If vcu wish a Comic Song which will please every one, send lor a copy of That Little Black Mustache, PS 635 es M. Dow. Price 30 cents. Sold by all music dealers. .Z9 D524 : opy i AMES' SERIES OF lNDARD AND MINOR DRAMA, % 1 J b'&3 5 NO. 114. PASSIONS. THE OAST OP CHARACTRRS, ENTRANCKS, AND EXITS, RELATIVE POSITIONS OP THE PERFORMERS ON THE STAGE, DESCRIPTION OF COS- TUMES, AND THE WHOLE OF THE STAGE BUSINESS, AS PERFORMED AT THE PRINCIPAL AMERICAN AND ENGLISH THEATRES. CLYDE, OHIO: D. AMES, PUBLISHER. Catalogues of ALL PUBLISHED PLAYS on receipt of 3 cent stamp AMES' SERIES OF ACTING PLAYS. PRICK FIFTEEN CENTS EACH. — CATALOGUES FBEE. C--S* S£-^> NO. M. P. 12 A Capital Match, farce, 1 act, by J. M. Morton 3 2 30 A Day Well Spent, farce, 1 act, by John Oxenford 7 5 2 A Desperate Game, comic drama, 1 act, by Morton 3 2 75 Adrift, temp drama, 3 acts, by C. W. Babcock, M. D 6 4 80 Alarmingly Suspicious, comrdietta, 1 act, J. P. Simpson. ..4 3 39 A Life's Revenge, drama, 3 acts, by W. E. Suter 7 5 78 An Awful Criminal, farce, 1 act, by J. Palg;ave Simpson...3 3 15 An Unhappy Paiv, ethiop'n farce, I act, by G. W. H. Griffin ..1 1 65 An Unwelcome Return, com' intl'd, 1 act, by Geo. A.Munson 3 1 31 A Pet of the Public, farce, 1 act, by Edward Sterling 4 2 21 A Romantic Attachment, eomed'tta, 1 act, by Arthur Wood... 3 3 43 Arrah DeBaugh, drama, 5 acts, by. F. C. Kinnaman 7 5 73 At Last, iemperance drama, 3 acts, by G. C. Vautrot 7 1 20 A Ticket of Leave, farce, 1 act, by Watts Phillips 3 2 100 Aurora Floyd, drama, 2 act, by W. E. Suter 7 3 89 Beauty of Lyons, dom drama, 3 acts, by W. T. MoncriefOl 2 8 Better Half, comedietta, 1 act, by T. J. Williams 5 2 98 Black Statue, ethiopcan farce, 1 act, by C. White 3 2 113 Bill Detrick, inelo drama, 3 acts, by A. Newton Field 6 4 86 Black vs White, farce, 1 act, by Geo. S. Vautrot 4 2 14 Brigands of Calabria, rom drama, 1 act, W. E. Suter 6 1 22 Captain Smith, farce, 1 act, by E. Berrie 3 3 84 Cheek will Win, farce, 1 act, by W. E. Suter 3 49 Der two Surprises, dutch farce, 1 act, by M. A. D. Clifton ..1 1 72 Deuce io in Him, farce, 1 act, by R. J. Raymond 5 1 19 Did I Dream it? farce, 1 act, by J. P. Wooler 4 3 42 Domestic Felicity, farce, 1 act, by Hattie L. Lambla 1 1 60 Driven to the Wall, play, 4 acts, by A. D.Ames 10 3 27 Fetter Lane to Gravesend, ethiopean farce 2 13 Give me my Wife, farce, 1 act, by W. E. Suter 3 3 117 Hal Hazard, military drama, 4 acts, by Fred G. Andrews... 8 3 50 Hamlet, tragedy, 5 acts, by Shakespeare 15 3 24 Handy Andy, ethiopean farce, 1 act 2 G6 Hans, the Dutch J. P., dutch farce, 1 act, by F. L. Cutler. ..3 1 116 Hash, farce, 1 act, by W. Henri Wilkins 4 2 52 Henry Granden, drama, 3 acts, by Frank L. Bingham 11 8 17 Hints on Elocution and how to become an Actor, 103 How Sister P. got Child Baptized, etho farce, 1 act, 2 1 76 How He Did It, comic drama, 1 act, by John Parry 3 2 74 How Lo tame Mother-in-law, farce, 1 act, by IT. J. Byron. ..4 2 :Vo How Stout You're Getting, farce, 1 act, by J. M.Morton 5 2 2li Hunter of the Alps, drama, 1 act, by Win. Dtmond 9 4 47 In the Wrong Box, etho farce, 1 act, by M. A. D. Clifton 3 95 In the Wrong Clothes, farce, 1 act, 5 3 77 Joe's Visit, etho faree, 1 act, by A. Leavitt it H. Eagan 2 1 11 John Smith, farce, 1 act, by W. Hrncock 5 3 99 Jumbo Jum, farce, 1 act 4 3 82 Killing Time, farce, 1 act, 1 1 9 Lady Audley's Secret, drama, 2 act, by W. E. Suter 6 4 3 Lady of Lyons, -.drama, 5 acts, by Bulwer 12 5 104 Lost, temperance drama, 3 acts, by F. L. Cutler 6 2 10C Lodgings for Two, comic sketch, 1 act, by F. L. Cutler 3 /£•©*■ Catalogue continued on next page of cover. PASSIONS, AN ORIGINAL COMEDY I]S" FOUR ACTS, BY F. MAS 21 A DURE DEY, AUTHOR OF Called to Account; H. M. S. Plum; A Fortunate Fortune, Vmgtanci is Mine; Lost; Manchietto; Etc. WITH A DESCRIPTION OF COSTUMES, CAST OF THE CHARACTERS,, RELATIVE POSITION OF PERFORMERS ON THE STAGE, ENTRANCES AND EXITS, AND THE WHOLE OF THE STAGE BUSINESS. As performed at the principal American and English Theatres. Correctly printed from the Original Manuscript of the Author. Entered according to act of Congress, in the year 1881, by A. D. AMES, in the office of the Librarian of Congress, at Washington, CLYDE, OHIO: A. D. AMES! PUBLISHER. PASSIONS. CHARACTERS. Richard Leonard A\city boy of to-day Frank Hayden His intimate friend Rodger Lang Of questionable merit Br. Charles Reade At peace with himself Peter Richard Leonard' s\servant Justice Very extraordinary Clerk Fond of silence Policeman No. 1 Of the Park force Policeman No. 2 Of the Regular force Liliian Trelyawney An orphan and heiress Laura Leonard Richard Leonard's sister Sallie Jordan In which some young ladies may see themselves Jane • Lillian's maid PERIOD — THE PRESENT. SCENE. — BROOKLYN, (N. Y.) AND PROSPECT PARK. Lillian Trelyawney. — Blonde; ACT 2. Rich walking dress for summer; light blue shawl ; hat with wide brim setting back on head ; figured para- Bol ; book and fan. ACT 3.— SCENE 1st. Princess wrapper of pink or blue.— SCENE 2nd. Bober walking dress and hat. ACT 4. — Afternoon dress of black silk, hat to match, gloves fan and belt. Laura Leonard. — ACT 1. Rich afternoon dress for summer ; fan. ACT 2. — Walking dre3S, hal, fan and parasol. ACT 3.— Sober dark morning dress, hat to match, fan. ACT 4.— Same as 1st. Brunette. Sallie Jordan. — Same a3 Laura, except in 1st. and 2nd. acts. Richly trimmed walking dress, hat and parasol, noticably bright colors. Jane. — Common brown dress ; iron grey hair, large apron. Richard Leonard.— ACT 1. White flannel suit, white soft hat, stiff brim, black stockings, oxford ties. ACT 2. — Same as 1st., with cane. ACT 3. — Common dark business suit. ACT 4. Same as 3rd. Dark complexion. Frank Hayden.— Same as Richard, in 1st and 2nd acts. ACT 4. — Dressing gown and slippers. Light complexion. Roger Lang. — Mixed ecru suit, light high hat; gold-headei cane, paten* leather shoes ; loud fob chain, button-hole boquet; mustache and goatee i throughout the play. Dr. Charles Reade.— Grey hair and side whiskers, black professional Buit, medicine case. Clerk. 6 ' \ Plain dark 8uit3 ' Policeman No. 1. — Uniform of the Park Force. Policeman No. 2. " " Regular Force. Peter. — English Footman's dress, made up fifty years of age. TMPS2-009092 PASSIONS. ACT I. SCENE FIRST.— Sitting room at Leonard's. Nicely furnished. Laura discovered sitting at table, l. c, reading. Enter Richard Leonard, c. lie goes to chair, r. c, opposite Laura and throws himself into it, and fans him- self with his hat, Richard. Je-ru-sa-lum ! It's hot, sister mine. Whew! A fellow wants to carry a chunk of ice around with him in order to feel half way respectable this sort of weather. Ninety-eight in the shade, by gum ! Laura. How you do talk, Dick. You astonish me ! Rich. Yes, Laura, I always do astonish you when I say anything. You don't cotton to my way of speaking— 1 believe you call it slang — but its very expressive. Got a fan ? Lau. (laughingly) Yes. Rich, (mimicking) Ye-es ! Now Laura, look here, you love your brother, don't you? Of course you do. I'm going to make a bargain with you— if you will take a big drop' on my slang, I'll agree to block the "sours," and all that sort o' thing. In short, if you will not say anything more to me about my language, I will hot give' you occasion to help me into the house again. Lau. And will you promise not to drink any more ? {rising) Rich. I did not say that, but that I won't get full again. Come, I think that is saying a good deal. Lau. (coming toward him) I suppose I ought to be satisfied, -but I wish you would not drink any more at all. Rich. So do I, my dear, but that is all the good it does, so don't begin to harp on that subject or I shall want you to go back to slang. Say, sis- ter— {turning suddenly) — what brings that Lang here so often? I don't more than half like him, so don't be surprised if I kick him out some of these days. Lau. {returning to seat) He come3 b ecause he wants to, I suppose, and because he knows he is welcome. Rich. Who does he come to see. Sail, or you? She always happens in about the time he does. Lau. I never asked him particularly who he came to see, but I suppose that, inasmuch as he comes here he naturally expects to see me, at least. Rich. You don't mean it! Enter Peter c. with card. Richard glances at it. Talk of the devil and he's sure to pop in. All right, Peter, tell him we're sorry he came, but as he is here he may as well come up. (Peter going Lau. Stop, Peter. Who i3 it Dick? Mr. Lang? Show him in, Peter, and without delivering mv brother's message. (exit Peter, c. Rich, (calling) Peter f (re-enter Peter, c.) Tell him not to hurry. U) (exit Peter, c. Lau. You ought to be ashamed of yourself, Dick, for making so free with the servants. Now what do you suppose Peter will think, and say too about the message you were going to send to Mr. Lang. , Rich. Laura, do you think because Peter is a servant that he is a wild 4 PASSIONS. animal or a monkey? Don't you suppose that he is gifted with a little in- tellect? Or not that, with instinct? Why, bless you, my dear sister, he would do three times as much for me to-day as he would for you, and for half the asking. And why ! Simply because I remember he is a man. You treat him as though he was a machine. Do you think he would have told Lang what I aaid ? ifot miw-h ! Enter Lang C-. comes doicn between Richard and Laura. Here comes your Turk. Row are you Lang ? Been out of town lately? Lanq. (c.) Good afternoon Miaa Leonard, I hope I find you well? (to Richard) No, not in the last month. Why do you ask ? Rich. Oh, I hadn't seen you in such a deuce of a while that I conjectur- ed you had been away. Lau. Why, Dick, Mr. Lang was here only the day before yesterday, and you spent all of half an hour talking to him. Rich. That's so, by Jove I I had forgotten it. Isn't it most time Sallie was coming in ? Lang, (to Laura) Are you expecting a call from Miss Jordan this afternoon ? Lau. Yes, she runs in nearly every day. Rich. I think I will go and see if she isn't on her way. You'll excuse me, won't you Lang. Lang. Certainly. (Richard, exit c. And now, Miss Leonard — Laura — I have an opportunity to tell you what I have been wanting to so long. You must have seen by my actions that I love you. Will you be my wife, Laura? (taking her hand ) Lau. (loithdrawing hand) But, Mr. Lang! this is so sudden, so unex- pected that I don't know what to say. I— I — thought you were in love with Sallie. Lang. What! Miss Jordan? No, Laura, it is you I love. It is you that I think of while awake, and dream of when sleeping. With you this world will be to me as a continual garden of flowers, that time can never wither. Without you life would be a barren, unsatisfactory thing, gladly to be gotten rid of. Don't you love me, Laura ? Lau. (petulantly) How do I know whether I love you or not? I think you are real mean to tease me so. (sobbing Lang, (putting his arm around her waist and drawing her to him) My darling, don't cry. Enter Frank, C, suddenly — he starts at seeing them, and turns around his back to them and coughs. Lang and Laura separate, going to opposite sides of the stage. Frank, (turning slowly) I wonder where Dick is ! Oh, I beg your par- don — I thought there was no one here. How-de-do, Laura? (bows to Lang) I walked right in as usual, but have not been able to find Dick — do you know where he is? Lau. He is somewhere about the house. Help yourself to a seat and I will find him for you. Frank, (sitting) Thanks. (Exit Laura, c. Frank, (takes a package of cigarettes from his pocket) Have a smoke, Lang? Lang. No, thank you — I never smoke in the ladies' rooms. Frank. No? (lighting a cigarette) Well, there is one strong point of somparison between us, I do — when the ladies are billing. Now Laura——, Lang. Sir ! Frank. Eh ? Lang. Did you refer to Miss Leonard ? Frank. Yes, certainly. As I was saying, Laura likes ■ ■ » Lang. Who ? Frank. Laura ! Confound it man, are you deaf ? PASSIONS. 5 Lang. Not exactly ; but did I not understand you to refer to Miss Leon- ard as Laura ? Frank. You did. Hr.ve you any objections ? Lang. I have — decided ones. Frank. The deuce you have 1 Will you give them to me? Lang. With pleasure. Miss Leonard is my affianced wife. Frank. Your what? Lang. My pi-omised wife. Frank. Oh ! Why didn't you say so at first-? Well, Lang, I congrat- ulate you — I wish I could do the same former. Lang. What do you mean ? Frank. Mean? Oh, nothing— I never mean anything. But I don't see what all this has to do with my not addressing her by her given name. Lang. It has everything to do with it, sir. Frank. Has it? "Oh, well, I hear Dick's step coming thi3 way, and we will leave it to him. I'm not particular what I call her you know — Betsey, Juliet, anything. Enter Richard, c, ivith a mock tragic bearing, .Rich. "They tell me Francois is come,' and I must meet him with a smile as happy and as gay as though it was not he who " Why, how are you, Frank ? Lang, Laura wished me to send you to her, she is resting her weary frame against the door post of the library. (Lang bows, and is going C. Frank. I say, Lang, give Lollie my love, won't you? (exit Lang, c. Rich, (sits) Well, old fellow, how are you ? Frank. Bang-up, so to speak. Rich. That's good. Frank. I say, Dick, how are your nerves ? Rich. Never better. Why ? Frank. I've got some important news for you. You are sure you are strong enough to bear it? Rich. Of course I am. What are you talking about? Frank. On my way up here I met Who do you suppose I met ? Rich. How in thunder do I know who you met ? Frank. Well, I met Take a cigarette, you look rather pale. Rich. I'll take your head off soon, if you don't out with it. Frank. Lillian Trelyawney. Rich. The devil ! Frank. No — Lillian. Rich. Oh, come now, she's in Europe. Frank. I met her and talked with her, so it is my opinion that she is at this moment in Brooklyn. Rich. She back ! Did she bring her husband with her? Frank. She has none. Rich. Not married? I thought she married a French count, or baron, or king, or something. Frank. So did I, but it seems she did not. Haven't you got over that old passion of yours yet? Rich. By Jove, Frank, I thought I had, but I'm afraid not. (walks to and fro Frank. Time will tell, my boy — it scrapes away everything. Rich. I tell you Frank, it's no use, I'm completely kerfiummixed by the news — however, there's no use blubbering over spilt milk. (sits Frank. I'm glad to see you take it so philosophically my dear boy — there's nothing like a perfect "indifference to the world if you want to be happy. Enter, Laura, c. Frank. Hallo ! Here comes Laura again. Got rid of Lang already, my dear? I suppose you've heard of Mi=3 Trelyawney'3 return ? Dick and I have been discussing it. 6 PASSIONS. Lau. "Will you be glad to see her, Dick ? Rich. Certainly. Why shouldn't I ? Invite her up some night before long, won't you ? Frank, sit still. Laura, what became of Lang? I don't half like that fellow, and have a good mind to tell him to stay away. You don't like him, do you? Frank, what in thunder are you grinning about — feel bad anywhere? Frank. Nothing — simply thinking. Rich. Well, don't do it — it's a bad habit to get into, /never think — don't believe in it — knocks a fellow clean out of time. Lau. Good gracious, Dick, what is the matter? You are talking a steady string. Do give. Frank a chance to say a word? Rich. He'll get a chance, never fear. Let Frank alone for that. Frank, {laughing) Yes, lean generally hold my end up. Lau. How you boys do talk slang — every other word, almost. Rich. Now" that's what [ call too bad. Boys! Humph ! Not twenty- one yet though, that's the deuce of it 1 Now if I had lived just one year longer you know, the Alderman Lau. Oh, Dick, don't call father that ! Rich. Keyrect, sister mine. The old gent Lau. Mercy ! That is worse still. Rich, (with mock dignity) Laura, I wish you would not interrupt me in this style when I am conversing with a gentleman. It's bad manners. As I was saying Frank, if I had inhaled the pure atmospheric effulgencies that surround the little hamlets, villages and cities of this terrestial globe, for the space of three hundred and sixty-five days prior to the time when I did make my gracious appearance, I would not now be a menial slave — a boy, as my beautiful sister pleases to call me — but could command instead of being commanded. How's that for high, sweet sister? Nary slang there. Frank. Ha, ha, ha ! Tone him up a little, Laura, and he'll simmer down o. k., never fear. Lau. Dick, I have a piece of news for you. Rich. Well, don't tell rne now — I've had my fill for one day. Bank it, sister dear, and give me a check in the morning. Lau. But Dick, I am engaged. Rich. No-o-o! Not to Roger Lang ! Lau. Yes — to Roger Lang. Rich. Well, by Jove you'll never get my consent. I don't like that fellow. I thought you had more sense, Laura — the idea of engaging your- self to that thing, when I wanted you and Frank to become fond of each other. Now you just drop Lang and marry Frank, and I'll clap my hands and crow. {Frank and Laura laugh) If you don't, I'll go to the Gov'nor with a stack of lies about Lang, so you can't get his consent. Come on, Frank. {going Lnu. {stepping in front of him) Don't Dick. Please don't. Rich. Why. Frank, Factually believe the girl is gone on him. (sighs) Well, I've been there. I won't go to father to-day, my dear. Frank. No, Dick, I wouldn't interfere. Rich. I'm not going to, only L wanted you to marry Laura, and then we would be brothers in earnest. Lau. Friends will do just as well I think. (Richard saunters to back of stage near entrance Lau. (to Frank) Isn't Dick in love with Lillie? Frank. Bless you, I don't know. Rich, (near entrance) "Behold, the sun is sinking in the west, Lucul- lus, my slave, bil-ig forth my — " Enter hastily, Sallie Jordan, c. who collides with Richard. Rich. Chris-to-pher ! I always gave Brooklyn girls the credit of having little feet, but I'm blessed if they haven't got pienty of weight on top of them. My favorite corn, too. PASSIONS. 7 Sallie. I beg your pardon, cousin Dick, I did not see you. Awfully warm, isn't it? Rich. Of course not, I'm so small. Lang is gone ! Sallie. Gone where ? Rich. Crazy I guess. You're on the fence, any way. Cousin Laura's booked. Come Frank, let's get out of ttiis. Frank. I'm ready. {exit Richard, c.~ Frank going , Sallie. Stop a minute, Frank. We are going to have a croquet party to- morrow at the Park, and we want ;mh ami'Dick. Tell him please, when yon go out. Rich, (outside) Are you coming, Frank? Frank. Coming, love. (exit Frank, c. Sallie. What did Dick mean, Laura, when he said that Mr. Lang was crazy, and you were booked ? (sitting) Lau. He meant that Mr. Lang and I were engaged. Sallie. (clapping hands and drawing chair close to Laura) Oh! isn't that nice. Tell me all about it, dear. Lau. There is nothing to tell, only the mere facts. Enter Peter, c. Lau. Well, Peter? Peter. Mr. Richard sent me to ask you if you knew where his Derby hat is. Lau. You tell him I don't know where it is. He must keep track of his own things. Peter. But he said — he said — Lau. Well, what did he say? Peter. He said you wore it last, Miss Laura. Lau. You just tell him I wear my own things, and I haven't seen his horrid hat. Did he say anything else? Peter. Yes, Miss Laura, he wanted me to ask you if you would be so kind as to sew on a button for him. He said as how he had sewed his finger fast three times. Lau. (rising) Oh dear. What things brothers are, to be sure. Will you wait here, Sallie? Sallie. Yes, I'll be here when you return. Lau. I won't be gone but a moment. (exit 0. followed by Peter Sallie. Well, this is something I did not expect. At least so soon. Roger Lang and Laura engaged. I don't believe they will ever get married. Roger is very nice, but to me there is something decidedly _ repulsive about him. Perhaps I think so because he did not pop the question to me. Lillie is back too— Dick I suppose will be after her again. Well, I wish him luck. He's an awful flirt though, and Frank doesn't care a straw for anybody. Oh, dear 1 What is a poor girl to do. Enter Frank, c. Frank. I've been looking all over the blessed house for Dick's hat and can't find it anywhere. Have you seen it, Sally ? Sallie. (rising) How in the world should I see his hat. Frank. With your eyes, of course. There it is now, under your chair. (starts for it, Sally grabs it up and puts it on her head, then springs behind the table. Frank tries to catch her.) Enter Laura, o. Lau. (coming forward) Whv, what in the world are you doing! Frank. I'm trying to get tha't hat. She has had it all the while, (catches her) There ! (takes hat then kisses her cheek and runs) Ha, ha, ha ! Sallie. You horrid thing 1 (wipes cheek with hand CURTAIN. PASSIONS. ACT II, SCENE FIRST.— A shady retreat in Prospect Park. Lillian Trel- yawney discovered musing, on a rustic bench, b. 3 E.with an open book in her lap. Lil. (sighing) So I am home again. After this long absence I return to find everything looking and acting exactly the same as before my depart- ure. Well, I don't suppose I hare been missed much, although calls have been pouring in until I am tired out with receiving. Enter Richard, at rear, Lilian does not see him. Lil. It seems to me very strange though that the Leonards haven't called to welcome me. Only this short note from Laura, asking me to meet her at the Park to-day. Laura used to think so much of me, and Dick — Faugh ! he pretended he did. Rich, (aside) There is many a true word spoken in jest. (Richard draivs a cigarette from his pocket and strikes a light, at which soimd Lillian starts. — Richard proceeds with " lighting up," then tipping his hat and com- ing forward.) I beg your pardon, Madam. Why ! Lillian is that you? (Lil- lian rises) Jolly glad to see you ! Am, honestly. How fortunate too. Laura and Mr. Lang — know Lang ? Yes. So much the worse for you — I mean better of course — Lil. (coughing) How I do detest those horrible cigarettes. They are positively enough to choke one. I can't see how you can smoke them. Rich, (blowing mouthful of smoke) Nor I. I manage to though — sorry you don't like them ; am honestly 1 As I 'was saying — Laura and Roger Lang, Sallie Jordan and Frank — remember Frank? Lil. Of course I remember Frank. Rich, (l.) Yes, of course ! Well, they are coming to the Park — to this identical sequestered spot, this afternoon, to revel in the transcendent de- lights of a game of croquet, (coming r.) And the worst of it is, they didn't furnish me with a girl. Lil. (re-seating herself ) Mr. Leonard ! (no reply) Mr. Leonard ! Dick! Rich, (goes behind bench) I beg your pardon, Lillie ! Did you speak to me ? Lil. Of courseL did. Who else is there here that I could speak to? I wish there was. I rather think you heard me, too. Rich, (blowing smoke) Did I. Of course if you say I did I must. Ex- cuse my abstraction, I was thinking very intently. Lil. (half turning in scat) What were you thinking about ? Rich, (carelessly) Of what a fool I had made of myself. Lil. Yes ? How ? Rich. Why, not getting a girl to come with me to-day. But you see Laura particulary requested me not to, and I always try to oblige my sister, although I think it was rather mean in her this time. Don't you? Lil. (with emphasis) Very. (a moments silence Rich. Lillie. Lil. Well. Rich. Will you be my wife. (puffing smoke Lil. (rising hastily and coming down to L.) Well, I never ! Rich, (seating himself on bench) Urn! Pinafore! It is quite evident that you have been abroad, my dear. But won't you give me an answer, please ? Lil. (angrily) What do you mean, sir I Mich, (carelessly) Exactly what I said. PASSIONS. 9 Enter c. Laura, Sallie, Ling and Frank, the latter carrying croquet box be- tween them, Laura and Sallie kiss Lillie, the gc/itlemen lift their hats, Richard comes down to r. Lau. Lillie, h >w glad I am to see you. You must have had an elegant time. Frank, {setting down box) Brought home all the fashions with her, Lol — told me so yesterday. Rich, (r.) Frank! Frank. Hello! There's General Debility. He and Lillie have been flirting tremenduously, I'll bet. What is it Dick? Rich, {without turning) Come here a moment. (Frank comes forward) I want you to do me a favor. (others continue talking Frank. Name it, King. Rich. None of your chaff now. I'm serious, Frank, (exclaiming) Run for a doctor, somebody! He's serious ! Rich. Dry up, Frank ! I want you to make desperate love to Lillie. See? Frank. Mo — o — o. Can't say I do. Rich. Listen then. You know I haven't any secrets from yo^, and therefore you know I love Lillie. Well, she don't care a Lau. [calling) Dick ! Rich, (calling back) Confound it! In a moment. She don't care a straw for me ; I'm certain of that. Now you're not particular who you make love to — Frank. Thank you ! Rich. You are welcome. So you make love to Lillie, and I'll look after my cousin for you. Frank, (scratching his head) Ye — s, but I don't exactly see your game. Rich. The game will come in afterwards. You go ahead and I'll let you know when to stop. Frank. Thank you ! Rich. Don't mention it. I Lau. (calling) Frank. Dick. Frank. Presently, Laura, presently, (to Richard) Don't forget to let me know where to stop, Dick, for I might go too far you know. Rich. Oh, I won't, don't worry. Lau. (calling) Richard come here! Rich, (to Frank) When she says Richard, she means Richard. I'm coming, sister. ^Lang. (to Richard) I say, Leonard, will you join us in a game of croquet ? Rich, (turning to Lang) Beg pardon, did you speak to me ? Lang. I did. Rich. Well please don't do it again. Sallie, will you come with me? We'll have a stroll while they are putting up the wickets. Sallie. Oh, certainly. (both going Lau. But Dick, 1 wanted you to help. Rich. Oh, Lang can do that, (exit Richard and Sallie, R. Frank re- mains at r., complacently regarding others, Lillian strolls to left and plucks leaves from rose bush) Lang, (to Laura) Laura, that brother of your's don't like me evident- ly. Lau. It is rather evident. Pick up the box and we will follow them. He is acting very foolishly. Lillie, you and Frank can follow us whei you get ready. Come Roger. (exit r. Lang, (lifting box) I suppose I may as well follow. Well, she's bo** now. It is my turn next. (exit with box, R. 1 b. Lil. (coming forward) Frank! Frank, (starting) Eh? Oh! What is it. Lil. What was Dick saying to you when you first came T 10 PASSIONS. Frank. Dick? Why, he — that is — nothing! Lil. But he must have been saying something, and I think it was aboul me. Frank. About you ? Oh, no. I'm sure nothing was further from hij thoughts. Lil. {indignantly) Indeed ! Frank. Or word, (aside) I suppose if I am to make love to her I might as well begin now, but for the life of me I don't know how or where to commence. Lillie, what do you think of me ? Lil. (sighing) You? Oh, nothing. Frank, (aside) That's flattering, (desperately) What do you think of Dick, then ? Lil. (starting) Of Dick ! (with dignity) Why do you ask that, sir ? Frank, (aside) I'm inclined to believe she's in love with his highness now. I'll make a clean breast of the whole thing. Lillie, what do you think Dick thinks of you? Lil. How do I know what he thinks of me. He wasn't overjoyed to see me after so long an absence. Frank. Exactly what proves that he was glad. If it had been other- wise he would almost have hugged you to make you feel welcome. Oh, that's Dick all over. Lil. Did he not say something to you about me, just before he went off with that Saliie Jordan ? Frank, (aside) Hello ! Jealous ! (aloud) Yes, he did. Lil. (excitedly) I thought as much. What was it ? Frank. He told me he wanted me to make desperate love to you. Lil. (starting back and laughing) Y'ou ! make love to me! Frank. Certainly ; why not ? Lil. Ha, ha, ha, ha ! Why! its perfectly absurd. Frank, (aside) By jove, that's cool, (alou I) Excuse me if I fail to see the absurdity that seems to be so vivid to you. Lil. (going up to Frank) Why did he ask you to do that? Frank, (carelessly, and sauntering to bench at n. 3 E.) Well, the fact is, the boy is more than half in love with you. Foolish, isn't it? (laughing and seating himself on bench ) Lil. (angrily) I do not see anything foolish and laughable about itl Frank, (languidly) No! nor 1. 1 think it is a burning shame! The idea, now, of his falling in love with you. I am sure he could have his cousin Saliie for the asking, and I rather think I'll suggest it. Dick only needs a suggestion from me, you know. We have been friends so long a time. Lil. (hastily going to Frank and taking seat beside him) Frank 1 Frank. Well ? Lit. (earnestly) Can you keep a secret ? Frank. Try me. Lil. I will. I think a great deal of Dick. Frank, (rising and coming down to R.) I thought you were going to tell me a secret. I knoio that. Lil. (following) But more than that, I love him. Frank, (turning and looking at her a mo7nent, then throwing arms around her carelessly) Enter Richard, at r. 1 e., who appears surprised. Frank. That's the way to talk ! Now I love you — for Dick's sake. Rich. (r. aside) Progressing wonderfully ! Perhaps 1 have made a blunder; but no, I can trust Frank, I am sure. (exit r. 1 e. Lil. (draxoing back) You must not put your arms around me. Frank. Why not ? I promised Dick to "make love to you ami I must keep my word. Lil. (meaningly) Do you always keep your word ? PASSIONS* II Frank. Always ! Lil. "Will you make me a promise ? Frank. I'll promise you anything ! Lil. (after gaziiirj carefully around she goes up close to Frank in a corifi- dential manner) Then listen. I want you to continue making love to me. That is, make Dick think so. Call on me as often as convenient, and if h& says anything be very reticent on the subject. Now promise me this. That you will not tell Dick that I love him, but instead will lead him to> believe that you are in love with me — and vice versa, and do not explain until I give you permission. Will you promise? Frank, (slowly) 1 suppose so ; yes. Lil. (joyfully) Thank you 1 Now we will follow the rest of the party. Come along, (going) Frank, (procuring match from pocket — R.) I will follow as soon as I strike a light. Lil, Very well. Oh, won't I get even with master Dick now? Ha, ha, ha ! (exit, r. 1 e. Frank, (watching her) She's a witch, and no mistake ! I'm in a deuce of a pickle, anyway. What in the world did 1 make such an infernal fool of myself for? The result will be a row between Dick and I, probably. (lighti?ig match) Oh, hang the women ! (applying it) Well, I'm fast to- her apron string, and I faucy lean feel her pulling it now, so I may as> well go. (going toward r. 1 e. — stops) There comes Dick now. (return- ing) He'll be for questioning me. What in thunder shall I say ? Fnter Richard, R. 1 e., walks calmly down to L. without turning. Rich. Frank ! Frank, (turning quickly) Eh! Rich. How is it ? Frank. How is what? Rich. The love making. Frank. 0. K. Rich. So I thought. • Frank. Eh ? Rich. So I thought! Frank. What did you think? Rich. 0. K! Frank. What made you think that? Rich. The kiss. Frank. What kiss. ; Rich, Yours. Frank. Mine I Rich. Yours and Lillie's. Frank. How about croquet? f Rich, (impatiently) Croquet be hanged! I Frank. How about Sallie? Rich. Hang her too for all I care ! Fnter Sallie, R. 1 e., laughing and running up to Frank. Sallie. Oh, Frauk 1 I want you to listen to some poetry I have com- posed. (Richard retires up L. Frank, (interested) Give it to us! Sallie. (reading) "As I sat upon the stile — " Frank, (interrupting) Nothing like style, Sallie. Goon. Sallie. You must not interrupt. "As I sat upon the stile The face of nature seetn'd to smile — " Frank, (interrupting) What portion of her anatomy did you expect to and smiling, may I ask? L2 PASSIONS. Sallie. {pouiwgly) I think you might listen, {continues reading) "Little crickets chirped and hopped — " s Frank, {interrupting) Fact in Natural History; it is their nature to. Sallie. "Little cricket chirped and hopped, From the oaks the acorns dropped." Frank. Did you ever see an acorn drop from a mulberry tree? Sallie. I won't read the rest if you interrupt me in this way. Frank. Proceed ; proceed. I'm dumb as an oyster. Sallie. '-All around a gentle hum — " Frank. Nature on a buzz, probably. Sallie. "From the insects, seemed to come — " Frank. Not scientificately accurate. Sallie. {desperately) '•And the west wind whispered while, Still I sat upon the stile." Frank. 'Twas full time fur you to descend, Sallie. Sallie. "But, though all was bathed in calm — " Frank. Except the poetess. Sallie. {indignantly) You're real mean, Frank Hayden ! Frank, {penitently) Go on ; goon ! I'll be quiet. Sallie. {continuing) "But though all was bathed in calm, And a soft and soothing balm — " Frank. Warranted every time; small bottles $1.00. Sallie. You need some, better spend a dollar. At least you won't hear any more of this. Rich, {coming down) Let us hear the rest of it, Sallie. Its very pretty, Sallie. {to Richard) Thank you Dick, {continuing) "Filled my soul yet bitter-/y. Frank. L-y-ly, with a lie! Goon. Sallie. {sticks up nose at Frank) "But though all was bathed in calm, And a soft and soothing balm Filled my soul, yet bitterly Moaned my tieart. Oh, why ? Oh, why ?" Frank. Give it up ! Sallie. You boys have no intellect and so cannot aj^preciate my efforts. Come and play croquet. {exit R. 1 e. Rich. Frank, to come back to first principles — what were you hugging Lillie for ? Frank, {strolling L.) According to instructions, Dick, that's all. Ricli. I didn't tell you to hug her. Frank. She didn't mind it, and therefore you shouldn't. Rich, {indignantly) I do though. Enter Lillian, running, r. Lil. {out of breath) Oh, Frank, come here quick ! Mr. Lang has fallen into the lake. Frank, {calmly) He knows how to swim. Rich, {bitterly) I wish he did not. {goes R. Lil. (l. — to Frank) Mr. Lang did not fall into the lake at all, but here is a note I just wrote to you, dating it two days back. Read it if vou please, but drop it somewhere so that Richard will find it. please, but drop it somewhere so that Kiehard will find it. You will un- derstand when you read it. {laying her hand on his shoulder, and looking up \>to his face. Frank opens note) Rich, (aside) If I had not known Frank to be a true friend for so many years, I should mistrust him now. As it is, I think I could almost strangle him. It is mostly my own fault though. I will leave them to their notes A\)d love sentenpps Be careful Frank, you are giving my love for you a {exit R. 1 e. PRICE FIFTEEN CENTS EACH. i) SENT POST-PAID TO ANY ONE ON RECEIPT OF PRICE, n 1. MR. AND 3IRS. PRINGLE. A comic interlude in o,w act, by Don T. De Treuba Cosio, seven male, four female characters. Costumes modern, te suit. A very funny afterpeice. A light plot hinging upon the fact that Mr. Pringle, who has a perfect horror of children, marries, as he supposes, a widow of fifty, without any. Everything glides along smoothly, until the children to the number of about a dozen make their appearance, one by one. Mr. Pringle is aghast, and the situations very funny. Scene a drawing room. Time of rep- resentation about forty-five minutes. 2. A DESPERATE GAME. A comic Drama in one act, by John Madison Morton, three male and two female characters. The scenery is simple in-door sets. The part of David is first low comedy. Postlewaite and Patcliffe will be found excellent characters and ones that will suit, and the lady characters are tirst-class. The play is very funny, and since its publication has been perform- ed all over the country with the greatest success. Time of representation forty- five minutes. Every amatuer company should order this play at once. It is sure to suit. 3. THE LADY OF LYONS. OR LOVE AND PRIDE. A Play in five acts, bv Bulwer. Hardly anything need be said regarding this beautiful play, as scarcely any one can be found who has not read it, or seen it performed. It has twelve male and five female characters. It abounds in eloquent declama- tion, and is one of the most powerful dramas in the English language. Time of performance about three hours. The present edition is very complete, and is in use in the principal theatres. 4. TWAINS DODGING. An Ethiopean farce in one act, by A. Newton Field, three male and one female character. Scene, a chamber — no trouble to arrange. Costumes "nigger." Companies who order this farce will find it one of the best. Time of representation twenty minutes. 2®OOaO^O ^ ®Z® Z OOj®^Oa®QjOa®Q®OjOQ.GQj®QOQj& t ri AU1E8' STArVUARD AUTO MOOR OK All A. 5. WHEN WOMEN WEEP. A Comedietta ij one act, by J. Newton Gott- hold, three male, two female characters. It is an old saying that if women will cry, their husbands, or lovers will grant any favor they may ask. This Com- edietta shows how this is done. Costumes modern. Scene a parlor at Baden- Baden. Time of performance thirty minutes. 6. THE STUDIO. An Ethiopean farce in one act, for three male char- acters. Very funny. Some very amusing experiences in an Artist's studio are given. Just the farce far amatuer minstrel performances. Easily produced. Costumes to suit the characters. Time twenty minutes. 7. THE VOW OF THE ORNANI. A Drama in three acts, by J. Newton Gotthold, seven male, one female character. Costumes Corsican, can easily be arranged by Amatuers. Scenery a little difficult to arrange. Capital parts for leading man, two old men, and leading lady. Will be found a good drama in every respect. Time of performance, one hour. 8. THE BETTER HALF. A Comedietta in one act, by Thos. J. Williams, five male, two female characters. Time present day. Costumes modern. The character of "Julia" in this piece, is always a favorite one with actresses. It is always very successful, and liked by amatuers. We have also represented, a capital part for a fop, a pouty old fellow with tha Somersetshire dialect. A husband who is not half as much of a man as his wife, etc. A tip top play, Time of performance fifty minutes. 9. LADY A UDLEY'S SECRET. A Drama in two acts, by Wm. E. Suter, six male, four female characters. In addition to being a favorite stock play with the profession, this drama always is in good demand from amatuers. The character, of Lady Audley, is one of the best for leading lady. It has leading men, old men, and two first class comedy parts. All who have read the cele- brated novel by the same name, will want the drama. Time of performance, one hour and forty-five minutes. 10. STOCKS UP AND STOCKS DOWN. A Duologue in one act, two male characters. Costumes exagerated evening and dilapidated. Scene a street. Extremely ridiculous. Time of performance, ten minutes, and the ten min- utes full of hearty laughter. 11. JOHN SMITH. A Farce in one act, by W. Hancock, five male and three female characters. This farce must not be confounded with "John Schmidt" as there is no similarity, this one being much more laughable. The character of "Old John Smith" is immensely funny, and will keep an audience in roars of laughter whenever he appears. A favorite farce, and every character good. Costumes simple. Scenery plaip rooms — and easily arranged. Time of performance, thirty-five minutes. 12. A CAPITAL MATCH. A comic Drama, in one act, three male, two female characters. This is one of John Madison Morton's best pieces, is very neat, and easily produced. The scenery is simple. Can be played in a parlor, and without any scenery if necessary. Time of performance thirty-live min- utes. Parties ordering "A Capital Match" will be well pleased with it. 13. GIVE ME MY WIFE. A Farce in one act, by Wm. E. Suter, three male, three female characters. Easily produced, and costumes modern. A dreadful misunderstanding in this farce, which the name will imply. A fellow loses his wife and suspects another fellow has her. The accidents he meets with, in his search for her, are very amusing. Order a copy and you will like it. Time of performance, thirty minutes. 14. THE BRIGANDS OF CALABRIA. A Melo-Drama, in one act, by Wm. E. Suter, six male, one female character. This is a capital play of the blood-and-thunder description, aud abounds with sword combat's, pistols, etc. etc. It also has a good comedy man, who always is very funny, and very hun- gry. This has always been a great favorite, with all companies who have play- ed it. Tims of performance about one hour. 15. AN UNHAPPY PAIR. An Ethiopian Sketch for two characters. This Sketch is easily produced. Scenery simple, and is a favorite little sketch with all who play it. Costumes exagerated. This is "Nigger all over" and ought to be in the hands of every minstrel company. Time of performance, ten min- utes. O t) o AMES' ST ABOARD ANI> 9IINOI& DRAMA, 16. THE SERF. A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 fe- male characters. Good parts for 1st and 2nd Tragedian, and Tragic lady. The character of 0.ssip is very powerfully drawn. The history of his early love — of his marriage — the indignities he is made to suffer, and the death of his wife, is highly wrought ; and his sarcastic levity and deep revenge are unfolded with a terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. 17. HINTS ON ELOCUTION AND HOW TO BECOME AN ACTOR. This valuable work has just been published, and contains valuable instructions that amateur actors, and every one that ever expect to make a favorable appearance in public, cannot do without it. It teaches you how to become a good and ef- ficient reader, reciter, debater, a good actor, how to hold an audience silent, and treats on every subject that is necessary to be acquired in order to become a good and pleasing actor. 18. THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged by A. D. Ames, 8 male, and 3 female characters, A thrilling drama, ^always a favorite. Leading man, villian, two comedies, old man, leading lady", comedy lady, etc. Costumes modern. The situations in this play, are most excellent. Time of performance, 1 hour and a half. 19. DID I DREAM IT? A Farce in one act by J. P. Wooler. 4 male, 3 fe- male characters. Scene, drawing room. The question "Did I Dream it" is what the farce is founded upon. Very strange things happen, and a nice little love scrape helps to color the plot. A good piece. Costumes simple. Time of per- formance 45 minutes. 20. A TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 male, 2 female characters. A play written by this author is sufficient guarantee of its excellence. Scene, a sitting room, plain furniture. Costumes modern. Time of performance, 35 minutes. This is an excellent farce. 21. A ROMANTIC ATTACHMENT. A Comedietta in one act, by Arthur Wood, 3 male, 3 female characters. A most excellent little play, well adapted for school exhibitions, lodges, amatuers, etc. The scenery is simple, being a plain room, is always a favorite with every company which plays it. Time of performance, 35 minutes. 22. CAPTAIN SMITH. A Farce in one act, by E. Berrie, 3 male, 3 female , characters. Thrs excellent little farce is equally well adapted for school exhi- bitions, etc., as No. 21. The dialogue is sparkling, not a dull speech from be- ginning to end. The plot simple, the piece easily performed. Scene, a plain room. Costumes modern. Time of performance, 30 minutes. 23. MY HEARTS IN THE HIGHLANDS. A Farce in one act, by Wil- liam Brough and Andrew Halliday, 4 male, 3 female characters. Scene, exte- rior of house in the Highlands. Costumes, simple Highland. This farce is eas- ily produced and very effective is full of fun, caused by the mishaps of two char- acters, who go from the city to the country, and do not know a pig from a roe- buck, nor a turkey from an ostrich. Time of performance, 25 minutes. 24. HANDY ANDY. An Ethiopean Farce in one act, 2 male characters. Scene, a kitchen. Costumes, exagerated and comic. The difficulties in procu- ring -a good and suitable servant are most ludicrously set forth in this farce. Time of performance, 20 minutes. 25. SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 male characters. Costumes, exagerated sportsman's dress, and boyish dress. Scene, a wood. Time of representation, 20 minutes. A tip top negro farce. 26. THE HUNTER OF THE ALPS. A Drama in one act, by William Dimoud, 9 male, 4 female characters. Scene in-door and forest. Costumes, Swiss. Rosalvi, the hunter of the Alps leaves his home to procure provisions to keep his wife and children from starving, meets Felix, a lord, and demands, and finally implores of him money. Felix moved with compassion gives him money, and goes with him to his hut, and there discovers they are brothers. There is some fine comedy in it. The story is beautifully told. Time of per- formance 1 hour. 27. FETTER LANE TO GRAVESEND. An Ethiopean Farce in one act, 2 male characters. Scene, plain room. Costume, exagerated and comic. Tke two characters, Ike and Hystericks are very funny, and will keep an audience in roars of laughter. Short, easily produced, and a tip top farce. Time of per- formance 15 minutes. & AMES' STANDARD AND MINOR DRAMA. 28. TII1R1Y-THREE NEXT BIRTHDAY. A Farce in one act, by John Madison Morton, 4 male, 2 female characters. Scene, outside of hotel, easily arranged. Costumes to suit the characters. This farce should he read to he appreciated, and is a good one as are ail of Madison Morton's playa. The com- edy characters are excellent. Time of performance, 35 minutes. 29. THE PAIATER 01 GHENT. A Play in one act, by Douglass Jerreld, 5 male, 2 female characters. Scene in Ghent. Costumes of the country and period. This is a beautiful play of the tragic order. The character of the "Paint- er of Ghent," is one of grandeur and fine language. He becomes insane at the loss of children, and being a painter, paints their portraits from memory. A daughter whom he supposes dead, returns to him, and he recovers. A grand pley. Time of performance, 1 hour. 30. A DAY WELL SPENT. A Farce in one act, by John Oxeuford, 7 male, 5 female characters. Scenery simple. Costumes, modern. Two clerks in the absence of their "boss" conclude to shut up shop, and have a spree. They get into several scrapes with the females, have numerous hair breadth escapes," and have a terrible time generally. Very amusing. Time of performance, 40 minutes. 31. A PET OF THE PUBLIC. A Faice in one act, by Edward Sterling, 4 male, 2 female characters. Scene, parlor. Costumes, modern. In this farce, the lady assumes four distinct characters, either of which is good. For an act- ress of versatility, it is a splendid piece, and amatuers can also produce it with- out troubt It can either be used for t> principal piece, or an afterpiece. Time of perform ice, 50 minutes. 32. Ml VIFE'S RELATIONS. A. Comedietta, in one act, by Walter Gor- don, 4 mal 4 female characters. Scene, plain apartments. Costumes, modern. A pleasing little piece well suited to amatuers, school exhibitions, etc. A fel- low marries, her relatives ceines to see her, are much more numerous than he has an idea of. The denoumentis funny. Time of performance, 45 minutes. 33. ON THE SLY. A Farce in one act, by John Madison Morion, 3 male, 2 female characters. Scene, plain apartment. Costumes, modern. Husbands, don't never fall in love with your wive's dress makers — never squander your money foolishly, never do anything "on the slv," for your wives will be sure to find it out. This farce explains it all. Time of performance 45 minutes. 34. THE MISTLETOE BOUGH. A Melo Drama in two acts, by Charles Somerset, 7 male, 3 female characters. Scene, castle, chamber and wood. Cos- tumes, doublets, trunks, etc. A most excellent Melo-Drarna. Plenty of blood and thunder, with enough jolly, rollicking fun to nicely balance, it. A great favorite with amatuers. Time of performance 1 hour and 30 minutes. 35. HOW STOUT YOU'RE GETTING. A Farce in one act, by John Mad- ison Morton, 5 male, 2 female characters. Costumes, modern. Scene, a plain room. This is another of Morton's excellent farces. The comedy characters in it are nicely drawn, and it always is a favorite. Easily produced. Time of performance, 35 minutes. 36. THE MILLER OF DERWENT WATER. A Drama in three acts, by Edward Fitzball, 5 male, 2 female characters. Costumes, modern. Scenery, easily arranged. This is a touching little domestic drama, abounding in fine speeches, and appeals to the better feelings of one's nature. The "Miller" is an excellent old man. Two comedy characters keep the audience in good humor. Time of performance, I hour and 30 minutes. 37. N0 1 SO BAD AFTER ALL. A Comedy, in 3 acts, by Wybert Reeve 6 male, 5 female characters. Costumes, modern. Scenery, simple and easily ar- ranged. Every character in this comedy is in itself a leading character, and every one very funny. Probably there is not a play in the language in which every character is so funny as this. Time of performance, 1 hour 40 minutes. 38. THE BEWITCHED CLOSET. A Sketch in one act, by Hattie Lena Larnbla, 5 male, 2 female characters. Scene, Parson Grime's kitchen. Costumes modern. A lover goes to see his sweetheart, hides in a closet. Old man ap- pears on the scene, thinks the closet bewitched. They upset it. Old man is frightened— runs away. Everything right etc. Time of performance, 15 minutes. 39. A LIFE'S REVENGE. A Drama in 3 acts, by Win. E. Suter, 7 males, 5 female characters. Costumes, French, period 1661. Scenery, palace, gardens, prison. Can be arranged by amatuers but is a heavy piece. A fine leading man, ^ heavy man, a glorious comedy, etc. Also leading lady, juvenile lady, comedy lady," etc. This drama was a favorite with Harold Forsberg. Time of perform- ance, 2 hours and 15 minutes. i j ^m »ODOBO^ODOt)0 r Q0t)OD-Qt)£)t)C)0€>t)C't)a'D£)'DO l 0O'0 Q^-a^^ AMES' STANDARD AND MINOR DRAMA. 40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena Lambla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain room. A Variety peice, yet can be performed by Amatuers, etc. A Mysterious bundle figures in this farce, which contains a . Time of performance, 20 minutes. 41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Keeve, 7 male, 3 female characters. Costumes modern. Scenery, drawing-room, street and office. Every character is good. Jennie Hight starred on the character of "Con- stance" in this play. Amatuers can produce it. Time of performance, 1 hour 45 minutes. 42. DOMESTIC FELICITY. A Farce in one act, by Hattie Lena Lambla, 1 male, 1 female character. Costumes modern. Scene, a dining room. The name fully describes the piece. Very funny. Time of performance, fifteen minutes. 43. ARRAH DE BA UGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 5 female characters. Costumes modern. Scenes, exteriors and interiors. A most exquisite love story in a play, abounding in scenes of great beauty. The depth of woman's love is beautifully shown. Time of performance about two hours. 44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- comes vely peevish and particular. A plot is formed to break him of his foolish- ness. Very amusing. Time of performance twenty minutes. 45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes modern. Scenes interiors. Time, during the Rebellion. This play represents the real "deown east" characters to perfection. An old man and woman are al- ways quarreling, and their difficulties are very amusing. Time of performance, one hour and twenty minutes. 46. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 female characters. Costumes modern. Scenery exteriors and interiors. This drama is one of intense interest and is a faithful dramatization of Wilkie Collins' story of the same name. This is said by competant critics to be the best dram- atization published, and it should be in the hands of every dramatic company in the country. It has become a great favorite. 47. IN THE WRONG BOX. An Ethiopean Farce in one act, by M. A. D. CHfton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. Scene, a wood. Characters repiesented, a darkey, an Irishman and a Yankee. Time of performance twenty minutes. 48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- male character. Costumes, burlesque German. Scene, a plain room. A neat little piece for two Dutch players, introducing songs and dances. Time of per- formance, 15 to 30 minutes, at the pleasure of the performers. 49. DER TWO SUBPRISES. A Dutch Farce in one act, by M. A. D. Clifton, I male, 1 female character. Costumes, peasant's, and old man's and old woman's dress. Scene, a kitchen. A very neat little sketch, introducing songs and dances. Time of performance, about twenty minutes. 50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female characters. Probably no other play by the immortal Shakespeare is produced as frequently as this one. It needs no description. Time of performance about two hours and thirty minutes. 51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 male, 3 female characters. This play visibly depicts the dangerous consequen- ces of falling into bad company, the follies of the intoxicating bowl, and shows that even the pure love of a noble girl will be sacrificed to the accursed appetite. The solemn scenes are balanced by the funny portions, and all in all the play is a grand success. Costumes modern. Scenes, interiors some neatly and some handsomely furnished. Time of performance one hour. 52. HENRY GRANDEN. A Drama in three acts, by Frank Lester Bingham, II male, 8 female characters. This drama is sensational in a high degree, abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It should be purchased by erery dramatic company that wish something to suit the public. Costumes not hard to arrange. Time of performance two hours. () i> AMES' STANDARD AND MBNOR DRAMA. *% 53. OUT IN THE STREETS. A Temperance Drama in three acts, by S. N. Cook, 6 male, 4 female characters. Wherever this drama has been produced it has been received with the greatest enthusiasm. Listeners have been melted to tears at the troubles of Mrs. Bradford, and in the next scene been convulsed with laughter at the drolleries of North Carolina Pete. Costumes modern. Scenes, interiors. Time of performance, about one hour. 54. THE TWO T. J's. A Farce in one act, by Martin Beecher, 4 male, 2 fe- male characters. Costumes of the day ; scene an ordinary room. This is a cap- ital farce and has two male characters excellent for light and low comedians. Good parts also for old and young lady. Time of performance thirty minutes. 55. SOMEBODTS NOBODY. A Farce in one act and one scene, by C. A. Maltuy, 3 male, 2 female characters. Scene, interior. Easily arranged in any parlor or hall, as it can be produced without scenery. Costumes modern with the exception of Dick Mizzle's which is hostler's and afterwards extravagant fashionable. This most laughable, farce was first produced at the Drury Lane Theater, London, where it had a" run of one hundred and fifty consecutive nights. It is all comic, and has excellont parts for old man, walking gent, low comedy, walking lady and chambermaid. Time of performance, 30 minutes. 56. WOOING UNDER DIFFICULTIES. A Farce in one act and one scene, by John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished apartment. Costumes of the day. Probably no poor fellow ever wooed under more distressing difficulties than the one in this farce. It all comes about through a serious misunderstanding. A crusty old man, and a quarrelsome and very important servant go to make the farce" extremely funny. Time of per- formance thirty minutes. 57. PADDY MILES' BOY. An Irish Farce in one act, by James Pilgrim, 5 male, 2 female characters. Scenes, exteriors and interiors. Costumes eccentric, and Irish for Paddy. Probably there is not an Irish farce published so often presented as this one, but it is always a favorite and is always received with great applause. Time of performance 35 minutes. 58. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- male characters. Scenes, drawing room, saloon, street and j ail. Costumes mod- ern. The lessons learned in this drama are most excellent. The language is pure, containing nothing to offend the most refined ear. From the comfortable home and pleasant fireside, it follows the downward course of the drunkard to the end. All this is followed by counterfeiting, the death of the faithful wife caused by a blow from the hand of a drunken husband, and finally the death of the drunkard in the madhouse. Time of performance about one hour. 59. SA VED. A Temperance Sketch in two acts, by Edwin Tardy, 2 male, 3 female characters. Scenes, street and plain room. Nicely adapted to amatuers, Time of performance twenty minutes. 60. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four acts, by A. D. Ames. 10 male and 3 female characters. For beauty of dialogue, startling situations, depths of feeling there is none on the American Stage supe- rior to this one. The plot is an exceedingly deep one, and the interest begins >ith the first speech, and does not for a moment cease until the curtain falls on the last scene of the last act. The cast is small and the costumes easily arranged. It can be played on any stage. It has parts for Leading Emotional Lady, Juve- nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 61. NOT AS DEAF AS HE SEEMS. An Ethiopean Farce in one act. 2 male characters. Scene, a plain room. Costumes exagerated and comic. Ex- tremely ridiculous and funny. Time of performance 15 minutes. 62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play in five acts, by Wm. W. Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female characters. This edition is rewritten, containing many new points, and is the best ever presented to the public. Nothing need be said in its praise, as it is too well known. It is often played, and always successfully. Time of performance about two hours. 63. THREE GLASSES A DA Y, Or, The Broken Home. A gTand Moral and Temperance Drama, in two acts, by W. Henri Wilkins, 4 male, 2 female charact- ers. Costumes modern. Scenes, interiors. First-class characters for Leading Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- ing Lady, and a tip-top Comedy Lady. If a company wishes something with an excellent moral, at the same time running over with genuine humor, buy this. Time of performance about one hour and thirty minutes. it <$> cb $ w AUIES' STANDARD Ar P (5 <> Sfe^ 64. THAT BOY SAM. An Ethiopean Farce in one act, by F. L. Cutler. 8 male, 1 female character. Scene, a plain room and common furniture. Cos- tumes, comic, to suit the characters. Very funny, and eftectuaUy gives the troubles of a "colored pal" in trying to have a beau, and the pranks of "that boy Sam." Time of performance twenty minutes. 65. AN UNWELCOME RETLRN. A Comic Interlude, in "one act, by Geo. A. Munson. 3 male, 1 female character. Scene, a dining room. Costumes, modern. Companies will find this a very amusing piece, two negroes being very funny — enough so to keep an audience in the best of humor. Time of perform- ance, twenty minutes. 66. HANS, THE HUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 3 male, 1 female character. An exceedingly funny piece. Hans figures as a Justice in the absence of his master, and his exploits are extremely ludricous. Costumes modern. Scene, plain room. Time of performance, twenty minutes. 67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 male, 1 female character. Simple scenery and costumes. First class characters for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- ing lady. This drama is one of thrilling interest, and dramatic companies will invariably be pleased with it. Time of performance, one hour and forty-five minutes. 68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 male characters. This intensely funny afterpiece can be produced by any company. The characters are all first class, and the "colored individual" is especially fun- ny. Scene, a plain room. Costumes, simple. Time of performance, about twenty minutes. 69. MOTHER'S FOOL. A Farce in one act, by W. Henri Wilkins. 6 male, 1 female character. Like all of Mr. Wilkins' plays, this is first class. The characters are all well drawn, it is very amusing, and proves an immense suc- cess wherever produced. Scene, a simple room. Costumes modern. Time of performance, thirty minutes. 70. WHLCH WILL HE MARRY. A Farce in one act, by Thomas Egerton Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- ly arranged on any stage. A barber hears that one of eight women has fallen heir to some money, not knowing which, he makes love to them all. This, to- gether with the revenge the females have upon him, will prove laughable enough to suit any one. Time of representation, thirty minutes. 71. THE REWARD OF CRIME, OR THE LOVE OF GOLD. A Drama of Vermont, in two acts, by W. Henri Wilkins. 5 male, 3 female characters. A drama from the pen of this authoi is sufficient guarantee of its excellence. Characters for old man, 1st and 2d heavy men, juvenile. A splendid Yankee, lively enough to suit any one. Old woman, juvenile woman, and comedy. Costumes modern. Scene, plain rooms and street. Time of performance, one hour and thirty minutes. Easily placed upon the stage, and a great favorite with amatuers. 72. THE DEUCE IS IN HIM. A Farce in one act, by R. J. Raymond. 8 male, 1 female character. Scene, a plain room. Costumes modern. This farce is easily arranged, and can be produced on any stage, in fact, in a parlor. The pranks of the doctor's boy will keep an audience in roars of laughter, every line being full of fun. Time of performance, thirty minutes. Order this, and you will be pleased. 73. AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 1 female character. This is one of the most effective temperance plays ever pub- lished. Good characters for leading man, 1st and 2d villain, a detective, old man, a Yankee, and a capital negro, also leading lady. The temptations of city life are faithfully depicted, the effects of gambling, strong drink, etc. Every company that orders it will produce it. Costumes modern. Scene, Mobile, Time of performance, one hour and thirty minutes. 74. HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by Henry J. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in the rear of a grocers shop. Costumes modern. Whiffles the proprietor of the grocery, has a mother-in-law who is always interfering with his business. Vari- ous expedients are resorted to to cure her — a mutual friend is called in who, by the aid of various disguises frightens the old lady nearly to death, fina.ly Whif- fles gets on a "ge-lorious drunk," and at last triumphs. A perfect success. Time of performance, thirty-five minutes. AMES' STANDARD AND MINOR ORAM A. I 4> 75. ADRIFT. A Temperance Drama, in three acts, by Chas. W. Babcock, M. D. Six male, four female characters. Good characters for leading man, villain, comedy, juvenile, a capital negro, and jolly Irishman. Abo leading la - dy, little girl, juveuile lady, and old negress. A deep plot, characters well drawn and language pure. Easily produced. Scenery simple ond costumes modern. Time bt perfermauce, one hour and a half. 76. HO W HE DID IT. A comic Drama in one act, by John Parry, three male, two female characters. An amusing scene from real life. A plot is laid to cure a husband, who having lost a first wife whom he domineered over, tries to treat a second one in like manner. A splendid comedian's part. Time about thirty minutes. Costumes modern. 77. JOES VISIT. An Ethiopean burlesque on the Rough Diamond, two male, one female characters. Easily produced and very laughable. Can also be played white. Time twenty minutes. Costumes extravagant negro. 78. AN A WFUL CRIMINAL. A Farce in one act, by J. Palgrave Simpson, three male, three female characters. Plot excellent and its development very amusing. Th« oftener produced the better it is liked — is in one scene and easily put upon the stage. Costumes simple. Time thirty-five minutes. 79. THE SPY OF ATLANTA. A Grand Military Allegory in six acts, by A. D. Ames and C. G. Bartley, fourteen male, three females. This play is found- ed on incidents which occured during the war of the Rebellion — it introduces Ohio's brave and gallant McPherson — the manner of his capture and death. It abounds with beautiful tableaux, drills, marches, battle scenes, Andersonville, etc., and is pronounced by the press and public, the most successful military play ever produced. G. A. R. Posts, Military Companies and other organiza- tions, who may wish something which will draw, should produce it. It may not be out of place to add that this play with the incidents of the death of Mc- Pherson, was written with the consent of the General's brother, R. B. McPher- son, since dead, who fully approved of it. Price 25 cents per copy. 80. ALARMINGLY S-USPICIOUS. A Comedietta in one act, by J. Pal- grave Simpson, four male, three females. This play is easily arranged, and the plot excellent. Some things are "Alarmingly Suspicious" however, and it will please an audieuce. Time forty-five minutes. 81. OLD PHIL'S BIRTHDAY. A serio-comic Drama in two acts, by J. P. Wooler, five male, two females. Scenery easily arranged. Costumes modern. One of the purest and most attractive plays ever published. The charcter of "Old Phil" cannot be excelled, and tb* balance are every one good. Time one hour and forty-five ninutes. 82. KILLING TIME. A Farce In one act, one male, one female. Scene a drawing room. Costumes modern. A woman held captive at home by the rain seeks to "kill time." How she doesit is told by this farce. Time about thirty minutes. 83. OUT ON THE WORLD. A Drama In three acts, five males, four fe- males. Scenery not difficult. Modern costumes. A thrilling picture of love, fidelity and devotion. Excellent leading characters and Irish comedy, both male and female. Can be produced on any stage. Time two hours. An Amer- ican Drama. 84. C^GEK WILL WIN. A Farce for three male characters, by W. E. Suter. Costumes modern. Scene plain apartment. It is said that nothing will carrv a man through the world as well as plenty of "cheek." A striking ex- ample is given in this farce. It will please all. Time thirty minutes. 8n. THE OUTCASTS WIFE. A domestic Drama in three acts, by Colin H. Hazlewood, twelve males, three females. Costumes modern. A thrilling play of the blood and thunder order, abounding in exciting scenes, and hair- breadth escapes, Is a favorite wherever produced, and has leading man, old man, juvenile and comedy characters. The "wife" is a grand one for leading lady, and there is a good comedy. Time one hour and fort3 T -five minutes. 86. BLACK VS WHITE OR THE NIGGER AND YANKEE. A Farce in one act, by Geo. S. Vautrot, four males, two females. Simple scenery. Mod- ern costumes. In this farce is combined the Ethiopean and Yankee, both characters being very funny, as well as other excellent parts. Time of perform- ance, thirty-five minutes. AMES' PLAYSr-COlSTTIKUED, NO. M. P. 46 Man and Wife, drama, 5 acts, by H. A. Web>ber 12 7 91 Michael Erie, drama, 2 acts, by Egerton Wilks 8 3 36 Miller of Derwent Water, drama, 3 acts, by E. Fitzball 5 2 83 Mischievous Nigger, ethiopean farce, 1 act, by C. White. ..4 2 34 Mistletoe Bough, melo-drama, 2 acts, by C. Somerset 7 3 69 Mother's Fool, farce, 1 act, by W. Henri Wilkins 6 1 1 Mr. & Mrs. Pringle, farce, 1 act, by Don T. De Treuba Cosio..7 2 23 My Heart's in the Highlands, farce, 1 act, 4 3 32 My Wife's Relations, comedietta, 1 act, by Walter Gordon. ..4 4 90 No Cure No Pay, ethiopean farce, 1 act, by G. W. H. Griffin..3 1 61 Not as Deaf as He Seems, ethiopean farce, 1 act, 2 37 Not so Bad After All, comedy, 3 acts, by Wybert Reeve 6 5 44 Obedience, comedietta, 1 act, by Hattie L. Lambla 1 2 81 Old Phil's Birthday, drama, 2 acts, by J. P. Wooler 5 2 33 On the Sly, farce, 1 act, by John Madison Morton 3 2 109 Other People's Children, etho farce, 1 act, by A. N. Field 3 2 85 Outcast's Wife, drama, 3 acts, by Colin H. Hnzlewood......l2 3 8-3 Out on the World, drama, 3 acts, 5 4 53 Out in the Streets, temp drama, 3 acts, by S. N. Cook 6 4 57 Paddy Miles' Boy, irish farce, 1 act, by James Pilgrim 5 2 29 Painter of Ghent, play, lace, by Douglass Jerrold 5 2 114 Passions, comedy, 4 acts, by F. Marmaduke Dey 8 4 18 Poacher's Doom, domestic drama, 3 acts, by A. D. Ames.., ..8 3 51 Rescued, temperance drama.. 2 acts, by C. H. Gilbert 5 3 110 Reverses, domestic drama, 5 acts, by A. Newton Field 12 6 45 Rock Allen the Orphan, dramn, 1 act, by W. Henri Wilkins..5 3 96 Rooms to Let without Board, ethiopean farce, ] act, 2 1 59 Saved, temperance sketch, 1 act, by Edwin Tardy 2 3 48 Schnaps, dutch farce, 1 act, by M. A. D. Cliffton 1 1 107 School, ethiopean farce, 1 act, by A. Newton Field 5 115 S. H. A. M. Pinafore, burl'sq, 1 act, by W. Henri Wilkins.. .5 3 55 Somebody's Nobody, farce, 1 act, by C. A. Maltby 3 2 94 Sixteen Thousand Years Ago, ethiopean farce, 1 act, 3 25 Sport with a Spo'.tsimui, ethiopean farce, 1 act, 2 79 Spy of Atlanta, military allegory, b' acts, by A. D. Ames. ..14 3 92 Stage Struck Darkey, ethiopean farce, 1 act, 2 1 10 Stocks Up, Stocks Down, ethiopean farce, 1 act, 2 62 Ten Nights in a Bar Room, temperance drama, 5 acts, 7 3 64 That Boy Sam, etho farce, 1 act, by F. L. Cutler 3 1 40 That Mysterious Bundle, farce, 1 act, by H. L. Lambla 2 2 38 The Bewitched Closet, sketch, 1 act, by II. L. Lambla ...5 2 87 The Biter Bit, comedy, 2 acts, by Barh'am Livius 5 2 101 The Coming Man, farce, 1 act, by W. Henri Wilkins ....3 1 67 The False Friend, drama, 2 act, by Geo. S. Vautrot..., 6 1 97 The Fatal Blow, melo-drama, 2 acts, by Edward Fitzball. ..7 1 93 The Gentleman in Black, drama, 2 act, W. H. Murry .9 4 112 The New Magdalen, drama, pro 3 acts, by A. Newton Field.. .8 3 71 The Reward of Crime, drama, 2 acts, by W. Henri Wilkins..5 3 16 The Serf, tragedy, 5 acts, by R. Talbot , 6 3 68 The Sham Professor, farce, 1 act, by F. L. Cutler .4 6 The Studio, ethiopean farce, 1 act, 3 102 Turn of the Tide, temp drama, 3 acts, by W. Henri Wilkins...7 4 54 The Two T. J's, farce, 1 act, by Martin Beecher 4 2 Catalogue continued on last page of cover. iiiiiiiimiSii 0F C0NGRESS = — 016 215 009 1 & j AMES' PLAYSr-CONTLNTUED. 7 The Vowof the Ornani, drama, 3 acts, byJ. N.Gotthold 8 1 28 Thirty-three next Birthday, farce, 1 act, by M. Morton 4 2 118 Those Awful Boys, etho farce, 1 act, by A. Newton Field 5 63 Three Glasses a Day, teni dm, 2 acts, by W. Henri Wilkins...4 2 105 Through Snow and Sunshine, drama, 5 nets. 6 4 4 Twnin's Dodging, etho fnrce, 1 act, bv A. Newton Field 3 1 5 When Women Weep, eom'd'ta, 1 act, bv J. N.Gotthold 3 2 56 Wooing Under Difficulties, farce, 1 act, by J. T. Douglass. ..4 3 41 Won at Last, comedy drama, 3 acts, by Wybert Reeve 7 3 70 Which will he Marry, farce, 1 act, by Tims. E. Wilks 2 8 58 Wrecked, temperance drama, 2 acts, by A. D. Ames 9 3 111 Yankee Duelist, farce, 1 act, by A. Newton Field 2 2 PLEASE READ CAREFULLY. When remitting, send Post Office Order if possible, otherwise send a Registered Letter, or Draft on New York. Small amounts may be sent in 1, 2, or 3 cent postage stamps with but little risk. Do not waste your own, and our time by asking us if we can send you a certain play, but enclose your money, 15 cents per copy. If it is published, we will send it, otherwise we will notify you, and you can instruct us to send something else, or return the money. Please notice that we will not fill telegraph orders, and will not send goods to any one C. O. D. Our books may be ordered from any bookseller in the United States and Canada. If you h.-ive trouble however, in getting Ames' Edition, send directly to us. Amateur companies often have trouble in procuring Plays suited to their wants, ordering perhaps five dollars' worth before anything suitable can be found. This can be avoided. Our list embraces Plays suitable for all companies, and if our friends will write to us, stating their requirements, wc can suit them. Enclose 15 cents per copy for as many sample copies as you wish, and a list of those you have produced. State also the kind of Play desired, number of charac- ters, etc. We will select and send samples by return mail. We do not make any discount on a number of copies of books, neither will we send Plays out to be returned if not suitable. A complete Descriptive Catalogue will be sent free to any one on application. Send a postal card with your address. A. D. AMES, Pub., Clyde, Ohio.