variety of char- acter and great opportvmity for pretty dressing. Irish and negro comedy parts. Price J 25 ce?its CHARACTERS Mrs. Mehitable Coffin, wfio has Maria Amanda Van Allstyne- buried her husband and her brother. Smythe, named by her father. Mrs. Hiram Van Allstyne- Elinor Carmicha'el, Cecile's " chic Smythh, her sis fer-in-laiv. school friend." ^ Cecile Montgomery Van"! Mrs. Peter Van Bibber. ALLSTYNE-SMYTHE, WILHELMINA STUYVE.SANT VAN Clarice Du Mont Van | „ Bibber. Allstyne-Smythe, I t '^Jl^. Katrina Kortlandt Van Celeste Rockerbilt Van Allstyne-Smythe, CORALIE VANDERBECK VAN Allstyne-Smythe, ^ >by their mother. Bibber. Bridget. Dinah. Obadiah, Aunt Mehitable's bird. A PAN OF FUDGE A COMEDY IN ONE ACT By Maude B. Simes Six females. Costumes modern; scene, an easy interior. Plays twenty- five minutes. A bright little boarding school sketch, at once amusing and sympathetic ; tone high and quality good. Confidently recommended to young ladies as an effective piece easy to get up. Price, 15 cents MAID TO ORDER A FARCE IN ONE ACT By Helen Sherman Griffith Six females. Costumes modern; scene, an easy interior or none at all. Plays half an hour. A bright and vivacious little play of boarding school life, suited for young people and sure to please them. Clean, refined and confidently recommended to the best taste. Price, 15 cents ^ ^ n nift 'iQCi dRR 6 # IF