■t ? h Z734 PRICE 1^ CENTS, DE WITT'S ACTING- PLAYS (Number 195.) ROSEMI SHELL. A TRAVESTY, FOUNDED ON THE MACKAYE-BEUM MELODEAMA OF THE UNION SQUARE THEATRE, NEW YORK, " ROSE MICHEL " (PEAYED DURING THE SEASON OF 1875 AND 1876.) By SYDNEY ROSENFELD, Author of " Off the Stage," " Mr. X," " Sweet Sixteen" " Success" (founded on Paul Lindau's ' ; Ein Erfolg "), etc. ; and Adapter of " Money and Brains " (De Wilt's " Ultimo"), " High C." " On Bread and Water," etc., etc. TO WHICH ARE ADDED, A description of the Costumes— Synopsis of the Piece— Cast of the Characters — Entrances and. Exits— Relative Positions of the Performers op. the Stage, and the whole of the Stage Business. »N. Author's -Editio: ALL ACTING RIGHTS RESERVED. SPECIAL NOTICE.— This play is published for the author; by whom it has been copyrighted. No parties are privileged to perform it without the author's consent. |T t to - 2 r R : ROBERT M. DE WITT, PUBLISHER "~(A W No - 3 3 Hose Street I RU]Ti; OR,THE FIRST GLASS. A Temperance Drama. In IkOW Four Act*. By Wm. Comstcck. Price 15 cents. KEAI>Y. j MY WALKING PHOTOGRAPH. A Musical Duality. In One *■ Act. By Alfred B. Sedgwick. Price 15 cents. DE WITT'S HALF-DIME MUSIC OP THE BEST SONGS FOR VOICE AND PIANO. *HIS SEtRlES of first class Songs contains the Words and Music (with the Piano accompaniment) of the most choice and exquisite Pieces, by the most able, gifted and most popular composers. It contains every style of good Music— from the solemn and pathetic to the light and humorous. In brief this collection is a complete Musical Library in itself, both of Vocal and Piano-Forte Music. It is printed from new, clear, distinct, elegant Music Type, on fine white paper, made expressly for this Series, and is published at the low price of Five Cents. Remember, Each Number contains a Complete Piece of Music, beautifully printed on Sheet Music Paper. knj Twemty Pieces mailed on receipt of One Dollar, postage paid. I3T- BJLEASE OBBEB BY THE NUMBERS. -» Address, a. H. DE WITT, Publisher, S3 Rote Street, JV. T. SENTIMENTAL SONGS AND BALLADS. No. 3. S. 14. 16. SO. at. S3. S5. S6. 31. 33. 35. 3?. 39. 41. 43. 45. 4-7. 49. Composer. Lover's Lett*r-Box Wrighton. Thy Voice is Near Wrighton. Blue-Eyed Violets Jackson. The Maiden and Her Llaaet. Montgomery. Soft Dew is Sleeping Barker. When the Roses Blow Allen. Beautiful Bells Coote. The Mother's Dream Sullivan. My Spirit Star Young. Little Maggie May Blamphin. The Vagabond Molloy. My Heart is O'er the Sea. .Clarlbel. Maggie's Welcome Clarlbel. Dreaming of Nellie Hogett. Five O'Clock in the Morning, Claribel. She Came and Vanished Like a Dream Boucher. Meet Me in the Lane Blamphin. Tapping at the Garden Gate. Sleeping on Guard Wrighton. Summer Dew Barker. Oh. My Lost Love Plumpton. No. Compoter. 51. Far Away Blisa. 55. Jess Macfarlane Tucker. ST. Yes, I'll Meet Thee, Dearest. Blamphin. 59. flattie Bell Webater. Ol. Whisper «« Yes," or "No," Love. " Adele." 6«. Her Bright Smile Haunts Mo Still Wrighton. 63. Oh. Cast that Shadow from Thy Brow Tucker. 64. Love I¥ot Blockley. 65. She Wore a Wreath of Roses. Knight. "JO. Pretty Little Dark Eyes Parker. 75. When we went a Gleaning. Ganz. 74. Mary of Argyle Nelson. VS. What Did Little Birdie Say? Balfe. 76. Sing, Birdie, Sing Ganz. 78. Spring-Time of Life Jackaon. 79. Nightingale's Trill Ganz. Allow me to direct your atten- tion to the fact that I have just pub- lished a COMPLETE EDITION of BULWER'S DRAMATIC WORKS, suitable for the Library, in one volume, cloth, gold lettered, price One Dollar and Fifty Cents. DeWitt's Acting Edition Bulwer's Plays; being the complete Dramatic Works of Lord Lytton (Sir Edward Lytton Bulwer, Bart), comprising "The Lady of Lyons ;* c Money;" "Richelieu;" "The Rightful Heir;" "Walpole;" "Not So Bad As We Seem;" "The Duchess de la Vallierre." From the author's original text. An entirely new Acting Edition. By John M. Kingdom. EOBEfiT M. DE WITT, Publisher, 33 Rose Street, N. Y. Now Ready,— Tennyson's Great Play, QUEEN MARY. Properly prepared for the Stage. The only Acting Edition in the market. Price 30 Cents, being a double Number (181 and 182) of De Witt's Act- ing Plays. *** Be sure to order " De Witt's Acting Edition " of above plays. KOBERT M. DE WITT, Publisher, 33 Rose Street N. T fiOSEMI SHELL ; OK, MY DAUGHTER ! OH ! MY DAUGHTER. A NEW AND ORIGINAL EMOTIONAL, SENSATIONAL, GROTESQUE, INCIDENT AL, TRAGICAL, MAGICAL, FARCICAL, MUSICAL, CONTEMPORANEOUSLY NON- SENSICAL : ' WHAT YOU MAY NAME IT ;" EXECUTED WITH MAL- ICE AFORETHOUGHT, AND BASELY BASED UPON THE STEELE- BLUM MELODRAMATIC SUCCESS OF UNION SQUARE. / By SYDNEY ROSENFELD, Author of " Off the Stage," " Mr. X," " Sweet Sixteen," " Success " {founded on Paul LindaiCs li Ein Erf dig "), etc. ; and Adapter of *' Money and Brains" {De Witt's " Ultimo"), "High C." " On Bread and Water," etc., etc. AS FIRST PERFORMED AT THE EAGLE THEATRE, NEW YORK, JANUARY, 1876. TO WHICH ARE ADDED, A DESCRIPTION OF THE COSTUMES CAST OF THE CHARACTERS — SYNOP- SIS OF THE PIECE ENTRANCES AND EXITS RELATIVE POSI- TIONS OF THE PERFORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. ^uthor's Edition. ALL ACTING RIGHTS RESERVED. SPECIAL NOTICE —Parties wishing to produce this travesty are particularly in- formed that it is necessary to obtain the author's consent. NEW YORK: ROBERT M, DE WITT, PUBLISHER, No. 33 Rose Street. (BETWEEN DUANE AND FRANKFORT STREETS.) Copyright, 1876, by Sydney Rosenfeld. ft 7h /iA 2 K0SE1II SHELL. ^ \ A THE DISTINGUISHED ARTIST AND MANAGER, MATT MORGAN, TO WHOSE GENEROUS FRIENDSHIP I OWE THE FIRST INTRODUCTION OF MY PLAY TO THE THEATRE WHERE ITS MERIT WAS RECOGNIZED, I GRATEFULLY DEDICATE THIS TRAVESTY, WITH MANY AND SINCERE WELL-WISHES. SYDNEY ROSEN FELD. SOLID CAST OF CHARACTERS. {Cast Iron-ically.) As performed at the Eagle TJieatre, New York, Jan., 1876. Count de Ferny (the necessary Thome to every Rose; a gal- lant mister, but a victim to Ey-Linge of cruel mystery) .. ,Mx, Larky Tooley. Baron de Bestfille (a roue, who gets his best Jilte of life be- fore the play begins, but has cause to roue H before it is over) Mr. Jas. F. Crossen. Baron de Morris-and-Essex {Prefect of the Seine, perfectly inseine, who gets himself into a Parselle of difficulties by managing too many stages at once) Mr. James Bradley. Piermi Shell (a miserly barkeeper, a fearful scamp ; in fact, as you will find ou f if you stay in long enough and live to see it, a villain of the deepest die) Mr. G. H. Macdermott. Mule-in-Hay, with a cold in the head (his servant, called the Sneezer, because that's Sneezer way to cull him) Mr. John "Wild. Andrew (a nice little fellow for a cent, very fond of "spoon," but not of the bitter dose that often comes with it) Miss Louise Franklin. Baroness de Bestfille (supposed to be married to the Baron, and retired from the humdrum of life, though vjhyf she's the Baron's wife she shouldn't live with him is a con-humdrum) Miss Marie Gorenflo. liosemi Shell (the wife of a husband and the mother of a daughter, who suffers with violent emotion and the new DJsarle system — though the last is a noodle sort of system to suffer with and enough to Mackaye man swear) Mr. G. Eh Fortescue. Susie (the daughter, oh, the daughter, who clings to her lover with wu-Varian devotion) Miss Millie Cooke. Supers, White Guards and Black Guards. S£2T SPECIAL NOTICE.— This burlesque has been copyrighted by the author, Mr. Sydney Rosenfeld Partif.s desirous of producing it will take particular notice that it is first necessary to obtain the auUtor's consent. R. M. De Witt, Publisher, 33 Rose street, New York. t%r Z^SZd KUSKMI bili.LL. SCENERY. Scene J. —Local -street scene in 2d grooves. Scene //.—Kitchen — full set. Practicable staircase in the rear. Arched entrance . u. e. Practicable steps leading up to door l. Door it. I I _ \ I Arched Entrance. Door, Stairs, Table and Chairs. Steps. — Door. Scene III. — Handsome drawing-room in 2d grooves. Scene IV.— Full set Distant view of Washington from old State Fort. Doors, pRic., b. and l. Set row in 3d grooves, representing ramparts of the fori ; view oi i/uloniae by moonlight beyond. Door. Door, COSTUMES. {Of some Century or other; it may be the eighteenth, wilh a Centennial flavor.) Count de Feeny.— Square-cut court «cat, velvet, gold lace; knee breeches, satin; silk stockings, and shoes and buckles ; powder or wig ; sword. (Cloak in last scene for the escape.) Besteille.— Same as above, various coloring to suit. Morius-and-Essex.— Knee breeches, satin ; silk stockings ; and upper portion of costume and head to resemble Kelso, Chief of Police. Piermi Shell. — Square-cut mulberry-colored coat, long and ragged, with a vest, square-cut, variegated figured, cotton old flannel bed curtain chintz, and old moleskin knee breeches ; gray homespun stockings ; short English gaiters up to middle of calf ; slouched hat*, long iron-gray hair, bald on top. Make up cadav- erous face. Mule-in-Hay.— Full trunks, red ; brown square jacket; shirt rough ; blonde wig; slouched hat. Make up white face, red nose, to represent a cold in the head. An Dr.r.w— Square-cut plain eloth coat ; knee breeches, with stockings; three cor- nered hat. Baroness. — Blaek velvet train dress, and bag wig. Bosemi Shell —Neat brown French peasant dress, trimmed with black veivet ; high black velvet peasant cap, trimmed with brown; red stockings ; shoes and buckles ; white fLVtien<2 la Marie Antoinette. Susie. -Modern s hool-girl pinafore and short clres.^ ; hair crimped and hanging do^n back. fupz::.s ■- French Gens d'Armos, with i.irh srulesQue hats. ROSEMI SHELL. PROPERTIES. Swords; prayer-book; letters; pawn-check, and lottery ticket ; huge bag- of gold; large dog tied to rope ; cards ; glasses for drinks, and waiter ; poison-powder ; daggers ; lump of glue. SYNOPSIS, AND AUTHORS PREFACE. This play claims to be a travesty of the melodrama, " Rose Michel," as produced at the Union Square Theatre, New York, during the season of 1875-'76. As there presented it is the joint work of Messrs. Ernest Blum, and James Steele Muekaye. To the latter gentleman is due the credit of having eliminated all that was lepul- sive in the situations of the original French play. In this burlesque, the plot of the Maekaye-Bluin drama is indicated in the absurdly strong light that travesty de- mands. The mother's extreme love of and devotion to her daughter, gives this parody its second title, ' k My Daughter I Oh, my Daughter V 9 The author has attempted, in the brief space allotted him by the theatre tor which his work was written, to make his text as pointed and amusing as was consistent with the main idea of the plot. The very favorable manner in which " Kosemi Shell" was re- ceived by the manager, and the ladies and gentlemen of his company, leads the author to hope that his lines in printed form may meet with a fair share of the reader's appreciation. No songs have been introduced the words of which do not form a portion of the text ; consequently, those that are here published have been copyrighted with the rest of the play. The characters of " Roskmi Shell " are of almost equal importance. The scenery is local, and is here given as arranged at Mr. Josh Hart's beautiful theatre, " The Eagle," under the artistic supervision of Matt Morgan. The author begs leave to return thanks to the management for the generous manner in which his play was placed on the boards. S. R. TIME IN REPRESENTATION-FIFTY MINUTES. 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 running 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 Grooves. B. R. C. C. L. C. L. The reader is supposed to be upon the stage facing the audience. EI£F* SPECIAL NOTICE,— This travesty has been copyrigldtd by the author, Mr. Sydney Kosenfeld. All acting rights are reserved. Managers desiring to produce it should address him, care of the Publisher, R. M. De Witt, 33 Pose st. ROSEMI SHELL; OR, MY DAUGHTER! OH! MY DAUGHTER SCENE I. — Street Scene {somewhere on the globe.) Enter Baron de Bestfille. He comes tripping jauntily down, and speaks most of his lines in a flippant, burlesque manner. Bestfille. Aha! oho! likewise ahem ! In yonder There dwells the one I love, of whom I'm fonder Than of the world and all. Would I could do some Bold act to win her back wife of my bosom. Wife, did I say ? Alas ! I must repel her, For though she's mine, she's got another feller! She loves me not because I love too many. What folly that is ! why, I'd love not any Unless I loved as many as t sought for. I'll love all that my money can be bought for. But soft ! methinks I heard a gentle voice. Perhaps 'tis she — my own, my heart's own choice. {looks off, k.) Can she have left her house, me in the lurch 1 By Jove ! 1 see her coming out of church. I'll seek an honest place where I can -hide, Where, till the proper moment comes, I'll bide. {to audience) When I say how-nest place to bide in, I've no allusion to the thought, nest-hidin' ! {he goes up stage to the side.) Enter Baroness, l. u. e. {slow music). She carries a prayer-booh in front of her, and comes musingly down ; speaks very impressively. Baroness. Ah, from the mass I nave this moment come, And pious words still in my ears do hum ; Just let me think now what the preacher said ; His thoughts were beautiful — oh, my poor head, I can't recall his words ; yet, bliss of blisses, I'm sure he spoke of paroxysmal kisses, And ah ! the smile that beamed upon his face When he discussed the thought, "another's place." I do not quite remember how't began, ^ But he said something 'bout a better man. to UOSKVI s;::ll. Bestfille hurries from his hiding-place down to her. She starts. Best, (mi extravagant violence). What ! dare you tell me, woman, to my face That there's a better in your husband's place ? Bar. Eh 1 {bewildered) Who are you, strange man 1 begone, and hush. You naughty thing, you really make me blush I Best. Begone 1 I'll not, nor any other be, Until you come and go along with me 1 Bar With you ! Best. Yes, and at once obey ; For I'm your husband ; mind now what you say. Bar. My husband! mercy, can such things exist] Best. They can and do. {he clutches Iter hand.) Bar. Oh, stop ; you'll hurt my wrist. Best. Come ! I'll wrist-store you to your huggie's arms. Come on, sweet creature ; hush your wild alarms. Bar. I won't. Best. You must ! Bak. I woivt, I say I Be t. But I say yes, so come. Enter, boisterously, Ferny from palace, R. Tie dashes wildly doum, sjn*eads out his arms, draws sword, and cries Ferns' (burlesque melodrama). Stay l villain I stay I Best, (releasing her). Who bids me stay 1 I'll not — my blood is rial Bar. (mi Ferny's arms). Is it my darling 1 Fern, [to her), Of course it is. Best. Did you say corset ? ah, that's good for you. When you say stay, why, that's a corset too t Fern. I have no time for idle jest jest row. Best. Then get you gone, and give me back my frow. Fern. What do I hear % Speak, woman— art his wife 1 Bar. 1 art; but I love thee. Best, [drawing sword). I'll have thy life. Fern. You will 1 Not much, i guess. Lay on, old hoss, And damned be he who first cries, '• Let up, boss." (fliey make a jew thrusts.) Enter Morris- axd-Es sex, r. it. e. Morris (up the stage, calls out). Put up your arms f (coming down) Aye, and your elbows too. Fern, (to Bestfille). Say, stag his nibs. r. to Morris). Old Squeezix, who are you I Morris. I'm pn feet of the Seine. I'll have no chin j Do as I bid you, or I'll run you in. Best. What were those words % It sounded very plain, As though he said, "I'm perfectly insane'" Fern, [to Morris). I'll tell you, prefect, what the trouble is, This lady here is Best, {interrupting).) Mine ! Morris. Yours 1 Fi rn. ( jceringly). His 1 Morris to Baroness). Whose wife, good woman, are you anyway ? Bi ST. Say mine. KOSEMl SHELL. i Bar. No longer. Morris, {pointing to Ferny). His 1 Bah. [coyly). I hope — some day. Morris. Explain yourself, and stop th' immoral scene, And say in Anglo-Saxon whose you mean. Bar. Well, then, I am — but no, that's not the thing. I cannot speak it; won't you let me sing ! SONG. — " Virtuous Though Free '' To the air of " Pas Ca 9 " Madame L'Archiduc. Oil, folldi-roldi-lorril ! oh, don't think me immoral, Although you have a quarrel to learn whose wife t be ; The secret of this bother, I'm neither one nor t other, Nor sister, wife, nor mother, For Love they say is free. But ah, you can't, with all your quarrel, Prove in court that I'm immoral ; For this much I can say flat, No protection have I needed, For no man has yet succeeded Even in obtaining that, (bites her thumb and coquettes tvith audience.) Chorus. — Not that ! not that ! etc. (repeat, with thumb business.) [Omnes repeal chorus, and exeunt. SCENE IT.— Kitchen in Piermi' s house. Enter Pibbici — he comes down stealthily to the footlights , then draws him- self up, and speaks m tragic tones, with mock imprcssiveness. Piermi. My name is Piermi — but know all as well, I'm shclldom mentioned other than as shell! Although my wife, the madam, i despise her, Says I am nothing but a shelfish miser. Shellfish! Ha, ha! I bet her silly prate Means that I am a little lobs' er-imte In paying over cash for dress and sham, I hate such idle show, 'taint worth a — straw ; But ah, my gold, my precious, precious gold, (goes to trap-door, r. 2 e., and lifts out huge bag) How many blessings have for thee been sold! How many men and women have for thee, Sweet precious darling, gold, been sold by me 1 I've sold them all for thee, thou glittering gold, But thou my soul, for all this hast consoled! [lie hugs and hisses ths bag in extravagant rapture) Thou feast for peasant, prince, and all the nation, Hard money, hard to get ! curse to inflation. (Mule-in-Hay heard sneezing and coughing, without) But some one comes, sweet life and iove, away ! [bag disappears) Enter Mule-in-Hay ; sneezes. Well, what do you want, you sneezing Mule-in-Hay ? Mule's nose is red, he wears aflanne 1 rag tied around- his neck, and bears sundry other marks of a cold. He speaks through his nose, soundi g bfor m, and dfor n. TtOSEMI SHELL. Mule. Kind master — (pshciv) now who'd you 'spose Has sent me here 1 {sneezes) Wait till I blow by dose, (bloivs his nos! to music.) Pie :. Speak, speak ! who sent you here, was it your Missis ? (Mule shakes h's head) Not 1 Then my daughter, (Mule shakes his head) or her lover 1 (Mule shakes This is Getting m motonous ; damn it, boy, speak ! Mole. Wait till I stop by dose ; it's got a leak, {business.) Pfer. Tell me, you scoundrel — hear me — (ell me, tv/to, sir 1 Mule. P ease, sir it was — ah some — (sneeze) some foreign snoozer. Pier, (aside). A foreigner ! who can it be \ No doubt He brings me gold, I'll have the secret out ! (aloud, to Mule) Go tell him come, at once. I'll 'wait him here ; Bid welcome to the new rome foreigneer ! Mule. A, far an near ! much better far than near. What business has a foreign snoozer here 1 Ha ! let a snoozer in 1 No, not for Mike, He's got a look about him I don't like ! (sneezes violently.) PrER. (enraged ). You wretched sneezer ! what is that to you, sir 1 Mule, (half aside). I'd rather be a sneezer than a snoozer 1 Pier Don't dare to argue, you catarrhal wretch, But dang it, go, the foreigner to fetch ! [Hastens him off, a, then exiis, l. Enter Andrew, leading on Susie. Andrew. Come on, sweet Susie, darling, laugh and cheer up, Be always Susan, love, my Susan-syrup. Susie. Yes, darling, well I know what I should be ; But oh, my love, I'm thinking sad of thee. And. Sad, darling, sad ] Oh, no, that must not be. Su^ie. Well, listen, then, my dear, and you shall see, My precious Andy, Pandy. Handy, Andy, My sweet, delicious stick of sugar candy, How oft you've praised my face, and, with caresses, Admired all this hair that you called tresses ; But, darling, 'tis the thought of my back hair That fills my soul with grief, my mind with care, For, tell me, will you think me still as fair When this here hair will be no longer there; In fact, when I have lost these locks, so called, Say, " will you love me, darling, when I'm bald % " SOXG. Ant.—" Will You Love Me when Tm Old? " I would ask of you, my darling, A question soft and low, That gives me many a heart-ache, As the moments come and go ; I know that now you love me With a love that's passion called; But this U what I would ask you. Will you love mo when I'm bald 7 Bui this is what I would ask you, Will you love mo when Tm bald 1 liOSEML SHELL. CHOUUS. We'll soon be gone forever, Unto other regions called ; But ray heart will know no sadness If you'll love me when I'm bald. Andrew. Darling, do not ask conundrums, I've told you oft before Your getting bald will only make Love like mine grow more and more ; Though each single hair be missing, By your head my heart's enthralled, Though you have to wear a wig, clear, I will love you when you're bald. Though you have to wear a wig, dear, I will love you when you're bald. CHORUS. We'll soon be gone forever, Unto other regions called ; But your heart will know no sadness, For I'll love you when you're bald. [They walk off, r. Enter I&vstyil'lk, followed by Mule, who drays on a monstrous bull-dog, tied to a rope. Best. Where is the lovely maid ] Send her to me, sir ! Mule. I'll see you blowed first, (sneeze) Here catch him, Cresar ! Best. Then send her father here that I may court her With gold Enter, wildly, Rosemt. Music. R sis. {tragic attitude). My daughter ! oh. my daughter! Blst. Halloa! She's got them bad ; there's something wrong. (to Mule) Clear out, you wretch, and take that dog along. (pushing) Go, hurry, lazy bones ! go, travel faster ! And quickly hither send your Mister Master! Rose, (wildly). Where is the one I love ; oh, who has caught her ! 0, give me back my daughter ! Oh, my daughter ! Mule, (tying rope of dog to table-leg). I'll leave this bull-pup here till I come back. (to dog) If he behaves not well, just sick him, Jack ! [Exit. Rose, {still wildly). And have you, villain, hither come and sought 'er ? My daughter, darling, darling; oh, my daughter ! Best, (aside). She acts as though the roof were falling on her, I really think there's something crawling on her ! Enter Piermi. Ha ! glad to see thee, Piermi ! know the news 1 To win a fortune, would'st thy daughter lose, And let her be my wife Pier. Hush ! not so loud — Th' old woman's watching! R ( > ; cmi, " blea.se so oucL" 10 SHiLL. Rose, {sty ikes attitude). Base wretches, both, with shame you quiver oughter ! And would you sell ray daughter 1 Oh, my daughter! Brst. No, Madam — sell the damsel ! No! be ca(l,ni! Pier, (aside). Egad ! I had much rather sell the dam ! But dams they say as well as damsels old, Are, so experience shows, damsel clom sold! Best. Well, sir ! Pie ii. Wife llosemi ! leave the room at once, And don't be dancing round here like a dunce, (push'ng her Up to L. D.) Rose 0, let me throw myself into the water! For they would steal my daughter ! 0, my (laughter ! [Exits. Pier, {moves table and chairs, c, sees dog). Why, thunderin' lightning! what confounded noodle Has hitched this table-leg to that 'ere poodle? Loosens the rope — exit dog. They are about to seat themselves at table — Rosemi sticks her head out through the door, and sings to the chorus of " Pull down the Blind. ' SONG. Don't think I'm blind, don't think I'm blind ! Oh, I am not at all one of that kind ; Though you are left behind, bear this in mind, Some one is looking ! oh., don't think I'm blind ! (speaks) " My daughter! oh, my daughter!" (disappears.) Pier, (hurries to the door and locks it. They seat themselves Piermi draws oat. a pack of cards. Storm is heard it di lance . Let's have a game. Best. All right, begin Pier, (shuffling cards). But say Best. How much do you want for her? Pier. How much'll you pay? Best. I'll give you sixty thousand down in cash ! Pier. (Your deal) ! No, no, my boy ; the thing won't wash ! No, no ; indeed ! I tell you flat, I shan't ! Best. Then dang, it fellow, how much do you want ? Pier, [after a pause — he shuffles the cards) One hundred thousand — (pause) — here, cut ! Best, (jumping up, l. c, in amazement). Shell ! Shell! Shell! You're off your nut ! Pier. Sneezer! (calling of r., then to Bestfille). What do you want to drink 1 Bel-t. Gin cock-tail with some lemon-peel I think — Won't you take less Pier. No ; talking is no use ! Sneezer, one cock-tail, and one Santa Cruz ! Just go to bed, and think the matter over ; The girl is cheap, if you do really love her. (they rise) Vuu look fatigued, and are so, I presume ; I'll have your cock-tail brought up to your room ! S > go to bed now, think about the price ; t know you will say yes — take my advice t. (tjoinp up steps, off l ). I'll think the matter over, and I guess To morrow I shall give my answer, "yes." \Rrits. Pier. To-morrow! ah, methinks my plan's the way EOSEMI SHELL. 11 Whereby your morrow will be yesterday, And you will wish your " yes " had answered been, Before the y*s-terday you'd ever seen ! Enter Sneezer, with drinks. Give me the cock-tail, {pouring in a powder to lightning) Put more sugar in — 'Twill give a better flavor to the gin. [Sneezer takes gin into room, returns, and exits. Pieu. {takes his drink, then goes to the table and takes out two b>g butcher knives). Come, potent daggers, to your wealthy plunder, And help me, instruments of blood and thunder ! {music, and thunder.) Rosemi enters, as he creeps towards door, through secret entrance She fol- lows his steps in burlesque imitation, and watches him go into room-- then sings. SONG.— Don't Think I'm Blind. He-enter Piermi ; starts as he sees Rosemi. He holds the red knives alof, then drops them. Rose. What have you done 1 ! wretch, I saw you ! Pier. (Jiercelg). Be silent, woman, or by Jove I'll claw you f {sings.) SONG. Air. — " Stolen Kisses from Girofle /" What do I care for your spying, For your chin or for your jaw 1 Though there can be no denying Of the bloody deed you saw ? What do J care for your spying, What care I for what you saw — For your prying, or your lying, For your chin or for your jaw ? {speaks tragically) Because I dare you, woman, though you chose, I dare you, double dare you, to expose ! Enter Susie and Andrew. For there is one who loves me, you have taught her, Behold her there ! ( pointing to Suste.) Rose, {rushing wildly into her arms). My daughter ! Oh, my daughter ! Enter Mule — sneezes. Mule. Where is my missis 1 Every where I've sought her ! Rose. Oh, oh! my daughter, darling ! oh, my daughter ! Pier, {grindingly). Her daughter! she onghter have taught 'er in- stead of to prize me To sorter, well — onghter — have taught 'er perhaps to despise me ! 12 ROSEMI SIIKLL. All sing Chorus. What does he care for our spying — What does he care what we saw % For our prying, or our lying, For our chin, or for our jaw 1 Repeat, then they all dance. Finally, Susie tumbles into Rosemi's arms, who cries : " My daughter ! O, my daughter ! ' Scene closes in. SCENE ILL— Chamber in the De Ferny Pal ace, handsomely painted flat. Writing-table to be carried on. Large doors in c. Enter Morris and Ferny. Ferx. What horrid news, say you has been transmitted 1 A rank offence in our ranks committed ! Mor Ay, and a nobleman the victim is ! The Baron Bestfllle — oh, how sad it is ! Ferx. 'Tis sad, but still I've heard great many moot That lie was nothing but an old galloot. Mor. Young man, beware, you know not what you say, If a policeman heard you, you would have to pay Most dearly for these words — for so detected You will as criminal be first suspected. So, mind your eye — I must from hence be getting, To buy my chances in a pool-room betting ! [Exit, R. Ferx. I'll to the Baroness's chamber haste, She is a widow now ; no time to waste ! [Exit, Enter Rosemi, c. Rose. Oh, ma . oh, may ! oh, me ! oh, my ! oh, mo ! I am the worst used of ge-nus homo ! Oh, mo ! oh, ma ! oh, may ! oh, me ! oh, my ! I am so sad I really want to cry ! That act of Shell's so bad. I'd like t'have hissed him ! But oh! that isn't down in Delsarte's system. Upon the victim's body there were found These papers here — Shell dropped them on the ground. I picked them up — I've brought them here! I know They are the Count's, his name is on them ; oh, Is it for this my husband dealt in gore 1 A pawn-check — four-eleven-forty-four ! Oh, mercy on us! can't one's life be hid 1 To think for this, my Shell has murder did! It grives me sore to know for sor-did greed, That is no sort o' gain, he sort that deed ! I'll bring these treasures to their first head- quarter ; Then give me back my daughter ! Oh, my daughter ! [Places the papers in table-drawer, and exits, R. Enter, hurriedly, Morris, l. ; holding Ferny by the throat. Mor. Deceitful wretch! Assassin! is it true, The Count V>e,x\flle has emptied been by you? Ferx. Unhand me! What! Great rocks ! A murderer, I ? Groat thundering Keeley motor, it's a lie! EOSEMI SHELL. 13 Mor. Ah, but the proof, 'gainst which you are not proof \ The evidence of crime's beneath this roof! Fern. Where, liar, where 1 Show me! Mor. This way ! Pawn-ticket ! that's the first, next, so they say, Four-eleven-forty-four — these things were stole, And you possess them. Shell has told the whole! {goes to table and takis them out) Ah, Shell spoke true ! Here, villain ; son of Adam ! Fern, {aside, baffled). By gum, they're there ! I thought old Bestfille had 'em ! Mor. Your doom is sealed; to prison you must go, There to be sentenced. Guards without there, ho ! Enter Guards. Here, seize the villain ! for the crime is his'n, And to the Tombs straightway take him to prison. (Guards seize him) Don't stop to argue, 'tis no use ; away ! [tarns aside. Music.) Enter, wildly, Rosemi. Rose. Stay — stay — stay! {tragic flourish) Stay! {gasping for breatli) The world all lies! my blood at last has risen ! You're cartin' oif a guiltless man to prison — Hr did not do the deed ! The crime's not his'n ! Another did the deed ! one old and wizen. Don't hang the young man, oh ! the crime's not his'n ! Don't, by \mstake, the young man take to prison! Fern. 0, save me ! tell them who the murd'rer is ! Enter Piermi, c. Pier. Don't be so fresh, young man. just mind your biz. Rose, [tragical). At sight of him, great lands, my brain grows wild ! Behold the Pier, {silencing her with a gesture). Cheese it! (speaking of) Come in here, my child. [Music. Leads on Susie, followed by An- drew.) Here is our Susie, and her young escorter ! Rose, {very wildly). Oh, oh, oh, oh ! my daughter ! Oh, my daughter ! Enter Mule, dragging on dog ; Rosemi falls quivering and gasping at Susie's feet. Mor. Away to prison, the crime is his'n ! The crime is his'n, away to prison ! (the Guards lead him off — repeating to music several times) Omnes. Away to prison, the crime is his'n ; The crime is his'n, away to prison! Positions. Rosfmt, c, on floor. l. r. r c. l. c. Mule. Piermi. Susie (kneeling). Andrew. Dog. Morris. Piermi dances about Rosemi' s body, singing. 14 ROSEMI SHKLL. SONG. What do I care for your spying, etc. (Morris and Mule join in.) Chorus. — What does he care, etc. Rosemi revives, is raised by Susie and Andrew, bewildered for a moment ; as she is being led off', L M recovers in a fit of rapture, and exclaims, hug- ging Susie : " My daughter ! oh, my daughter !" Exits, with, Andrew and Susie. The others follow, with Piermi and Morris, arm-in-arm, dancing to the tune and words of chorus. Exit Morris and Piermi ; then exit Mule {with Dog), also dancing and singing. He sneezes as he goes off. SCENE LAST. — Rimparts of the old State Fort, with a distant vino of Washington on the Potomac by moonlight. Enter Susie, holding a letter, % Susie. Unhappy me ! My Andrew writes this letter, And asks what mamma has that does so fret her. He fears there's something awful on her mind, And if there is, and he the cause can find, And learns that over me there comes disgrace, He'll never come again before my face. Alas. I thought for naught my love could leave me, Alas, I never thought he d so deceive me ! (spoken very sadly) Ah, when I think of all the things he's said That were so nice, my eyes grow moist, in bed, And I recall with burning tears that scald, His promise still to love me when I'm bald. [Exit, mournfully. Enter Piermi — he sings to the air of " The Scamp." SONG. The Darn'dest of Scamps. I flatter myself I'm a scamp, A double-dyed villain, egad ! A scally-wag, rascal, and rogue. And everything else that is bad ; I proved to my parents a bane, A perfect young fiend to my nurse, And every year that I spend on this sphere, I am getting from bad to worse. chorus. If ever there was an old scamp, I flatter myself I am he ; From William the Norman, to Brigham the Mormon, They can't hold a candle to me. When first I began to cavort, A tiny young shaver of six; The first thing I did of a villainous sort Was to smash all our kittens with bricks j ia;si 3i£ bii:.i.L. . 15 Just one year from then an old lien I captured, my age was but seven, I got a sky-rocket hitched on to her socket, And sent the old chicken to heaven. CHORUS. If ever, there was an old scamp, I flatter myself I am he ; From a Sunday-school teacher, to Henry Ward Beecher, They can't hold a candle to me. At twelve I was boss of the town, Had mashed every kid there was 'nigh ; Laid every lad low, with a fearful knock down, And given each one a black-eye; At twenty I worked in the banks. And was known as a deuce of a Salter ; One day — as they say — I broke loose from the ranks, And the papers all called me ;{ defaulter." chorus. If ever there was an old scamp, I flatter myself I am he ; From a free-loving Mormon, to Duncan and Sherman, They can't hold a candle to me. I have sworn, I have burglared, and stolen, I have chiselled and blackmailed, and lied ; In fact, I don't know of a crime every time, That I couldn't commit if I tried ! I flatter myself I'm a scamp, A deuced immense one, egad ! A doubled-dyed villain, and rascal, and rogue, And everything else that is bad. CHORUS. If ever there was an old scamp, I flatter myself I am he : From to the head of the Nixes, to the Boss of Big Sixes, They can't hold a candle to me. Pier, (speaks). My wife and Morris have apian on foot , And want me here on hand to help them do't ! They want to set that Count de Ferny free. Great Moses ! what will then become of me ! If I help him, then to the wall I'm jammed ; Not much, I guess. Ha ! if I do, I'm damned ! With Rosemi I shall have a tiff, that's plain — She's trying on her plain-tiff dodge again j I'll carry warning to the sup'rintendent, And close the carry- ere of the defendant. [Exit. R. Enter Mule-in-Hay, with Dog. Mule {very sadly). I bring unto the Count this terrier here, The last sad offering on this earthly sphere. My Pollywocr ain't pretty, but he's good, I've trained him proper, as a parent should ; 16 KOSEMI SHELL. When he feels in the mood lie can say " Thankee !" Can hold the fort like Moody and like Sankey ! Besides I've trained him to perform some tricks, To chew shoe-leather and to swallow sticks, And, what is harder still — lie's often done't — I've taught him how to wag his tail in front. His nose is moist, like mine, his eyes are grayish, He has a youthful Blum, quite Steele Mackayish. To thee, De Ferny, I this purp do send On pwpose to convince thee I'm thy friend. I'd like to give him (sneeze) in a speech well said, But, oh, this horrid cold here in my head ! {sneeze.) Sings, to the air of u Hildcrbrand Montrose" the following original Sneezing- Song. SNEEZING SONG. Copyrighted by Sydney Rosenfeld. I have a constant ailing dose, In vain I try to stop it ; I've used all ointments hot, and froze, To plaster and to prop it ; Sometimes I do dot bind it, But when to speak I care, And find I can't get started, It albost bakes be swear ! CHORUS. P'shew* — p'shew !* Oh, by poor dose ! By throat is hot as blazes, but the other parts are froze ; I'd like to tell a story of my troubles and my woes, But oh, I cannot do it — there's a stoppage id by doze ! Exit Mule, but returns to meet Morris, who enters. Mor. Ah, Mule-in-Hay, go set that bull-dog free, And tell your Mrs. straight to come to me. Mule (in a shrill voice). I fly, my Lord ! I fly ! (hands off the dog.) Mor. But stop, come back ! {giving him lump of glue) Take this cement ; your voice has got a crack, Just take that crack and have it close cemented ! Mule. He looks so serious, you'd s'pose he meant it ! A crack at me intended, it's a fact! But if this thing can fix a voice that's cracked, How would it do for me to send a bit To what's-his-name % his has got a split ! Mor. Your own is just as bad, you needn't taunt. Mule. But he can keep it up ; you know /can't. Moit. Keep up a voice so high ! I'd keep it down. Mule. Oh, that's Stuart on Robson ; I'd leave town If my voice lasted so perennial, Or else I'd box it up for the Centennial. [Exits, L. Mor. (calling off). Turnkey, send out your prisoner to me. * Sneeze ! ROSEMI SHELL. 17 ^ Enter Ferny. Ferny. Morris-and-Essex, can't you set me free 7 I am not guilty ; why then must I suffer % I am the victim of some other duffer. Can you not find some plea 1 — I hate profanity- — But damn it, man, can't you make out " insanity ?" Mor. Won't wash — been tried too many times before, Although perhaps in your case 'tmight help more, Because the judge and jury would not doubt you, You always have a crazy look about you. Fern. Don't guy me, please, for I your guidance need. Pray let me slip, and make believe I'm Tweed. Mor. No ; hold your oars and roars, I'll free you still, Although 'tis death to help a man who'd kill. Go, wait in there until the signal's guv, And know I yield my duty to my love ! Fern. Good 'nough, old man, I'll bet my boots on you! But tell me what and where you'll signal to. Mor. On yonder lower side, for that best suits. Await the cry of u Rumpty foozle snoots." [Hurries him off. I'll go now for a drop of soda water, And then I'll Enter Rosemi. Rose. Oh, my daughter ! oh, my daughter ! Oli, Morris, and oh, Essex, and owe all ! Oh, Crucible, and oh, A. Oakey Sail ! My husband, yielding to my prayers and hopes, Has promised to come here with lots of ropes, To help us — not to hang by, though he oughter; [aside) But hush — I nearly had betrayed my daughter. Mor. Here is the trap-door down which he must go. {after hunting for a trap-door) I've managed stages long enough to know Where trap-doors are, in fact, I have gone through 'em E'en since those far back days of Johnny Brougham. Rose. The time draws nigh for Piermi Shell to come ! Piermi ! Piermi ! {pause) All is still and dumb. Piermi is seen looking over back wall and pointing out spot to a Guard. Rosemi and Morris walk off in different directions very quietly, Pier, {sings). Don't think I'm blind ! {disappears.) Re-enter Rosemi. Sings to the waltz song of Girofle. Rose. Piermi Shell, Where are you, tell ? Why don't you come where you " had oughter" ? For don't you know, If you don't, oh, What will become of our beautiful daughter? Re-enter Piermi. At last, at last! He's come at last, at last! 18 HOSEMI SHELL. Re-enter Morris. Mor. At last, at last ! He's come, he's come at last, at last ! Re-enter Mule. Mule. At last ! at last ! at last ! at last ! at last ! \^ SE I At last we seize you, and we sees you last. Pier. You see shoe-last! 0, no ! you do not do't! I'm not a last, nor slipper, shoe nor boot. (Morris beckons — they go about mysteriously, looking for the trap-door, singing to the '* Conspirators' Chorus") CONSPIRATORS' CHORUS. Madame Angot. We'll find the place before we go, We'll find the place before we go, And then we'll dive way down below ! And then we'll dive way down below ! But give the sign, oh give the sign That shall define our meaning fine. Oh, umpty foozle-oozle — oh, shnoots ! Oh, rumpty foozle-oozle — shoots ! Oh, rump-ty — f-o-o-o-o-o-zle — shnoots ! Enter Ferny— -joins in. Oh, rumpty foozle-oozle — shnoots ! Oh, rumpty foozle-oozle — shnoots ! Oh, rumpty — fo-o-o-o-o-zle — shnoots ! They join hands and walk around the trap-door in a circle. Enter, from opposite entrances, facing each other, Andrew and Susan, dressed as the Light Shell Guard. They sing. SONG. Air. — " Skidmore Guard" We've made it up, w T e're friends again, are Andy and his Sue ; We love each dearer now than ever, and more true ! Though Pa and Ma may have a row, or get into a fight, We young ones never shall get mad, because it isn't right. March around and kiss. Deary, deary, Come right herey ! Kiss me, cheery Once or twice; That's right, honey, It's awful funny, But it's ever so nice ! After song they march to music, up c, and remain locked in each other's arms. The others come down, after having been walking round the trap-door, and KOiSEML SHELL. 19 then spread and right about. Ferny is led by Morris to the trap-door ; but just as he raises it, cries are heard without, and Piermi, l. 1 e.. claps his hands and shouts. Rose. (r. 1 e.). Oh, mercy on us all ! We are betrayed; (she sees picture of lovers embraced.) Enter Guards — they seize Ferny, and take him r. Oh, no ! not him ! At last my debt is paid, She's happy now ; her love has blessing brought her. Then let me speak, my daughter, oh, my daughter ! That man is not the man — your man crawls there ! A wretched murderer, a rascal rare. All fall back and look at Piermi, crouched at R. u. E. {he having sneaked round there during Rosemi' s speech.) He draws himself up, and then makes a run for opposite entrance. Mor. Aim, fire ! aim, fire ! Aim higher ! and fire higher ! Aim, fire ! aim higher ! fire higher ! higher fire ! Guards have fired. Piermi falls, c, over trap-door ; all but Guards dance around him, singing to the previous air of " Stolen Kisses from Girqfle." Omnes. He is dead ! oh, he is dead ! And it serves him right-ight-ight ! He at last has found his bed, So good night ! good night ! good night ! They repeat ; at the finish of second verse, Piermi jumps up and sings : What do I care for your lying, What care I for what you saw ^ For your — (about to dance.) Guard hurries doivn from back, and hits him over the head with stuffed rifle- butt. He falls flat, and dies. Omnes pointing to picture of Susie in Rosemi' s arms, up c. CHORUS. Air. — "Madame Angot." She's the daughter — she's the daughter ! She's the daughter of Rosemi Shell ; She's the daughter, darling daughter, She's the daughter of Rosemi Shell! {Repeat.) Lime light and Curtain in Tableau. i: Sweetest Shake ^pere, Nature's child Warbles his native wood-notes wild."— Milton. Jggp' Please notice that nearly all the Comedies, Farces and Comediettas in the following List of "De Witt's Acting Plays " are very suitable for representation in small Amateur Theatres and on Parlor Stages, as they need but little extrinsic aid from complicated scenery or expensive costumes. They have attained their deserved popularity by their droll situations, excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the most perfect in every respect of any edi- tion of Plays ever published either in the United States or Europe, whether as regards purity of the text, accuracy and fulness of stage directions and scenery, or elegance of typo- graphy and 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- Plays." & ® 2£|p Any of the following Plays sent, postage free, on receipt of price — fifteen cents./ Address, ' ROBERT M. DE WITT, No. 33 Hose Street, New York. DE WITT'S -a-GTZSTQ PLAYS. CASTE. An original Comedy in three acts, "by T. W. Robertson. A lively and effective satire upon the times, played successfully in America, at Wallack's. Five male and three female characters. Costumes, modern. Scenery, the first au4 third acts, interior of a neat room ; the second a fashionable room. Time in representation, two hours and forty minutes. NOBODY'S CHILD. A romantic Drama in three acts, by Watts Phillips. Eighteen male and three female characters. A domestic drama, wonderfully successful in London, as it abounds in stirring scenes and capital situations. Costumes modern, suited to rural life in Wales. Scenery is wild and picturesque. Time in representation, two hours and a quarter. £100.000. An orip-inal Comedy in three acts,^ Henry J. Byron. Eight male and four female characters. A most effective piece, played with applause at Wallack's. Costumes of the day. Two scenes arc required— a comfortably furnished parlor and an elegant apartment. Time in representation, one hour and three quarters. a DE WITT'S ACTING PLAYS. i DANDELION'S DODGES. A Farce in on© act, by Thomas J. Williams. Four male and two female characters. A rattling- piece. The part of Dandelion excellent for a low comedian. Costumes of the clay. Sce- nery, a picturesque landscape. Time in representation, fifty minutes. 5 WILLIAM TELL WITH A VENGEANCE; or, the Pet, the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. Eight male and two female characters. Replete with telling allusions. Cos- tames of the period of the middle ages, grotesquely exaggerated. Five y scenes in Switzerland. Time in representation, one hour, 6 SIX MONTHS AGO, A Comedietta in one act, "by Felix Bale. Two male and one female characters. A really effective little piece, suited to amateurs. Costumes of the day. Scene, morning room in a country house, Easily produced. Time in representation, forty minutes. 1' MAUD'S PERIL, A Drama in. four acts, hy Watts Phillips. Five male and three female characters. Strong and sensational. Costume of English country life of the period. Scenery not elaborate. Time in representation, two hours and a half. 8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama in four acts, by Tom Taylor. Ten male and three female characters. One of the best acting plays of the clay. Costumes of the period. Scenery modern English. "Time in representation, three hours. 9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. A farcical interlude in one act, by Charles Selby. Four male and one female characters. A very laughable piece, easily produced ; certain to bring down the house. Costumes of the day. Scene, a genteelly furnished bed- room. Time in representation, forty minutes. r> 10 THE SNAPPING TURTLES; or ? Matrimonial Masque- rading. A duologue in one act, by John B. Buckst one. One male and one female character, who assume a second each. Avery ludicrous farce ; has been eminently successful. Costumes of the day. Scene, a drawing room. Time in representation, one hour, 11 "WOODCOCK'S LITTLE GAME. A Comedy Farce in two acts, by J. Maddison Morton. Four male and four female characters. A sparkling, lively composition, by one of the most humorous dramatic authors. The part of Woodcock has been performed by Charles Mathews and Lester Wallack. Costumes of the period. Scenery, modern apartments, handsomely furnished. Time in representation, one hour. 12 A WIDOW HUNT. An original Comedy in three acts, by J. Sterling Coyne. Four male and four female characters. An inge- nious and well known alteration of the same author's ''Everybody's Friend, 1 ' the part of Major Wellington de Boots having been rendered popular by Mr. J. S. Clarke in England and America. Costumes and scenery of the period. Time in representation, two hours and a half. 13 RUY BLAS, A romantic Drama in four acts, from the French of Victor Hugo. Twelve male and four female characters. This piece was eminently successful in London when produced by Mr. Feehter. It contains numerous scenes, capable of being performed unconnected with the drama , by amateurs. Spanish costume* of 1092. Scenery, halls and apart- ments in the" royal palace at Madrid. Time in representation, three hours and a half. 14 NO THOROUGHFARE. A Drama in five acts, with a prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six female characters. Very successiul as produced by Feehter in England and by Florence in America. Costumes modern but often changed. Scenery complicated ; English exteriors, Swiss interiors and Alpine passes. Time in representation, three hours and forty minutes. 1& MILKY WHITE. A domestic Drama m two acts "byH. T. Craven. Four male and two female characters. A good acting, pathetic piece. Costumes English, of the present day. Scenery, an exterior and in- terior. Time in representation, one hour and a half. DE WITT'S ACTING PLAYS. No. 16 DEARER THAN XJFE. A serio-comic Drama in three acts, by Henry J. Byron. Six male and five female characters. An effective piece, which could he readily performed by amateurs with success. Cos- tumes, English of the day. Scenery, two interiors, easily arranged. Time in representation, two Lours. 17 KIND TO A FAULT. An original Comedy in two acts, by William Brough. Six male and four female characters. A well written composition with \ye\l drawn characters. Costumes of the present day. Scenery, two elegantly furnished interiors. Time in representation, one hour and twenty minutes. 18 IF I HAD A THOUSAND A YEAR. A Farce in one act, by John Maddison Morton. Four male and three female charac- ters. A sp'endid social sketch— the part of Green being excel cut for a good light comedian. Costumes of the present day; and scenery, a neatly^fur- nished interior. Time in representation, one hour and fifteen minutes. 19 HE'S A LUNATIC. A Farce in one act, by Felix Dale. Three male and two female characters. A sprightly, laughter-provoking production. Modern dr; sses : and scene, a drawing room. T.nie in repre^ sentation, forty minutes. 20 DADDY GRAY. A serio-comic Drama in three acts, by Andrew Halliday. Eight male and four female characters. One of the author's most effective and natural compositions. Dresses of the present da v. Scenery, interior of a cottage, a lawyer's office, street and archway, and cottage with landscape. Time in representation, two hours. 21 DREAMS ; or. My Lady Clara. A Drama in five acts, "by T. W. Robertson. Six male and three female characters. Full of thrilling incidents, with several excellent parts for both male and female. Was suc- cessfully brought out at the Boston Museum and New York Fifth Avenue Theatre. Costumes, modern German and English. Scenery, interiors and gardens, rather complicated, but effective. 22 DAVID GARRICK. A Comedy in three acts, Tby T. W. Robertson. Eight male and three female characters. Most effectively per- formed by Mr. So thern in England and in America with decided success. Cos- tumes, court dresses. Scenery, two interiors antiquely furnished. Time in representation, one hour and three quarters. 23 THE PETTICOAT PARLIAMENT, An Extravaganza in one act, by Mark Lemon. Fifteen male and twenty-four female charac- ters. A revision of the " House of Ladies.' 1 Performed with great success at Mitchell's Olympic in New York. The costumes are extremely fanciful and exaggerated. Scenery, modern English. Time in representation, one hour and five minutes. 24 CABMAN No. 93; or, Found in a Four Wheeler. A Farce in one act, by Thomas J. Williams. Two male and two female char- acters. A ludicrous piece, with a cabman for the first low comedian, and a stock broker as eccentric character part. Costumes of present day. Scene, a furnished room. Time in representation, forty minutes. 25 THE BROKEN HEARTED CLUB. A Comedietta, "by J. Sterling Coyne. Four male and eight female characters. A laughable sat ; re on the Women's Rights movement. Costumes modern English. Scenery, a drawing room. Time in representation, thirty minutes. 28 SOCIETY. A Comedy in three acts, by T. Wc Robert- son. Sixteen male and five female characters. A play exceedingly popular, intended to exhibit the foibles of British Society and to ridicule the election system. Costumes of the present day. Scenery elaborate. Time in repre- sentation, two hours and a half. 27 TIME AND TIDE. A Drama in three acts and a pro- logue, by Henry Leslie. Seven male and five female characters. An effec- tive piece, with novel and striking incidents. Costumes English, present day. Scenery, London marine scenery. Time in representation, two hours. DE WITT'S ACTING PLAYS. No. 28 A HAPPY PAIR. A Comedietta in one act, by S. Tkeyre Smith. One male and one female character. A neat dramatic sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing room. Time in representation, twenty minutes. ' 29 TURNING THE TABLES, A Farce in one act, by John . Poole. Five male and three female characters. One of the happiest efforts of the famous author of "Paul Pry. 1 ' The part of Jeremiah Bumps is re- dolent with quaint humor. A standard acting piece. Dresses and scenery of the oresent day. Time in representation, sixty-rive minutes. 30 THE GOOSE "WITH THE GOLDEN EGGS. A Farce in one act. by Augustus May hew and Sutherland Edwards. Five male and three female characters. Gay, rollicking, full of incessant action, having three of the most comical characters imaginable. Costumes of the present period. Scene, a lawyer's office. Time inrepresentation, forty-five minutes. 31 TAMING A TIGER. A Farce in one act, altered from the French. TJiree male characters. In this a dashing light comedian and fiery, petulant' old man cannot fail to extort applause. Modern dresses ; and scene, a modern apartment. Time in representation, twenty five minutes. 32 THE LITTLE REBEL. A Fa-ce in one act, by J. Ster- ling Coyne. Four male and three female characters. An excellent piece for a sprightly young actress. Dresses and scenery of the present day. Easy of production. Time in representation, about forty-five minutes. 33 ONE TOO MANY FOR HIM. A Farce in one act, by Thomas J. Willic*;js. Two male and three female characters. Adapted from a popular French vaudeville. Costume of the time. Scene, parlor in country house. Time of representation, fifty minutes. 34 LARKIN'S LOVE LETTERS. A Farce in one act, by Thomas J. Williams. Three male and two female characters. The piece has excellent parts for first low comedy — first old man and a soubrette. Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 35 A SILENT "WOMAN. A Farce in one act, by Thomas Hailes Lacy. Two male and one female characters. One of the prettiest little pieces on the English stage. Dresses of the period. Scene, a drawing room. Time in representation, thirty-five minutes. 36 BLACK SHEEP, a Drama in th^e-i acts, from Edmund Yates' novel of the same name, and arranged for the stage by J. Palgrave Simpson and the author. Seven male and live female characters. Costumes of the present time. Scenery, an interior ; gardens at Homburg, and a handsome parlor. Time in playing, two and a half hours. 37 A SILENT PROTECTOR. A Farce in one act by Thom- as J. Williams. Three male and two female characters. An active, hust- ling piece of ingenuity, which affords abundant opportunities for the display of Quickfidget's eccentricities. Costumes of the period. Scene, a drawing room. Time in representation, forty minutes. 38 THE RIGHTFUL HEIR. A Dram % in live acts, by Lord Lytton (Sir Edward Lytton Bulwer). Ten ?naie and two female characters. A revision and improvement of the author's play of the "Sea Captain, " originally produced under management of Mr. Maeready. Costumes of the English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- resque and elaborate. The play contains numerous scenes and passages, which could be selected for declamation. Time in representation, two hours and forty-five minutes. 39 MASTER JONES' BIRTHDAY. A Farce in one act, by John Maddison Morton. Four male and two female characters. A very amusing and effective composition, particularly suited to amateurs. Dresses of the day; and scene, a plain interior. Time of playing, thirty minutes. dO ATCHI. A Comelietta in one act, by John Maddison Morton. Three male and two female characters. A gem in pleasantry, whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- fully laid out garden. Time in representation, forty minutes. DE WITT'S ACTING PLAYS, No. 41 BEAUTIFUL FORZVER. A Fare© in one ac', by Fred- erick Hay. Two male and two female characters. A sprightly satirical re- buke to those t-iat patronize advertised nostrums. Costumes of the day. Scene, a handso ne interior. Time in representation, forty minutes, 42 TIME AND THE HOUR. A Drama in threa acts, by J Palgrave Simpson and Felix Dale. Seven male and three female charac- ters. An excellent acting play, full of life and incident, the pails of Medlicott and Marian Beck being capable of impressive representation— all others good. Costumes of the present period. Scenery, gardens and ex- terior, cottage and garden, and an old oaken chamber. Time in representa- tion, two hours and a half. 43 SISTERIiT SERVICE. An original Comedietta in one act, by J. P. Wooler. Seven male and two female characters. An interest- ing piece. Costumes, rich dresses of the musketeers of Louis XIII. Scenes, an apartment of that period, and a corridor in the royal palace of France. Time in representation, forty minutes. 44 WAR TO THE KNIFE, a Comedy in three acts, by Henry J. Byron. Five male and four female characters. A pleasing, enter- taining and morally instructive lesson as to extravagant living ; capitally adapted to the stage. Costumes of the present time. Scenes, three interiors. Time in representation, one hour and three quarters. 45 OUR DOMESTICS, A Comedy Farce in two acts, by Frederick Hay. Six male and six female characters. An irresistibly face- tious exposition of high life below stairs, and of the way in which servants treat employers during their absence. Costumes of the day. Scenes, kitchen and dining room. Time in representation, one hour and a haif. 46 MIRIAM'S CRIME. A Drama in three ap.t^, by H. T. Craven. Five mal- and two female characters. One of the best acting plays, and easily put on the stage. Costumes modern. Scenery, modern English interiors, two in number. Time in representation, two hours. 47 EASY SHAVING. A Farce in one act, by F. C. Bur- nand and M ntagu Williams. Five male and two female characters. A neat and effective piece, with excellent parts for low comedian and singing chambermaid. Costumes of the days of Charles II of England. Scene, a barber's shop. Time in representation, twenty-five minutes. 48 LITTLE ANNIE'S BIRTHDAY. An original persona- tion Farce, by W. E. Suter. Two male and four female characters. A good farce, whose effectiveness depends upon a singing young lady, who could make the piece a sure success. Costumes modern. Scene, an apart- ment in an English country house. Time in representation, twenty-live minutes. 49 THE MIDNIGHT WATCH. A Drria in one act, by J. Maddison Morton. Eight male and two female characters. A successful little play. Costumes of the time of the French Revolution of 1? ( J5. Scene, the platform of a fortress. Time in representation, one hour. 50 THE PORTER'S KNOT. A seric-c?mlc Drama in two acts, by John Oxenford. Eight male and two female characters. Interest- ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of cottage and exterior of seaside hotel. Time in representation, one hour and a quarter. 51 A MODEL, OF A WIFE. A Farce in one act, by Alfred Wigan. Thre^ male and two female characters. Most amusing in concep- tion and admirably carried out Costumes of the day. Scene, a painter's studio. Time in representation, thirty-five minutes. 52 A CUP OF TEA. A Comedietta in one act. Translated from the French of Une Tasse de The, by Charles Nuttier and .1. Derley. Three male and one female characters. Ar. exquisite petty comedy, well adapted for amateur representation. Costumes modern. Scene, handsome drawing room. Time in representation, thirty minutes. DE WITT'S ACTING PLATS. No. 53 GERTRUDE'S MONEY BOX. A Farce in one act, hy Harry Lemon. Four male and two female characters. A successful, well written piece ; an incident in rural life. Costumes of the present time. Scene, interior of a cottage. Time in representation, forty -five minutes. 54 THE YOUNG COLLEGIAN