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DE WITT'S ACTING- PLAYS.
(Number 190.)
HDNTiG TIE SLIPPERS ;
OR,
PAINLESS DENTISTRY.
A FARCE,
IN" OlSTE SCEINTE.
By MARTIN BECHER,
AuHior of ''■ A Domestic He.rcides,'" " RuU, Jirilannij.," " 7ft the Wrong House •
">•, No. 6 Duke Street," " J/^ Uncle's .Suit; or. In Possession," '^ A
Poetical Pm/iosaly" '^ A Crimeless Criminal," etc., etc,
TO WHICH ARE ADDED,
A description of tiie Costiimes— Synopsis of the Piece— Cast of the Characters
—Entrances and Exits— Relative Positions of the Performers on
the Stage, and the whole of the Stage Business.
^tto-gflrk :
ROBERT M. DE WITT, PUBLISHER
yo. 3 3 Rote Street.
NOW
r IWR. X. A Farce, In One Act. By Sydney Rosenfeld. Price fifteen
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Jfc. Composer.
3. K.*irer's I^etter-Bax Wrighton.
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e. Bine-Eyed Violets Jackson.
8. Xbe Maiden and Her I^innet.
Montgomery.
14. Soft De-wv is Sleeping Barker.
«e. When tiie Roses Blow.. Allen.
SO. Beautiful Bells Coote.
XI. Tbe IMothor's Drean* Sullivan.
«S. My Spirit Star .". Toung:.
nS^ Little Maggie May ...BUmphln.
S6. Xiko -Vagabond .Molloy.
S«. My Heart Is 0*er tbo SeM..Claribel.
3S. Maggie's Weleome Clarlbel.
35. Sreaming of IVeUie Hogett.
37. Fi^o •'Clock in the Morning.
Clarlbel.
39. Sbo Canto and Vanisbod I^lke a
Dream Boucher.
«1. Meet Me in tbo I^no Blamphln.
43. Tapping at tbe Carden date.
4B. Sloeping on Cnard Wrlshtoo.
4'». SuMaaer Dew B»rker.
43. •b. My I^oot K.o'vo Plmaptoa.
No.
St.
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ei.
64,
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•75.
'76.
Oomp
Far Away .BIiflS^
•f ess Macfarlane Tacker.
Yes, I'll Meet Tbee. Dearest.
Blamphln. ,
Hattie Bell Webster.
Whisper " Yes," or •• IWo," IL.ove.
" Adele."
Her Brigbt Smile Haunts Me
Still WrightoB.
Ob. Cast that Shado-w from Thy
Bro-w Tucker.
K.oire IVot Blockley.
She Wore a IVreatb of Roses.
Knight.
Pretty I^ittle Dark Eyes.... Parker.
When -we -went a Gleaning.
Oahe.
Mary of Argyle KelsoB.
What Did Little Blrdlo Say?
Slag. Birdie. Sing....
Spriag>Time of Life.,
IVigbtiagalo'B Trill... .
. . . .a»M.
.JackMB.
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wmnm the slippers;
OK,
PAINLESS DENTISTRY.
IN ONE SCEN-E
BY MAETIN BEOHEE,
Author of " A Domestic Hercules" " Rule Britannia," " Jn the Wrong House ; or, Ko.
6 Duke Street," " My Uncle's Suit; or, Jn Possession," '* A Poetic
Proposal," •' A Crimeless Criminal," etc., etc.
AS FIRST PERFORMED AT THE ADELPHI THEATRE, LONDON, UNDER
THE MANAGEMENT OF F. B. CHATTERTON, JUNE 12, 1875.
TO WHICH AIIE ADDED,
A DESCRIPTION OP THE COSTUMES — CAsT OF THE CHARACTERS — SYNC]
SIS OF THE PIECE— ENTRANCES AND EXITS — RELATIVE POSI-
TIONJil OF THE PERFORMERS ON THE STAGE, AND THE
WHOLE OF THE STAGE BUSINESS.
NEW YORK:
ROBERT M. DE WITT, PUBLISHER,
No. 33 Rose Street.
(BETWREN DTTANR AND FBANKFORT STBEETS.)
COPYBIGHT, 1875, BY ROBERT M. De WlTT.
2 UUNTING THE SLIPPERS. ' ' ^ ' ^'^ 7
/87S
CAST OF CEARAGTERS. Cop/ 7,
AdelphiTlieaire, Lon-
don, June 12, 1875.
Mr. Vanderpump Mr. Mokeland.
Philip Puller (Dentist) M. J. G. Shobe.
Jack Castleton (Doctor) Mr. H. Cooper.
Peter Pimbuffle Mr. J. Fawn,
Eupbemia (Mr. Vanderpump's Daughter) Miss E. Phillips.
COSTUMES-MODERN
TIME IN REPRESENTATION— THIRTY-FIVE MINUTES.
TIME- THE PRESENT.
SCEXERY.
Scene.— A good large operating room lor a dentist. A very large chair and foot-
stool, such as are generally to he found in dental offices. Usual chairs, tables,
placed about the apavtment. A practicable cupboard back. Door l. u. e.
FROPERTIES.
Receipt for rent ; dentist's tools on table ; handkerchief for Pimbttffle ; tooth
for Jack ; a dozen pairs of old slippers, of all sorts and sizes ; a few old boots, do.
do. ; four bank-notes for £1000 each ; bag of gas as used by dentists.
SYXOFSIS.
A dentist's operating-room is the scene in which all the action of the piece occurs.
Philip Puller is standing by his operating-chair, conversing with Euphemia Van-
DEBPOMP, who lives upstairs. A knock interrupts them, and the young couple are
alarmed lest it should be Mr. Vandekpxjmp, the young lady's father But Phil,
remarking that the old gent is very absent-minded, and seldom notices anything,
pushes Euphemia behind the large chair, and opens the door. The old man has
brought a receipt for the rent, and then begins poking round, and asking questions,
while Phil has to adroitly turn the chair so as to screen the young lady. At last
they get rid of him. Then the young folks have a delicious bit of flirtation, which
is interrupted by their hearing some one on the stairs, asking for Mr. Puller's
room. Phil now hides Euphemia in the cupboard, but a hit of her dress is exposed
when the door is shut. Jack Castleton, a great crony of Phil's, enters, and after
a little chat, tells Phil that his rich uncle is at the Hummums Hotel, waiting for him.
Phil dare not disappoint his uncle, and, failing in all attempts to get Jack to go
with him, is obliged to leave him in the room ; while he hurries off. Jack seats him-
self in the operating-chair, when Peteii Pimbufflb enters (on his way to Vander-
pump's rooms), to have a painful tooth drawn. Here the fun gets fast and furious,
as Jack, after nearly pulling Peter's head ofP, draws the wrong tooth. , The droll-
ery heing much increased by the fact that Prter is an inveterate stutterer. Jack
discovers Euphemia by the piece of her dress, and she explains her presence in the
closet by the " thin "pretext that she wanted to discover tbe secret of " Painless
Dentistry." At this moment, Philip returns, out of breath. A series of discoveries
take place, by which it is evident that all three of the gentlemen are anxious to ob-
HT7NTI>iG TlIK bLlPl'KUS. 6
tain Euphemia's hand, VANDEnpuMP, attracted by the noise, comes in, when the
lovers, each in his -way, begin to urge their claims. The old gentleman is in no
mood to listen. His boots hurt his leet, and he can't find his old slippers. His
daughter tells him that she has worked him a new pair, and had sold his old ones.
Vi.NDEupUMP is electrified, and as soon as he regains the power of speech, relates
how he had placed two bank-notes, of £\fiOO, between the lining and sole of each
slipper. His auditors are ast ■unJed, Then the old man offers his daughter's hand
to whoever wiil recover for liim the valuable articles. Here a funny game of hunt
the slippers begins. The three lovers, after a short absence, return with arinsfull of
quaint and queer foot coverings^ but not the identical pair. The old man grows
frantic. Phil, to soothe him, administers a dose of gas. The patient falls into a
trance. Then he begins to move his feet excitedly. Phil exclaims ; " Ha 1 he is
going to kick ! off with his boots !" They draw them off, and out fall the missing
bank-notes. After some amusing badinage, Ecphkmia is awarded to Philip Pul-
ler, who closesthe very, very amusing piece by remarking : " I always had great
faith in ' laughing gas ' for the purpose of ' Painless Dentistry ;' but until this
evening I never knew it was powerful enough to procure a man a wife, and exti'act
bank-notes out of old boots.'
EXPLANATION OF THE STAGE DIRECTIONS.
The Actor is supposed to face the Audience.
lUC. E.
SCENK
B.2S.
/
B.13.
/
/
\
L. 3E.
\
I,. 2e.
\
L. IK.
ArDIENCE,
L. Left,
c.
L, c. Left Centre,
K,
L. 1 E, Left First Entrance,
n. lE.
L, 2 E, Left Second Entrance,
R, 2e.
L. 3 E, Left Third Entrance.
n,3E.
L. u. E. Left Upper Entrance
R, tr, E,
(wherever this Scene may be.)
D. E- C
o. L. c. Door Left Centre.
Centre.
Right.
Ptight First Entrance.
Hight Second Entrance.
Right Third Entrance,
Right Upper Entrance,
Door Eight Centre.
HUNTING- THE SLIPPERS ;
OR,
PAINLESS DENTISTEY.
SCENE. — A dentist's operating room, with usual chair, — TTsual chairs tables,
etc., about. Fracticahle cupboard — door l. u. e.
At rise of the curtain, Euphemia i^ discovered standing by the operating
chair, talking to Philip Puller.
Philip. Eli ! somebody coming % By Jove ! so there is
EuPHEMi \. Oh, Piiil, if it should be papa ?
PniL. Not likely, Plieiuy — but if you're frightened, here, stoop down
behind this big chair. Your governor is so short-sighted, and so ab-
sent-minded that he'd never see you. inputs her behind chair) There,
that's all right.
Knoch at door, and enter Vanderpump.
The venerable one himself, by all that's unluck.y.
Vanderpump. How do 1 how do 1 Only looked in to hand you the
receipt for the rent, {gives it to Mm) Well, how's *' Painless Dentistry V
paying, eh 1 Lots of business 1 Ivory trade brisk, eh ?
Phil. The practice, Mr. Vanderpump, is in a most flourishing condi-
tion. At this time of the day business may be said to be over ; for in
fact I'm going to lock up the premises — shut up shop, I suppose you'd
call it — and fly away home. (Vanderpump saunters slowly round chair^
and Philip is obliged to keep turning it as he moves, to hide Euphemia.)
Vand. I say, "Painless Dentistry's " humbug, now isn't it 7 Only
sugaring the bread and butter, to disguise the powder you're giving the
children, ehl
Phil. Not a bit — I can't stay to night for I'm in a hurry ; but if you'll
come to-morrow morning I'll take out your soundest double-tooth, if
you've got such a thing — and you shan't know anything about it.
Vand. Well, much obliged, I think I'd rather not — but tell, just tell
me this, if it's "painless," why the deuce do the poor devils holloa so 1
When I let you these down-stairs rooms of mine, you particularly prom-
ised rae that your trade should not annoy me. Now, when I'm reading
my ])aper of a morning — over this, every now and then I hear, " -4h !
oh !" not pleasant, young gentleman, I can tell you — makes me feel as
if I were having all my teeth out by proxy, and just a leetle shakes my
faith in the " Painless" theory.
Phil. Imagination Mr. Vanderpump — all imagination. Nobody ever
says '' Ah !" and I take immense care to see they don't say "Owe!"
— because mine's strictly a ready money business.
liUNllKG THE SLirrKllS. O
Vand. Ha, ha! very good, Mr. Philip Puller — but although Tin not
a young man from the country — egad! you don't get over me. How-
ever — I didn't mean to complain, my boy — so make hay while the sun
shines — cultivate your ackers— ha, ha! a long pull, a strong pull, and a
pull all togetlier — bye-bye! (is going out) Hilloa ! I've lost my gloves
{goes round chair to look for them, ivhiist Philip Jias to keep turning it) No —
here they are. Now we are off at last. [Exit.
Phil. Thank goodness ! and please don't come back. Come out of
your chairiot, Phemy — what a comfort it is to think the governor's so
funny, and so near-sighted.
Eup. Ah, but he isn't always funny, Phil. But just think what a he-
roine I am to run such dreadful risks by coming down to see you for a
few seconds, as you begged.
Phil. And for which kindness, Phemy, dear, I shall be grateful — as
Edgar Poe's raven says — "forever more."
Eup. But I've had such a dreadful fright this time, that I don't think
I shall venture again,
PufL. Don't say that, Phemy ; you see things are going on swim-
mingly with me here ; but I'm not quite in a position yet to ask the
governor for his consent and benediction, and all that sort of thing.
Meanwhile, I must have a look at the sun now and then, or else I shall
— what do the poets call it ? — wither and die.
l]up. I suppose you mean you must have a look at the daughter now
and then "?
Phil. Well, though it sounds paradoxical, vou're right — my sun is a
daughter.
Jack {qjeaking outside). This is Mr. Puller's door, is it 1 Thank you.
Eup. Good gracious ! There's some one else coming, I declare.
Phil. Oh, bother the ])eople ! What on earth do they mean by com-
ing here after business hours ? However, it isn't the governor this time
— Ihal's a blessing. Look here, Phemy, get into this cupboard. I'll
send the fellow off in no time — whoever he is. {puts Euphemia into cup-
hoard, but in putting her in, leaves a bit of her dress harging out, ivithout see-
ing it. Knock at door heard) Come in — and look alive about it.
Enter Jack Castletox,
What, Jack Castleton 1 (shakes hanels icith him.)
Jack Yes, which it is, old man, and no mistake. Hech, sirs, as old
Doctor M'Stiff used to say in his lectures, and so you're developed into
a full blown dentist. Now, if there were such things as guineas — which
there ain't — and I'd got one — which I liaven't— I'd manfully wager it
that you couldn't pull out one of my teeth under ten minutes. No !
stop ! it isn't a bet, so I'm not going to let you try.
Phil. I'm delighted to see you, Jack, I've no end of things to tell
you. All sorts of funny games sirice we parted. Look here — no ex-
cuses you i-.now — you must dine with me to-night, sharp seven, at the
Tavistock.
Jack. All right, Phil — I'm on. I've nothing to do in town, aiul I'm
doing it thoroughly.
Phil. That's settled, then. Now, trot along, old boy, till seven. I'm
feariuily busy.
Jack. Gammon ! Not polite, perhaps, but forcible.
Phil. It's a fact. I've a set of teeth for an old girl I must finish be-
fore I leave.
Jack. I'll stop and help you — by looking on, I mean, (sits, r. c.)
PuiL. That would onlv hinder mc. Besides, I've got to take ihem to her.
o uunti>:g the slippjiks.
Jack. Right you are — I'll go with 3-00. I'm game for a walk. Give
me an appetite for your feed, too.
Phil, (ast'ie). What on earth am I to do to get rid of him 1 You
can't very well strangle a man you've asked to dine with you
Jack. Oh, I say, Phil, {crosses to c.) the funniest co-m cidence you ever
heard of. I was coming to you — (Phil fidgets nervously) — ah, that re-
minds nie why 1 came — but I'll tell you this first ; I was coming to you
with a me-ssage. and when I inquired your address, by the blind goddess
with her eyes tied up, if 1 didn't lind you were occupying old Vander-
pump's ground floor.
Phil. Well— what of that %
Jack. What of tiiat? Why, old Vanderpump's a friend of mine —
friend of our family. Isn't it odd 1 Yes. I know what you are going
to say. You never heard me speak of him 7 Tell you why, old fellow
— his daughter hath my love. The dear girl. Euphemia's image has
been shrined in this heart for many a day. 1 sa}', you're not ill, are
you ] (Phil is y rinding his teeth) By-the-bye, perhaps you know her'?
Phil. Er — slightly.
Jack. Phil, we have been ancient chums, and if we are to remain
great friends, let me recommend you to keep your acquaintance with
Euphemia on the very slightest footing, for I may as well tell you, our
respective parents have designed us for each other.
Phil, [aside, and groaning). Human endurance has its limits — upon my
life — I — don't see my way out of strangling him.
Jack. Ha, excuse me, my dear boy, for forgetting in the pleasure of
this meeting, the frightfully urgent business that brought me here.
Your uncle
Phil, hurriedly). What of him, Jack ?
Jack. Is waiting at the Hummums to see you. I volunteered to
fetch you, because the old gentleman hadn't a moment to spare. We
travelled up from Oxford together to-day, and he's off to Devonshire by
the 6:30 from Paddington. Pie wants to see you directly, and unless
you make haste you'll barely have time to cutch him.
Phil, {aside). Oh, what the dickens am I to do T I must try to see
him, but I can't leave Euphemia in that cupboard, {aloud) I'm veiy
sorry, I can't possibly go to him. Just run and say so — there's a good
fellow — or stay, you go and say I'm coming. I'll be after you in no
time.
Jack. What's the use of my going, then ? No, no, you cut along.
It's worth your while, 1 can tell you, old boy, for the old gentleman im-
parted to me, in the strictest confidence, that he had three hundred
potmds to give you ; and I know I wouldn't be three hundred seconds
in going, if any discriminating person proposed to fling that sum at my
head.
Phil, {aside). Three hundred pounds ! Why, I could propose to
Phemy at once ; and he's such a crotchety old fellow, that if I don't go
the chances are I shall never get the money at all. I must risk it. I'll
take Jack with me, and then Phemy can slip up stairs, {aloud) I sup-
pose I must go at once. then. Come along, Jack — let's look alive !
Jack. Rush off like steam, old man — don't wait for me — I'm not go-
ing.
Phil. Pshaw! We mustn't part now after being away from each
other so long.
Jack. Well, you are an oddity. Just now you wanted to get rid of
me at any price, and now — but — seriously speaking, look alive, Phil, or
you'll miss the old gentleman.
PniL. And you 1
nUNTING THK SLIPPERS. I
Jack. I'm going upstairs to call on old Vanderpump.
Phil. He's out I
Jack. All the better. I shall enjoy a tete-a-tete with Euphemia.
Phil. She's out.
Jack. I say, old boy, you seem to be well up in the movements of
the family. Then 111 stay here, and look after the practice for you.
Upon my honor, you'll be too late, and if you are, away goes that three
hundred !
Phil, {snatching up his hat). Confound it! you'll drive me mad. Well,
{going closJ to cupboard, and speaking very loud) I'll go — but I won't be
ten minutes away.
[Exit hurriedly — Jack seats himseif in the operating chair.
Jack. Funny fellow Phil seems to have grown into ! Wasn't like
that when we were students together, three years ago. Wonder whether
he really /ws any patients'? What a spree if some one would come in
now 1 I should be all ready for them, though I haven't pulled out a
tooth since I practised on a sheep's jemmy at St. Barnabas, {knock)
Come in !
Eyiter Peter Ptmbuffle, holding a handkerchief to his face.
Peter {stuttering). Pup-pup-pup-painless dentistry, eh ] Do you
pup-pup-pup-profess to take out teeth without pup-pup-pup-pain ]
Jack. tJnquestionably ! We have reduced our system to a science.
Bah ! There's no such thing as pain !
Peter. Then if you pup-pup-promise that it shan't hurt, I think I'll
be a pup-pup-pup-patient, and have it out.
Jack {pvMiug him in operating cluiir). Of course ! The only thing you
could do. {looks for the necessary forceps.)
Peter. Ha ! ha ! Do you know what made me come to you, Mr.
Pup-pup-Puller 1
Jack {loftily). My reputation, no doubt. The fame of the process is
spreading everywhere, [goes oh selecting forceps.)
Peter. Not at all ! I came here because it's so pup-pup-pup-pre-
clous convenient. You see, I'm an intimate friend of Mr. Vander-pup-
pup-pump, up stairs. (Jack starts) I'm going to call on him, so I
thought it wouldn't be a bad idea to be pup-pup-pup-painless dentis-
tried first.
Jack {coming forward). Oh! you're an intimate friend, are you 7
Peter. Yes ! I pup-pup-purpose being his son-in-law.
Jack [dropping forceps). The devil you do!
Peter. Yes ; I'm rich, but I'm not pup-pup-pup-proud, and Miss
"Vander-pup-pup-pup-pump is a very pup-pup-pretty girl.
Jack. Ha ! what does she say to it %
Peteb. Say ! What should she say 1 She's pup pup-pup-passion-
ately fond of me.
Jack (aside). Oh, is she 1 Then I pity her taste. I thought I'd let
him off till Phil came back, but after that I'll pull out every blessed
tooth in his head, [to Petkr, tvith ferocity, and approaching tvith forceps)
Now, which is if?
Peter. This I but mind, I won't pup-pup-pup-pay, if it isn't quite
pup-pup-pup-painless.
Jack. Cease this wretched trifling, man, and open your mouth.
Peter. But ! say
Jack. Hold your tongue! ( put. s forceps /;^/o Peter's mouth, and ii sup-
posed to pull out a tooth with desperate wrenches, during lohich Peter kicks
8 HUNTING TllK SLIVPEKS.
and screams violently') There ! {holding up tooth) What the deuce are you
kicking up all that row about ?
Peter. Oh i oh ! oh ! Is that what you call pup-pup-painless ?
Jack. Certainly ! Isn't your tooth-ache -iured, you ungrateful beast?
Peter. No, it isn't. You've taken out the wrong tooth !
Jack. That's soon remedied — we'll have the right one oat in a twink-
ling.
Peter {starting out of the chair). Not if I know it ! I want to wipe
my face, if you pup-pup-pup-please.
Jack {asidti). I wonder where Phil keeps his towels ! {looks round and
sees the end of Euphemia's dresa slicking out of the cupboard) Oh, here's
something here in this cupboard I suppose, {opens door and Euphemia is
discovered) Phew ! Euphemia !
Peter. Eu-pp-pup-pup-phemia. I say, Mr, Pup-Puller, what does
this mean ?
Jack {aside). I think I begin to understand Phil's knowledge of the
family affairs.
Peter. Do you hear, I sayl Ex-pup-pup-pup-plain 1
Jack. Oh, bother you and your pup-pup-pup
Eup. Gentlemen — I take you both into my confidence. I have dis-
covered it all.
Jack. All! all what ^ There isn't a skeleton in the cupboard, is
there %
Eup. {mysteriously). Hush ! Happening to live in this house, I have
been for a long time anxious to find out whether " Painles.s Deutistrj' "
was a fact or a fiction. With this object in view, I concealed myself in
that cupboard--need I say that Mr. PimbuflBe's groans have thoroughly
satisfied me'?
Peter. Well, it's pleasant to hear you're satisfied. It's more than I
am,
Edp. And now, having got over our mutual surprise — how are you,
Mr, Castleton 1 {shakes hands with him) How d'ye do, Mr Pimbuffle %
{shakes hands with him) Not a- word of this to papa, you know ; we'll keep
the secret between ourselves.
Enler Philip, breathlessly.
Phil, {looking amazed^. Hilloa, .Jack ! you've got a room full of com-
pany, I see.
Eup. How do you do, Mr Puller ? I'm afraid you'll think we've taken
possession of your premises, {aside to him, rapidly) It's all right; don't
ask any questions.
Peter. Look here ! Will somebody tell me which is Mr. Pup-pup-
Puller?
Phil. I am, sir, quite at your service.
Peter {to Jack). Then who the — hum — I mean who are you, sir. and
what business had you to pup-pup-pup-pull out my wrong tooth ?
{crosses to u.)
Jack. Your fluent manner of asking questions, though very charm-
ing to listen to, is slightly difficult to follow. It is not at all necessary
for you to know who I am — I pulled out your tooth because I was left
in charge of the practice ; and if it happened to be the wrong one
(which is entirely due to the absurd way in which you hallooed), at least
you will remember that I did not charge you anything for pulling it
out. (Philip, ivho has been ivhispering to Euphemia, tarns to Peter.)
PiiiL. And allow me to add, Mr. Pimbufile, thati am perfectly ready
HUNTING IRE SLirPEKS. 9
to ease you of the right one for nothing, by means of my patented pain-
less process.
Peter. Pshaw ! your pup-pup-painless process is all humbug, sir.
Miss Vander-pup-pup-pup-pump has taken the trouble to investigate it
under circumstances of considerable trouble to herself, ( poiiiting to the
cupboard) and she is pup-pup-pup-perfectly ready to ex-pup-pup-pose
the whole thing.
Eup. Well, really, Mr. PimbuflEle, your statement goes a little too far.
You must remember I haven't yet seen the painless process.
Peteu. Why, just now you saw or heard me pup-practised on— didn't
you
Eup. Oh ! then it was painless after all, was it 7 But, my dear Mr.
Pimbuffle, what a dreadful noise you made for nothing ! {they all laugh
heartily at Peter.)
Vanderpump puts his head in at door.
Vand. Sounds of merriment ! I might almost say of uproarious mirth
— Mr. Puller must be ray excuse for intruding, {he comes in) Dear me,
am I mistaken, or is it my daughter that I see before me 1 Eh ! my
eyes are capital to-day. Why, surely you are Jack Castleton 1 and as I
live, here's that Pup-pup-pap-Pimbnffle !
Eup. Isn't it funny, papal And we've all come in accidentally, as
one may say.
. Vand. {dryly). Indeed ! I was going to ask, my dear, to what fortui-
tous circumstance I was to attribute your presence amongst the distin-
guished company assembled ! [crosses to l., up stage.)
Peter. I think I can ex-pup-pup-plain that.
Phil, {taking Peter by the arm atid swi^iging him round). Another
time, sir, if you please. Mr. Vanderpump, a word, {leads him aside) At
the risk of being considered precipitate, sir, allow me to declare to you
at once that I love your daughter. This day, circumstances have occur-
red which have placed me in a good pecuniary position, and I venture to
appeal to your kindnsss and sympathy to obtain your consent to our
union.
Vand. Well, upon my word this is sudden, Mr. Philip Puller, But
what do you suppose the lady is likely to say to fuch an arrangement ?
Phil. I venture to hope, sir, that it will not be quite unsatisfactory
to her.
Vand. Ah, well ! dear me, dear me ! I must go and get my slippers
— these boots are painfully tight — I'll be back directly, and we'll speak
of this again, {goes towards door ; just as he is going out, Jack rushes after
him, catches him by the arm and brings him to footlights again.)
Jack. Mr. Vanderpump, I've just come to town with one object, and
that is to know when you are going to give me Phemy — I've got a big
practice down at Oxford. I want a wife, and I won't wait any longer.
Vanp. My dear Jack, you always were impetuosity itself — but sup-
posing I had no objection, how about Phemy 1
Jack. I don't anticipate for a moment that Phemy will make any ob-
jection.
Vand. Well, my boy, I — oh ! confound these boots, I must go and get
my slippers. Excuse me for a minute. We'll talk this matter over
when I come back, {goes toivanis door, ivhen Peter stops and brings him
again to footlights )
Peter. Mr. Vander-pup-pup-pump, 1 must ask for a word w th you.
Vand. All right, Pimbuffle, only make haste ; that's a good fellow.
Peter. I love Eup-pup-pup-pnemia, and I'm sure you know it. If
iO UUJ?JT12sG THE SLIPPEKS,
she is to be ex-pup-pup-posed to the frivohties of these two de-pup-
pup-pup-praved young men, the sooner she becomes an honest man's
wife, the better.
Vaxd. Same honest man being you, Pimbuffle, eh 1 But though
you're so sure yourself, can you be as certain of Phemy /
Peter. Pup-pup-positive — she adores me !
Vaxd. My dear Pim — oh, these boots ! It's no use, I must get my
slippers — we'll resume this conversation presently — wait for me here.
((/oes to door, turns and looks at his daughter with tlve gentlemen round her^
and speaks to himself) Some men have to whistle for husbands for their
daughters, whilst i — ha! ha! it's raining sons-in-law for me. I've the
Three Graces in broadcloth to choose from — oh, these boots 1 I must get
my slippers. [Exit.
Eup. Now, just understand this, I Avon't hsten to anything more. All
three of you keep saying things you don't mean a bit, and — Why, good
gracious ! papa's gone — I must go aiter him at once.
Phil No, please don't go ; he s coming back.
Jack. Oh, yes, he's coming back ; he told me so, Phemy.
Peter. Decidedly ! he's coming back, Eup-pup-pup-phemia; he has
to speak to me on im-pup-pup-pup-portant business pup-pup-pup-pres-
ently — told me to wait here, in fact.
Eup. Well, if you all say so, I suppose I had better stay.
Phil, Certainly ! See, here he comes !
Enter Vandeepump, rolling his eyes about and gasping ; he throws himself'
into tite operating chair.
[aside) The venerable one has either seen a ghost, or he's going to in-
dulge in spasms.
Vand. {making horrible grimaces). I was boasting that ray eyes were
capital to-day — it was wrong of me, Euphemia, dear, just run and
fetch me my slippers ; I've looked everywhere for them, but I'm so
near-sighted I couldn't find them.
Eup. What, those wretched old slippers of yours, papa '?
Vand. Yes, my dear, those wretched old shppers.
Eup. Ha, ha ! why, no, papa ! you weren't likely to find them. Now,
didn't you see the lovely new pair Ive worked for you, put already by
your dressing-table 1
Yaxo. Yes, yes — but the old ones, the old ones — what has become
of the old ones 1
Eup. Well, I knew you'd never give them up if I left them in your
room, so I gave them to old Mrs. Puncher,_the charwoman.
Vand. {rolling in agony). 1 guessed it. I had a presentiment when I
couldn't find them that the worst had happened. We're ruined ! In
my old age I am a beggar ! My child's a beggar ! The savings of a
life gone at one fe;l swoop ! {groans frightfully.)
Jack {aside to Philip). Well, hang me, if I can understand it. How
can he be ruined because his old slippers are gone 1
PniL. {asida to Jack). Hush, there's more in this than meets the eye.
Vand. Gone, all gone ! Two notes for a thousand pounds in each
slipper, between the lining and the sole, [to EurnEMtA) There, get out
of my sight, you careless creature. Ah ! now I feel how sharper than
a Ter|)ents Sooth it is to have a what do you call'um child.
Edp Oh, papa! don't talk in that way. You can't know what you
ar.' saying.
Vand. Too well ! too well ! Take the girl away to her aunt, some
one !
HUNTING liiE SLIPPEUS. l!
Phil, {aside to Jack). Tliat wouldn't be gall ant, would it ? {aloud) Do
you really mean, in sober earnest, Mr. Yanderpump, that you have lost
£4,000 ?
Vand. Yes, yes ; I do !
Phil. Stowed away in your old slippers ?
Vand. {rollint/ himself about). Just so !
Phil. By Jove ! then we inu^t have a big hunt. Phemy, where does
this same Mother Punch or Bunch live ?
Ecp. Oh, Phil, what have I done 1 and so innocently, too. We shall
never see tlieni again — she told me they were not worth three-pence,
and she'd sell them in Monmouth street.
Phil. But where does she live ]
Eup. Oh, I don't know — I don't know !
PuiL. (taking up his hat). Never mind — cheer up — we must try Mon-
mouth street, then. Xow, what were they like 1
Eup. Let me see. They had been red, only they would have been
tvliite with age, if they hadn't been black with dirt.
Phil. Thats a trifle complicated — but I think I can see my way.
Yaxd Slop! I've an idea! I'll stimulate the search — I'll offer a re-
ward. Each of you three young gentlemen is anxious to marry my
daughter. Xow, the man that
Eup. Oh, papa, don't 1
Yaxd. Hold your tongue ! The man that restores me the money
shall have my daughter's hand — {aside) but not the notes.
Phil. A bargain ! Agreed for one !
Jack. All right! Agreed for two !
Peter. Fair pup-pup-pup-play, you know, and then I say, agreed
for thiee !
Jack {picking up his hat, ichilst Peter takes up his). We'll all start
together, (aside). Black and white, turned up with red.
Peter {to himself). I think I know the pup-pup pup-pattern I
Phil. (ft> Euphemia). Keep your spirits up, Phemy. If they are to
be found I'll have them, you may depend, and then
Jack {pushing Philip away). No whispering, Master Phil. (Philip
rushes out) Don't you fret, Euphemia — I'm safe to bring them back. I
remember them quite well, and the others don't.
Pi.Tf R ( pushing Jack away). No mean advantages, sir ! (Jack rushes
out) Eup-pup-pup-pup-phemia, your pup-pup-pup-peace of mind de-
pup-pup-pup-pends on my finding these slippers, 1 know. Consider it
done, tlierefore. 1 11 spare no expup-pup-pup-pense ! [JExit.
Eup. Oh, papa, dear ! how could you think of keeping your money
in such a place ] You never told me, and I should never have dreamt
of such a thing. I thought to ])repare a pleasant little surprise for you
when I worked the new pair. Pray forgive me. {begins to cry.)
Vand. Well, well, my dear, don't cr}' — perhaps I was a little unrea-
sonable at first. Oh! but only think of four thousand pounds gone in
a jiffy — the saving of years. Why on earth did you want to meddle
with my slippers ?
Eup. You see, papa, they looked so very disreputable.
Vaxd. W^ell, my child, perhaps so ; but here's a proof that you must
not value anything in this world by its looks alone. Jf these fellows
fail, where am 1 1 Think of that — oh, dear— oh, dear — think of that !
Eup. And if either of them should succeed, you will have recovered your
money, and lost your daughter,
Vaxd. I shrewdly susi»ect I should have lost her, as you call it, in
any case. Only now, Phemy, my gain won't be your loss. For my
part, I doubly hope that one of them will prove successful ; for if I had
12 HUNTING THE SLIPPERS.
to be the Paris to bestow the apple — (of my eye)— that is to siy, my
m)"^ daughter on one of the three — tlieir claims are all so equally bal-
anced — I'm hanged if I know which 1 should choose.
Eup. I do, papa. *
Vand. Well, don't tell me, because if the wrong one finds the missing
treasure it might be awkward.
Eup. What a time they seem to be gone ! It isn't any distance from
here to Monmouth street, and every minute seems an hour !
Vand. We must be patient, my dear. Ha ! here comes some one.
Enter Philip, carrying several pairs of slippers.
Phil, {putting them down inaJieap^ and excitedly ha/nding up a pair on
his knees). Now, then, Mr. Vanderpump, look at these. Are they any
good "i
Vand. {examining them). No, no ! not the least. Go on with the rest,
make haste, my good fellow ! (Philip hands up slippers, a pair at a time,
and \ A.^T>^B.^vwp continues to say, "No; wont do — nothing like them,"
tiU the whole lot has been examined) Is that all you've got ?
Phil I bought up every pair that I could find that looked likely.
Vand. Then fate is against us. Once more I sink into the abyss of
despair !
Enter Jack, ivith armful of slippers.
Stay ! here's Jack ! perhaps he has been more fortunate !
Jack {depositing his load on the ground, while Philip kiclis his into the
background). I hope so, Mr. Vanderpump. I was always noted for fall-
ing on m}' feet. '• Lucky Jack " they called me at school How about
this lot, now ? {hands iq) a pair.)
Vand. No, Jack ; that's not them !
Jack. Well, try these — I've a large assortment, {hands up another pair
— Vanderpump shakes his head, and continues to say, " No use — no use !"
tmtil Jack exhausts his stock.)
Vand. Two failures ! We have now only Pimbuffle to fall back upon.
{great noise, as of dropping things.)
Peter presently enters, staggering tinder an armful of boots.
Vand. Good gracious ! My dear Pimbuffle, you must have misunder-
stood the whole thing. I haven't lost my old boots ! but a pair of old
slippers.
Peter. Very true ; but I ex-pup-pup-pup-pect these gentlemen had
pup-pup-preceded me, and as tiiere wasn't a single pair of old slippers
left, I pup-pup-puvchased all the boots I could find, to make everything
pup-pup-perfTBCtly safe.
Vand. {groaning, and rolling about in chair). It's useless ! useless ! use-
less ! I'm ruined — undone ! Here, you two doctors, give me some-
thing that will put me out of the way quietly, will you ? I shall go
mad ! mad 1 mad ! What's the use of standing there looking at me :
Do something, confound you— do something, I say I {continues to roll
about in chair.)
Phil, {aside, ^o Jack), I tell you what it is, Jack, I've a great mind
to administer a dose of the gas to him. It would calm him down, and
make him forget his loss for a time. What do you say "?
Jack {aside, to Philip), The very thing — have you got any handy 1
(Philip goes to cupboard, and brings out gas.}
Phil. Here you are — here you are. Here's the secret of '-Painless
HUNTlNCi J UK SLI I'l'KKS lo
Dentistry !'' {(o V.vNDFRruMr) Now, sir, lay back in the clmir, and we'll
put you in tlio land oi droaius in no timo.
Eup. {to PniLir). What are you going to do? Pray, be careful, Phil.
PniL. You trust uie, Pheuiy, it won't hurt him a bit. Do him good,
in fact, (ffoes to chair, foUowtd hi/ Jack.)
Peter. I say, I pup-pup-pup-protest against these murderous pup-
pup-i)np-procoedings.
Jack. Ilere, come and lend a hand, can't you, instead of pup-i»up-
pup-protesting? [he puts a hand on Vaxdeupump's ivrist. Petek hoUla
bag, and Philip is supposed to admiiis'cr ffas.)
Phil, {iakina awai/ b:vj from VA\DEUPUMp's/(7r<', after a second or tivo).
That will do, now — we shall see how it att'ects him! ( Vaxdekj'ump he-
gius to move his feet qaieJdy) Ha ! he's going to kick. Quick, you two,
off with his boots! (Jack and Peter each take afoot and pull off a hoot ;
as they do so, notes gutter out of each. Euphemia picks them up excitedly.)
Eup. Look here ! what are these 1
PuiL. (e.ramininy them). Notes, by George ! Four thousand pound
notes ! Why, unless the governor's made of money, and dresses in
" promises to pay " of tlij Bank of England — these are the very iden-
tical notes !
Vaxd. {suddenly roasiny himself). Eh 7 notes 7 Who spoke of notes 7
Phil. Look here, Mr. Vanderpump, if you are sufficiently collected
to give us the informatii)ii, just say if these are the notes you were suj)-
posed to have lost 7 (Philip hands the notice to him.)
Vand. {examininy the))i). Ofcour.se they are ! Where did they come
from 7 Who found them 7
Eup. They came out of your boots, papa dear.
Vaxd. {lookiny at his feet). Oh, my boots! {reflects) Of course they
did. Ha ! ha I I remember now. I put them there. I took them out
of the slippers this very morning, but I am so absent.
Phil. Hooray ! then they are not lost at all !
Vand. 0( course they're not!
Jack. Then my course is clear, having recovered at least two of these
notes. Mr. Vanderpump, in the process of removing your left boot, I
demand the fultillment of your promise — that is to say. the hand of your
daughter.
Peter {excitedly). I appeal to your sense of justice, i\Ir. Vander-pup-
pup-pump. I have a superior riyht, for I recovered two of them by re-
moving your riyht boot.
Vand. Yes ; there's something in that plea, Pimbullle*
Phil. Stay, gentlemen ! I think my claim is stronger than both yours.
I not only suggested the administration of the gas, but I also directed
the removal of the boots, without which you neither of you would have
found anything. I therefore claim Miss Vanderpump'shaud as my own.
Jack. I object to that argument in toto!
Peter. I i)up-i)up-])ositively object to it in every "toe-toe!"
Vand. This is a (liffieult case — we must take time to decide.
All Three. No — settle the matter at once — let's liave no delay.
Vand. Very good ! My word being i)laced that a reward sliould be
given, I shall refer the matter to my daugjiter for decision, {aside) I've
got my money back, and she shall have just which she likes, {crosses
to L.)
Phil. I am quite content to leave it so.
Jack. So am 1.
Peter. I am pup-pup-pup-perfectly satisfied, {aside). Fm quite safe
now.
Vand. Then, Euphemia, my love, if you're not too much dazzled by
14 HUNTING THE SLTPPEKS.
this blaze of masculine beauty, just make one of these fellows misera-
ble — no, I mean happy — and send the other two about their business.
Eup. Well, papa, I think I '
All Three. Yes ! yes !
Eup. I think I owe such a debt of gratitude to Mr. Puller, for the
kind way in which he endeavored to alleviate your sufferings, that I
Phil. Thank you, my dear Phemy. (Jack and 'P:ETE\i fall into each
others arms in mock anguish) I always had great faith in " Laughing
Gas," for the purpose of " Painless Dentistry !" but until this evening I
never knew it was powerful enough to procure a man a wife, and ex-
tract bank-notes out of old boots.
euphemia.
Peter. Philip.
Jack. Vandebpump,
CURTAIN.
"Swoctc^t Shake-iperc, Nature's child ,
Warbles his native wood-notes wild."— Miltox.
3^^^ Please notice that nearly all the Comedies, Farces and
Comediettas in the following List of ^^T>e 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 tlic number of the piece in "De Witt's List of
Acting Plays." ^
^^ Any of the following Plays sent, postage free, on receipt of
price — fifteen cents.;
Address, ' ROBERT M. DE WITT,
jYo. ,?.? :Roxe Sh-eetj JVew York.
EE "VTITT'S AGTIira IPL.iLT'S-
No.
1 CASTE. An original Comedy in three acts, by T. W.
Kobertvon. A lively and ellective .-^aiire upon the times, played successfully in
America, at \Vallack''s. Five male and tlnee female ciiaracteis. Costumes,
modern. Scenery, the first and third acts, interior of a neat room ; the second
a fashionable room. Time in representation, two hours and forty minutes.
2 NOBODY'S CHILD. A romantic Drama in three acta, by
Watts Phillips. Eighteen male and three female characters. A domestic
drama, wonderfully [successful in I^ondon, as it abounds in stirring scenes
and capital situations. Costumes modern, suited to rural life in Wales.
Scenery is wild and picturesque. Time in represeutatiou, two hours and a
quarter.
3 £100.000. An oripinal Comedy \x\ three acts, by Henry J.
Byron. Eicrht male and four female characters. A most effective piece,
plaved with ai)i)lanse at Wailacks. Costumes of the d:iy. Two scenes are
required — a comfortably furnished parlor aiid an elcj^'ant apartment. Time
in representation, one hour and three qnarters.
DE WITT'S ACTING PLAYS.
4 DANDELION'S DODGES. A Farce in one 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 day. 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. Keplete with telling allusions. Cos-
tumes of the period of the middle ages, grotesquely exaggerated. Five
scenes in Switzerland. Time in representation, one hour.
6 SIX MONTHS AGO. A Comedietta in one act, Tby Felix
Dale. 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.
7 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 day. Costumes of the period. Scenery
modern English. Time in representation, three liours.
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.
10 THE SNAPPING TURTLES; or, Matrimonial Masmie-
rading. A duologue in one act, by John B. Buckstnne. One male and one
female character, who assume a second each.. A very ludicrous farce ; has
been eminently successful. Costumes of the day. Scene, a drawing room.
Time in representation, one hour.
11 W^OODCOCK'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. Tlie 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 W^IDOW^ 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,"
the part of Major Wellington de Boots having been rendered popular by Mr.
J. S. Clarke in England and America. (•ostumes 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 emineutly successful in London when produced by Mr. Fechter.
It contains numerous scenes, capable of being performed unconnected with
the drama, by amateurs. Spanish costumes of 1092. Scenery, halls and apart-
ments in the royal palace at Madrid. Time in representation, three hours
and a half.
1 4 NO THOROUGHFARE. A Drama in five acts, with a
prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six
female characters. Very successlul as produced by Fechter 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 W^HITE. A domestic Drama m two acts hy H.
T. Craven. Four male and two female characters. A good actinu^, patlietic
piece. Costumes English, of the present dav. Scenery, an exterior and in-
terior. Time iii representation, one hour and a half.
DE WITT'S ACTING PLAYS.
No.
16 DEARER THAN LIFE. A serio-comic Drama in three
ncis, by Henry J. Byron. Six male and five ftimalo characlcrs. An eireclivc
piece, which could bo reauily performed by amnteiiis with siucose. Cos-
tumes. I'Jiiijlish of tho i.'i^y. Scenery, two iuieriorij, easily arranged. Time in
representation, two Loure.
17 KIND TO A FAULT. Au original Comedy in two acts,
by William Brough. Six male and four female character!*, A well written
composition with well (iiawn characters. Costumes of th" present day.
Scenery, two elegantly furnished interiors. Time in representation, one
hour and twenty minutes.
18 IF I HAD A THOUSAND A YEAR. A Faroe 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 ent for a good
light comedian. Costumes of the iiresent day ; and scenery, a neatly^fur-
nishfed interior. Time in representation, one hour and fifteen minutes.
19 HE'S A LUNATIC. A Fa-ce in one act, hy Felix Dale.
Three male and two female characters. A sprightly, laughter-provoking
production. Modern dr. sscs ; and scene, a drawing room. ^T me in repre-
sentation, forty minutes.
20 DADDY GRAY. A j:erlo-comic Drama in thi-es acts,
by Andrew Haliiday. Eight male and four female character.*. One of the
author's most effective and natural compositions. Dresses of the present day.
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 Museuni 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 tliree acts, hy T. W.
Kobertson. Eight male and three female characters. Most effectively per-
formed by Mr. Sythern in England and m America with decided success. Cos-
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in
representati(m, 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." Performed with great success
at ^litchclTs Olympic in New York. The costumes are extremely fanciful
an 1 exaegerated. Scenery, modern English. Time in representation, one
hour and live minutes.
24 CABMAN No. 93; or, Fonnd 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 miuntes.
25 THE BROKEN HEARTED CLUB. A Comedietta, by
J. sterling Coyne. Four male and eight female characters. A laughable
satire on the Women's Rights movement. Costumes modern English.
Scenery, a drawing room. Time in representation, thirty minutes.
26 SOCIETY. A Comedy in tkres acts, "by T. W. Robert-
pon. Sixteen mrile and five female characters. A play exceedingly popular,
intended to exhibit the foibles of British Society and to ridicule the election
system. Costumes of tlie present day. Scenery elaborate. Time in repre-
sentation, two hours and a half.
27 TIME AND TIIT)E. A Drama in tliree acts and a pro-
logue, by Henry Leslie. Seven male and live female characters. An effec-
tive piece, with novel and striking incidents. Costumes Phiglish, i)resent
day. Scenery, London marine scenery. Time in representation, two hours.
DE V\^ITT'S ACTING PLAYS.
No.
28 A HAPPY PAIR. A Comedietta in on© act, by S.
Theyre Smith. One male and one female character. A neat dramatic
sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing
room. Time in reprsseutatiyu, tsveuty miuuces.
29 TURNING THE TABLES. A Fat-ce in one act, by John
Poole. Five male and three female characters. One of the happiest efforts
of the famous author of "Paul Pry." The part of Jeremiah Bumps is re-
dolent with quaint humor. A standard acting })iece. Dresses and scenery
of the present day. Time in repreieuiation, sixty-live minutes.
30 THE GOOSE WITH TH?. G3LDSN E3G3. A Farce
in one act, by Augustus Mayhew and Sutherland Edwards. Five male and
tiiree 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 in representation, forty-five minutes.
31 TAMING A TIGER. A Faros in one act, altered from
the Frencli. Tliree male characters. In this a dashing light comedian and
fier\% petulant'old man cannot fail to extort apphiuse. Modern dresses : and
scene, a modern apartment. Time in representation, twenty live minutes.
32 THE LITTI.E REBEL. A Farce 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 FDR HIM. A Farce in one act, by
Thomas J. Willi.^.js. Two male and three female characters. Adapted
from a popular ;.i^'rench 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.
Di'esses of the day. Scene, a parlor. Time in representation, forty minutes.
35 A SILENT WOMAN. A Farce in one act, by Thomas
Hailes L-acy. 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 BLA.OK SHEEP, a Drama in thre a acts, from Edmnnd
Yates' novel of the same name, and arranged for the stage by J. Palgrave
Simpson and the iiuthor. Seven male and five 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. Yv'illiams. Three male and two female characters. An active, bust-
ling piece of ingenuity, which affords abundant opportunities for the display
of Qnickfidget's eccentricities. Costumes of the period. Scene, a drawing
room. Time in representation, forty minutes.
38 THE RIGHTFUL HOR. A Drama.infive acts, by Lord
Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters.
A revision and improvement of the author's play of the "Sea Captain,"
originally produce.! under management of Mr. Macready. 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.
40 ATCHI. A Comedietta 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.
X.
41 BEAUTIFUL FOREVER. A Farce in ono acM>y Fred-
erick Hay. Two male and two female characters. A sprightly satirical re-
buke to "those that patronize advertised nostrums. Costumes of the day.
Sceue, a haudso.ue iutoiior. Time in repre.seutation, forty minutes.
42 TIME AND THE HOUR. A Drama :n three acts, by
J I'algrave .Simp-tju and I'elix Dale?. Seven male and three female charac-
ters. "Au excellent acting plav, full of life and incident, the parts of
Medlicott and Mariau Beck being cap.ible of impressive representation— tdl
otlKi-.-; Lood. Costumes of the present period. Scenery, gardens and ex-
lerioi-. cotta^ie and gaiden. and an old oaken chamber. Time in representa-
tion, is\ o hours and a half.
43 SISTERLY SERVICE. An original Comedietta in oncvj
i| 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 periotl, and a corridor in the royal palace of
Franco. Time in represen ration, forty minutes.
44 WAR TO THE KNIFE, a Comely in tsxvee acts, hy
Henry J. Byron. Five male and four female characters. A pleasing, enter-
taining and morally instructive lesson a.s to extravagant living ; capitally
adapted to the stage. Costumes of the present time, bcenes, three interiors.
Time in represenfatiou, one hour and three quarters.
45 OUR DOMESTICS. A Comedy Farce in two acts, hj
Frederick Hay. Six male and six female characters. An irresistibly face-
tious exposition of high life below stairs, and ot the way in which servants
treat employers during their absenre. Costumes of the d.iy. Scenes,
kitchen and dining room. Time iu representation, one hour and a half.
46 MIRIAM'S CRIME. A Drama in three acts, hy H. T.
Craven. Five mal and two female characters. One of the best acting plays,
and easily put on the stage. Costumes modern. Scenery, modem English
interiors,' two in number. Time in representation, two hours.
47 EASY SHAVING. A Farce in one act, "by F. C. Bnr-
nand and M utiXiru V»i!liau\s. Five male and Iv.o female characters. A
neat and effective piece, with excellent parts for low comedian and singing
chambermaid. Costu-.ues 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. Snter. Two male and four female characters. A
good farce, whose effectiveness depends upon a singing young lady, who
could make t lie piece a sure success. Costumes morlern. Scene, an apart-
ment in an English country house. Time in representation, twenly-tive
minutes.
49 THE MIDNIGHT 'WATCH. A Drr oin. in one act, by
J. Maddison Alorton. Eight male and two female characters. A successful
little play. Costumes of the time of the French Revolutioji of 1795. Scene,
the platform of a fortr^iij. Time iu representation o:;e hoar.
50 THE PORTER'S KNOT. A sevlo-crmlc 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, ^ly Alfred
Wigan. Thre^ male and two female ciiaracters. Most amusing in concep-
tion and admirably carried out. Costumes of the day. Scenej^u palmer's
studio. Time In representation, thirty-five minutes.
52 A CUP OF TEA. A Comedietta in one act. Translated
from the French of I'/ie Tas.<e d<^ Thtr, by Charles Nuttier and J. Berley.
Three male and one female characters. Ar exqui-^ite petty comory. Mell
adapted for amateur representation. Costumes nuHJern. Scene, handsoL.ie
drawing room. Time la representation, thirty minutes.
DE WITT'S ACTING PLATS.
No.
53 GERTRUDE'S MONEY BOX. A Farce in one act, by
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 (The Cantal)). A Tarce in
one act, by T. W. Robertson. Three male and two female characters. A
rattling piece, filled with ludicrous situations, which could be splendidly
workea up by a good light comedian. Costumes modern ; and scene, a
handsome interior. Time in representation, fifty minutes.
55 CATHARINE HOWARH ? cr, the Throne, the Tomh
and the Scaii'old. An historical play in three acts [from the celebrated
play of that name, by Alexander Dumas] ; adapted by W. D. Suter. Twelve
male and five female characters. A most siiecessful acting drama in both
France and England. Costumes of the period of Henry "VIII of England,
artistic and rich. Scenery elaborate and historical. Time in representa-
tion, two hours and a half.
56 Tl^O GAY DECEIVERS ; or, Black, -White and Gray,
A Farce in one act by T. W. Robertson. Three male characters. Adapted
from the French of one of the most laughable vaudevilles on the Parisian
stage. Costumes of present day. Scene, a cell in a police station. Time in
representation, forty minutes.
57 NOEMIE. A Drama in two acts, translated and adapt-
ed from the French of Denneiy and Clement by T. W. Robertson. Four
male and four female cliaracters. Originally acted in Paris, this piece created
such a sensation that it was produced subsequently at all the leading theatres
of London. Costumes modern. Scener.v, a garden scene and a richly
furnished interior. Time in representation, one hour and a half.. Easily
put on the stage.
58 DETOBAH (LEAH)? or, the Jewish Maiden's "Wrong.
A Drama in three acts, by Charles Smith Cheltnam. Seven male and six
female characters. A stnngely elfective acting play. Costumes pictur-
esque yet simple. Scenery elaborate and cumbersome lo handle. Time in
representation, tx\o hours and fifteen minutes. Elegant extracts can b«
taken from this drama.
59 THE POST BOY. An original Drama in two acta, by
H. T. Craven. Five male and three female characters. Very successful.
Costumes modem. Scenery, two interiors. Time of playing, an hour and
a half.
60 THE HIDDEN HAND; or, the Gray Lady of Perth
Vennon. A Drama in four acts, by Tom Taylor. Five male and five female
characters. Costumes of the period of James II of England. Scenery
somewhat elaborate. Time in representation, twj hours and -a half.
61 PLOT AND PASSION. A Drama in three acts [^rom
the French], by Tom Taylor. Seven male and two female characters. A
neut and well constructed play, admirably adapted to amateur representation.
Costumes of the period of the First Empire, rich and attractive. Scenes, an
interior in a French mansion, and one in a country villa. Time in represen-
tation, one hour and a half.
62 A PHOTOGRAPHIC FIX. A Farce in ore act, "by
Frederick Hay. Three male and two female characters. A brilliant, witty
production. Costumes of the day. Scene, a photographic room. Time in
representation, thirty-five minutes.
63 MARRIAGE AT ANY PRICE. A Farce in one act, hy
J. P. Wooler. Five male and three female characters. A decided success in
London. Costumes of the day. Two scenes, a plain chamber and a garden.
Time in representation, thirty minutes.
64 A HOUSEHOLD FAIRY. A domestic Sketch in one act,
by Francis Talfourd. One male and one female character. A gem in its line;
artistic, dramatic and very natural. Modern costumes, and scene a poorly
furnished apartment. Time in p'laying, twenty-five minutes.
DE WITT'S ACTING PLAYS.
No.
65 CHECKMATE. A Comedy in two acts, by Andrew Hal-
liday. Six male and five female tharucters. Costumes, Entrlisli. of the pres-
ent da)-. Scene;?, interior of a country hotel, and exterior of same, with
landscape. Time in representation, one hour and a half.
66 THE ORANGE GIRL. A Drama in a prologue and
three acts, by Uarry Leslie and Nicholas Kowe. Eighteen male and four
female characters. Costumes of the present day ; this piece requires con-
siderable scenery, and some of an especial nature. Time in representation,
two hours and a quarter
67 THE BIRTHPLACE OF PODGERS. A Farce in one
act, by John lloUingshead. Seven male and three female characters. A
capital acting extravaganza, introducing a number of eccentric personages.
Costumes of the preseiit time. Scene, a workiugman's room. Time in repre-
sentation, forty minutes.
68 THE CHEVALIER DE ST. GEORGE. A Drama in
three acts, adapted from the French of MM. Velesville and Koger de Beauvoir,
by T. W. Kobertson. Nine male and three female characters. A ver\' popu-
lar and favorite play. Costumes, very rich, in velvet, court and hunting
dresses, breeches, stockint's, &c. Scenery, a tavern and garden, an interior,
etyle Louis Seize, and a plainer interior. ' Time in representation, one hour
and a half.
69 CAUGHT BY THE CUFF. A Farce in one act, by
Frederick Hay. Four male and one female characters. An exquisitely
ludicrous production, crammed with situatiifis. Costumes of the day.
Scene, a kitchen. Time in representation, forty minutes.
70 THE BONNIE FISHWIFE. A Farce in one act, by
Charles Selby, Comedian. Three male and one female characters. A very
sprightly piece, in which the lady is required to sing, and to be capable of
assuming the Scotti*«h diidect. The costumes, although modern, involve
eccentric Scottish and deer stalking dresses. Scenes, unhandsome chamber
and interior of Highland cottage. Time of playing, forty -five minutes.
71 DOING FOR THE BEST. A domestic Drama in two
acts, by M. Rophino Lacy. Five male and three female characters. An
effective actingpiece, popular in London. Costumes of the day. Two scenes,
one interior of cottage, the other a drawing room. Time in representation,
one hour and a half.
72 A LAME EXCUSE. A Farce in one act, by Frederick
Hay. Four male and two female characters. Costumes of the day. Scene,
a handsome interior. Time in represeution, thirty-live minutes.
73 A GOLDEN FETTER (FETTERED). A Drama in three
acts, by Watts Phillips. Eleven male and four female characters. C(/stumes
of the present time. Scenery' extensive and peculiar to the piece. Time in
representation, one hour and a half.
74 THE GARRICK FEVER. A Farce in one act, by J. R.
Planche. Seven male and four female characters. Costumes of the year
1742 — court dresses, regimentals, velvet trains, &c. Scenery, a plain interior.
Time of representation, forty-five minutes.
75 ADRIENNE ; or, the Secret of a Life. Drama in three
acts, by Harry Leslie. Seven male and three female characters. A telling
romantic drama. Italian and French costumes, civil and military. Scenery,
elabonte interiors and hmdscapes. Time in representation, oiie hour and
forty-five minutes.
76 THE CHOPS OF THE CHANNEL. An original Nauti-
cal Farce in one act, by Frederick Hay. Throe male and two female
characters. A very mirth exciting and whimsical composition. Costumes
of the present day. Scene, the saloon of a steamer. Time in representation,
forty minutes.
DE WITT'S ACTING PLAYS.
11 THE ROIil. or THE BRUM. A romantic Drama in
three acts, by Thomas Eyerton Wilks. Eight male and four female charac-
ters. A standard piece with the British theatres. Costumes of the peiiod of
the first French revolution. Scenery, interior of a farm house, a picturesque
landscape and a drawing room. Time iu representation, one hour and forty-
five minutes.
78 SPECIAL PERFORMANCES. A Farce in one act, by
Wilmot Harrison. Seven male and three lemale characters. A most ludi-
crous, ingenious and aprightly production. Dresses of the present day.
Scene, a chamber. Time in performance, forty minutes.
79 A SHEEP IN ^WOLF'S CLOTHING. A domestic Drama
in one act, freely adapted from Madame de Girardin's " Lfte Femrne qui
deteste Son llaH,'''' by Tom Taylor. Seven male and five female characters.
A neat and pleasing domestic play, founded upon incidents following Mon-
mouth's rebellion. Costumes of the time of James II of England, Scene, a
tapestried chamber. Time of playing, one hour.
80 A CHARMING PAIR. A Farce in one act, by Thomas
J. Williams. i*'oiir male and three female characters. Costumes of the pre-
sent dily. Scene, a handsomely furnished apartment. Time in representa-
tion, forty minutes.
81 VANDYKE BRO'^N. A Farce in one act, hy Adolphna
Charles Troughton. Three male and three female characters. Popular
wherever performed. Costumes of the present day. Scene, a chamber,
backed by a windov/. Time of representation, one hour.
82 PEEP O' BAY? or, Savoarnoen Dbeelisli. An Irish
romantic Drama iu four acts (derived from " Tales of the O'liara Family"),
by Edmund Falconer. The New " Drury Lane " version. Twelve male and
four female characters. Costumes, Irish, in the year 1798. Scenery, illustra-
tive of Munsten Time in representation, three hours.
83 THRICE MARRIED. A personation piece in one act,
by Howard Paul. Six male and one female characters. The lady sings,
dances and assumes personification of a French vocalist, of a Spanish dancer
and of a man of fashion. Costumes of the day. Scene, a iroom in a lodging
house. Time in representation, three quarters of an hour.
81 IT GUILTY. A Drama in four rtcts, by Watts FMllips,
en male and six female characters. A thrilling drama faund upon a fact.
k)Sf:ames of the present day. Scenery illustrative ol localities about
Southampton and its harbor, and of others iu India. Time iu representa-
tion, three hours.
85 LOCKED IN -WITH A LADY. A Sketch from Life,
by H. R. Addison. One male and one female character. A very pleas-
inszand humorous interlude. Costame of the day, and scene a bachelor's
apartment. Time in representation, thirty-five minutes.
86 THE LADY OF LYONS; or, Love and Pride. A Play in
five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five
female characters. Four of the male characters are very good ones ; and
Pauline, Madame De-chapeiles and the Widow Melnotte are each excellent
in their line. The piece abounds- in eloquent declamation and sparkling;
dialogue. This edition is the most complete in all respects ever issued. It
occupies three hours in representation. The scenery, gardens and interior
of cottage and mansion. Costumes French, of 1795.
87 LOCKED OUT. A Comic Scene, imustrative of what may
occur after dark in a great metropolis ; by Howard Paul. One male and two
female characters, with others unimportant. Scene, a street ; dress, mod-
em. Time in playing, thirty minutes.
88 FOUNDED ON FACTS. A Farce in one act, "by J. P.
Wooler. Four male and tvro female characters. A favorite acting piece,
easily put o*i the stage and never failiu_g in success. Costumes of the pres-
ent day. Scene, a hotel parlor. Time in representation, thirty -five minutes.
DE WITT'S ACTING PLAYS.
No.
89 AUNT CHARLOTTE'S MAID. A Farce in one act, ly
J. Maddison Morion. Tlnve uialo and throe female character!?. Oik; of the
best of this prolific humorist's dramatic pieces, liresses of the period, and
scene an apartment in a dwelling hoube. Time in representation, forty
minutes.
90 ONLY A HALFPENNY. A Farce in ono act, by John
Oxenford. Two male and two female characters. Dresses of the present
day, and scene an elegantly furnished interior. Time in representation,
thirty-five minutes.
91 WALPOLE ; or, Every Man lias Ms Price. A Comedy in
rhyme, by Lord Lytton. Seven male and two female characters. Costumes
of the ])eriod of (./eorge I of Enjjland. Scenery illustrative of London locali-
ties, and residences of the same era. Time of playing, one hour and ten
minutes.
92 MY "WIFE'S OUT. A Fare© in one act, by G. Herbert
Rodweil. Two male and two female characters. This piece had a snc-
cessful run at the *. ovent Garden Theatre, London. Costume modern, and
scene an artist's studio. Time in represen'.ation, forty minutes.
93 THE AREA BELLE. A Farce iu one j>.ct, by William
Brough and A' drev.- Halliday. Three male and two female characters.
Costuuies of the present time, and scene a kitchen. Time iu performing,
thirty minutes.
94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An
original Farce, in ons act. Seven male and five female characters. Costumes
modern, and scone a large sitting room solidly furnished. Time iu represen-
tation sixty-five minutes.
95 THE PRETTY HORSE BREAKER. A Farce, by \^il-
liam Brough. and Andrew Halliday. Three male and ten female characters.
Costumes 'modern English, and scene a breakfast room in a fashionble man-
sion. Time of playing, forty-five minutes.
96 DEAREST MAMMA. A Camedietta in one act, by "Wal-
ter Gordon. Four male and three female characters. Costume modern
£ngli.~h, and scene a drawing room. Time in representation, one hour.
97 ORANGE BLOSSOMS. A Comedietta in one a«it, by J.
P. Wooler. Three male and three female characters. Costume of the
jjresent day, and scene, a garden with summer house. Time in playing,
lifty minuies.
98 WHO IS "WHO ? or, All in a Fog. A Farce, adapted
from the French, by Thomas J. Williams. Three male and two female char-
acters. Costumes, modern English dresses, as worn by country gentry ; and
scene, parlor, in an old fashioned country house. Time of playing, thirty
minutes.
99 THE FIFTH "WHEEL, A Comedy in tliroo acts. Ten
male and two female characters. An excellent American production, easily
managed. Costunus of the modern day. Scenery not complicated. Time
of representation, about one hour and three quarters.
100 JACK LONG. A D-ama n two actg, by J. B. Jobn-
stone. Nine male and two female characters. Costume of the frontiers.
Scenery illustrative of localities on the Texan frontier. Time of perform-
ance.'ono hour and twenty minutes.
101 FERNANDE ; or, Forgive and Forf^e' . A Drama in three
acts, by Victoricn Sardou. Eleven male and ten female characters. This
is a correct version of the celebraled play as i)errormed in Paris and adapt-
ed to the Ei.glish stage, by Henry L. Williams. Jr. Costumes, modern
French. Scenery, four interiors. Time In representation, three hours.
102 FOILED ; or, a StTua:^le for Life and Liber y. A Drama
in four acts, by O. W. Cornish. 9 males, 3 females. Costumes, mrdern
American. Scenery— a variety of scenes 1 1 quirea, but none elaborate.
Time in representation, three and a half horn s.
DE WITT'S ACTING PLAYS.
No.
103 FAUST AND MARGUERITE. A romantic Drama in
three acts, translated from, the French of Michel Carre, by Thomas
William Itobertson. Nine male and seven female characters. Costumes
German, of the sixteenth century: doublets, trunks, tights. Scenery, a
laboratory, tavern, garden, street and tableau. Time in representation,
two hours.
104 NO NAME. A Drama in five acts, bjr "Wilkie Collins.
Seven mule and five female characters. A dramatization of the author's
popular novel of the same name. Costumes of the present day. Scenery,
four interiors and a sea view. Time in representation, three hours.
105 "WHICH or THE TWO. A Comeiistta in one act, by
John M. Morton. Two male and ten female characters. A very neat and
interesting peity come l.y. Costume Russian. Scene, public room of an
Inn, Time of playing, fifty minutes.
106 UP FOR THE CATTLE SHOW^, A Farce in one act,
by Harry Lemon. Six male and two female characters. Costumes Eng-
lish, of the present day. Scene, a parlor. Time in representation, forty
minutes.
107 CUPBOARD LOVE. A Farce in one act, by Frederick
Hay. Two male and one female characters. A good specimen of broad
comedy. Dresses modern, and scene, a neatly furnished apartment.
Time in representation, twenty minutes.
108 MR. SCROGGINS; or, Change of Name, A F^rce in
one act, by William Hancock. Three male and three female characters.
A lively piece. Costumes of the present day. Scene, a drawing room.
Time in representation, forty minutes.
109 LOCKED IN. A Comedietta in one act, by J. P. Wool-
cr. Two male and two female characters. Costumes of the period. Scen*^,
a drawing room. Time in representation, thirty minutes.
110 POFFLETON'S PREDICAMENTS. A Farce in o:ae
act, by Charles M. Rae. Three male and six female characters. Costumes
of the day. Scene, a drawing room. Time in representation, forty min-
utes.
111 THE LIAR. A Comedy in two acts, by Samnel Foote.
Seven male and two female characters. One of the best acting plays in
any language. Costumes, embroidered court dresses, silk sacques, &c ;
still the modern dress will suffice. Scenes — one, a park, the other a draw-
ing room. Time in representation, one hour and twenty minutes. This
edition, as altered by Charles ilathews, is particularly adapted for amateurs.
112 NOT A BIT JEALOUS. A Farce in one act, by T. W.
Robeitson. Three male and three female characters. CostuiuLS of the
day. Scene, a room. Time of playing, forty minutes.
113 CYRIL'S SUCCESS. A Cnmsdy in Sve acts, by Henry
J. Byron. Ten male and four fe-nale characters. Costumes modern.
Scenery, four Interiors. Time in representation, three hours twenty
minutes.
114 ANYTHING FOR A CHANGE. A petite Comedy in
one act, by Shirley Brooks. Three male and three female characters.
Costumes present day. Scene, an interior. Time in representation, fifty-
one minutes.
115 NE'W MEN AND OLD ACRES. A Comedy in three
acts by Tom Taylor. Eight male and five female characters. Costumes
present day. Scenery somewhat complicated. Time in representation,
two hours.
116 I'M NOT MESILF AT ALL. An original Irish Stew
in one act, by C. A. Maltby. Three male and two female characters. Cos-
tume of present day, undress uniform, Irish peasant and Highland dress.
Scene, a room. Time in playing twenty-eight minutes.
DE W^ITT'S ACTING PLAYS.
No.
117 NOT SUCH A FOOL AS HE LOOKS. A farcical
Drama in three acts, by Henry J. Byron. Five male and four female char-
acters. Excellent for amateurs. Costumes of the day. Scenery, three
interiors. Time in representation, two hours.
118 'W.ANTED, A YOUNG LADY. A Tarce in one act, by
W. E. Suter. Three male characters. Effective for amateurs. Costumes
of the day. Scene, a room. Time in playing, forty minutes.
119 A LIFE CHASE. A Drama in five acts, by Adolph
Belot ; translated by John Oxenford and Horace Wigan. Fourteen male
and five female characters. Costumes modern French. Scenery elaborate.
Time in representation, two hours and twenty miuntes.
120 A TEMPEST IN A TEAPOT. Petite Coxnedv in one
act. Two male and one female characters. Admirably adapted for private
performance. Costumes of the day. Scene, an interior. Time of repre-
sentation, thirty-five minutes,
121 A COMICAL COUNTESS. A Farce in one act, by "Wil-
liam Brough. Three male and one female characters. Costumes French,
of last century. Scene, a drawing room. Tune in representation, forty
minutes.
122 ISABELLA ORSINI. A romantic Drama in fonr acts,
by S. H. Moseuthal. Eleven male and four female characters. Costumes
Italian, three hundred years ago. Scenery complicated. Time in repre-
sentation, three and a half hours.
123 THE TWO POLTS. A Farce in one act, by Jobn
Courtney. Four male and four female characters. Costumes modern.
Scenery, a street and two interiors. Time in representation, forty-five
minutes.
124 THE VOLUNTEER REVIEW ; or. The Little Man in
Green. A Farce in one act, by Thomas J. Williams. Six male and six
female characters. Easily localized, as the " Home Guard," or " Militia
Muster." Costumes of the day ; and scene, a room. Time in representa-
tion, forty-five minutes.
125 DEERFOOT. A Farce in one act, by T. C. Bnrnand.
Five male and one female characters. Costumes of the day; and scene, a
public house. Time in playing, thirty-five minutes.
126 TWICE KILLED. A Farce in one act, by John Ox-
enford. Six male and three female characters. Costumes modern ; scene,
landscape and a drawing room. Time in playing, forty-five minutes.
121 PEGGY GREEN. A Farce in onn act, by Charles Selby.
Three male and ten female characters. Costumes of the present day.
Scene, a country road. Time in representation, forty-five minutes.
128 THE FEMALE DETECTIVE; or. The Mother's Dying
Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and
four female characters. Costumes of fifty years since. Scenery very
elaborate. Time of playing two hours.
129 IN FOR A HOLIDAY. A Farce in one act, by F. C.
Burnand. Two male and three female characters. Costumes of the period,
and scene an interior. Time in performance, thirty-five minutes.
130 MY W^IFE'S DIARY. A Farce in one act. Frojn the
French of MM. Denncry and Clairville, by T. W. Robertson. Three male
and one female characters. Costumes modern French, and scene a drawing
room. Time in repre-entation, fifty minutes.
131 GO TO PUTNEY. A Faroe in one act, by Harry
Lemon. Four male and three female characters. Excellent for amateurs.
Costumes of the day ; scene, a drawing room. Time in representation,
forty -five minutes. <-,
DE W^ITT'S ACTING PLAYS.
No.
132 A RACE FOR A DINNER. A Farce in one act, by
J. F. G. liodwell. Ten male characters. A sterling piece. Costumes of
the day. Scene, a tavern exterior. Time in representation, sixty minutes.
133 TIMOTHY TO TKE RESCUE. A Farce in ona act,
by Henry J. Byron. Four male and two female characters. In this
laughable piece Spangle assumes several personifications. Costumes of
the day, and scene a plain interior. Time in representation, forty-five
minutes.
134 TOMPKINS, THE TROUBADOUR. A Farce -in one
act, by MM. Lockroy and Marc Michel. Three male and two female char-
acters. Costumes modern, and scene an ironmonger's shop. Time in play-
ing, thirty-five minutes.
135 EVERYBODY'S FRIEND. A Comedy in tliree acts,
by J. Sterling Coyne. Six male and five female characters. Costumes
modern, and scenery three interiors. Time in performance, two and a
half hours.
136 THE l^OMAN IN RED. A Drama in tliree acts and
Prologue, by J. Sterling Coyne. Six male and eight female characters.
Costumes French and Italian. Scenery complicated. Time of playing,
three hours and twenty-five minutes.
131 Ii'ARTICIiE 47; or Breaking the Ban. A Drama in
three acts, by Adoiph Belot, adapted to the English stage by Henry L.
Williams. Eleven male and five female characters. Costumes French,
of the day. Scenery elaborate. Time in representation, three hours and
ten minutes.
138 POI-I* AND PARTNER JOE; or. The Pride of Put-
ney and the Pressing Pirate. A Burlesque in one act and four scenes, by
F. C. Bumand. Ten male and three female characters. (Many of the male
characters are performed by ladies.) Costumes modem, and scenery local.
Time of playing, one hour.
139 JOY IS DANGEROUS. A Comedy in two acts, hy
James Mortimer. Three male and three female characters. Costume,
modern French. Scenery, two interiors. Time in representation, one
hour and forty-five minutes.
140 NEVER RECKON YOUR CHICKENS, &e. A Farce
in one act, by Wybert Reeve. Three male and four female characters.
Modem costumes, and scene, an interior. Time in representation, forty
minutes.
141 THE BELIiS ; or, the Polish Jew. A romantic moral
Drama in three acts, by MM. Erckmann and Chatraln. Nine male and three
female characters. Costumes Alsatian, of present date. Scenery, two
interiors and a court room. Time of playing, two hours and twenty min-
utes.
142 DOIiliARS AND CENTS. An original American Com-
edy in three acts, by L. J. Hollenius, as performed by the Murray Hill
Dramatic Association. Nine mule and four female characters. Costumes
modern, and scenery, three interiors and one garden. Time in represen-
tation, two and three quarter hours.
143 LODGERS AND DODGERS. A Farce in one act, hy
Frederick Hay. Four male and two female characters. Costumes of
the present time. Scene, a furnished apartment. Time in representation,
twenty-five minutes. One character a Yorkshire farmer.
144 THE liANCASHIRE LASS ; or, Tempted, Tried and
True. A domestic Melodrama in four acts and a Prologue, by Henry J.
Byron. Twelve male and three female characters. Costumes of the pres-
ent day. Scenery, varied and difficult. Time io representation, three
hours.
DE WITT'S ACTING PLAYS.
145 FIRST LOVE. A Comedy in one act, by Eugene Scribe.
Adapted to the American stage by L. J. Ilollenius. Four male and one
female characters. Suitable for amateurs. Modem costumes, aud scene,
a parlor. Time in playing, forty-five minutes,
146 THERE'S NO SMOKE WITHOUT TIRE. A Come-
dietta in one act, by Tlionia?* Picton. One male and two female charac-
ters. Costumes of the present day, and scene, an apartment. Time in
representation, forty minutes,
147 THE OVERLAND ROUTE. A Comedy in three acts,
by Tom Taylor. Eleven male and five female characters. Costumes East
Indiau (EiiropeanV Scenery, steamship saloon and deck, and coral reef.
Time in representation, two hours and forty minutes.
148 CUT OFF TVITH A SHILLING. A Comedietta in
one act, by S, Theyre Smith. Two male and one female characters. Scene,
a drawing room. Time in playing, twenty-five minutes.
149 CLOUDS. An American Comedy in fonr acts, by Fred.
Marsden {W. A. Sliver). Eight male and seven female characters. Cos-
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time
in representatio'n, three huurs.
150 A TELL-TALE HEART. A Comedietta in one act, by
Thomas Picton, One male and two female characters. Excellent for
private representation. Costumes of the day. Scene, a villa room. Time
lu representation, forty minntes,
151 A HARD CASE. A Farce in one act, by Thomas
Picton. Two male characters. A most ludicrous piece for two performers.
Costumes of the day. Scene, an interior. Time in playing, thirty-five
minutes,
152 CUPID'S EYE-GLASS, A Comedy in ono act, hy
Thomas Picton. One male and one female characters. Adapted for ama-
teur performance. Costumes of the dfiy, and scene, a drawing room.
Time in representation, twenty-five minutes,
153 'TIS BETTER TO LIVE THAN TO DIE. A Farce
in one act, by Thomas Picton. Two male and one fem.ale characters. Can
be played readily and effectively by amateurs. Costumes, modern, and
Bcene, an artist's studio. Time in representation, forty minutes.
154 MARIA xlND MAGDALENA. A Play in fsnr acts, by
L. J. Hollenius. Eight male, six femiile characters. An uniformly pood
stock company is alone needed to properly produce this charming piece.
Costumes modern. Scenery, fine interiors and beautiful gardens. Time
in representation, three hours.
155 OUR HEROES. A Military Play in five acts, eight
allej^oriciil tsibleaux, and ten grand pictures, including a grand transfor-
mation tableau, by John B. Kenauld. Tweniy-four male and five
female characters. Large parties ^f retired volunteers can appear with
great effect in this play. Costumes modern, civil and military. Scenery,
interiors of dwellings, encampments and battle-fields.
156 PEACE AT ANY PRICE. A Farce in one act, by T.
W, Robertson, One male and one female characters ; but a variety of
voices are heard throughout the piece, the speakers being invisiljle. A
capital sketch for two lively amateur comedians. Costume modern.
Scenery— there is but one scene throughout the inece— a meanly furnished
apartment. Time in representation, twenty minutes.
157 QUITE AT HOME. A Comedietta in one act, by Arthnr
Sketchley. Five male and two female characters, A real lively taking
pieoe. All the cliHnicters passable. Costumes modern. Scenery, a t-hab-
bily furnished apartment. Time in representation, forty -five minutes.
DE WITT'S ACTING PLAYS.
158 SCHOOL. A Comedy in four acts, by T. W. Robertson.
Six male and six female characters. Is a very superior piece, and. has
three characters unnsually good for either sex. Could be played with fine
effect at a girls' seminary. Costumes modem. Scenery, English land-
scape and genteel interiors. Time in representation, two hours and forty
minutes.
159 IN THE \VRONG HOUSE. A Farce in one act, by
Martin Becher. Four male a id two female characters. A very justly
popular piece. Two of the m^Ie characters are excellent for light and low
comedian. Good parts, too, for ayoutig and old lady. Costumes modem.
Scenery, an ordinary room. Time in representation, twenty-five minutes.
160 BLOW rOR BLOW. A Drama in a Prologue and
three acts, by Henry J. Byron. Eleven male and six female characters.
Full of homely pathos as well as rich humor. Has several excellent parts. .
Costumes modern. Scenery, interiors of oflJces and dwellmgs. Time in
representation, three hours.
161 W^OMAN'S VOWS AND MASONS' OATHS. In four
acts, by A. J. H. Duganne. Ten male and four female characters. Has
effective situations, fine characters and beautiful dialogues. Costumes
modern, with Federal and Confederate uniforms. Scenery, interiors in
country houses, and warlike encampments. Time in performance, two
hours and thirty minutes.
162 UNCLE'S WILL. A Comedietta in one act, by S.
'1 heyre Smith. Two male and one female characters. A brilliant piece ;
can be easily played in a parlor. Costumes modern, and naval uniform
for Charles. Scenery, set interior drawing room. Time in representation,
thirty minutes.
163 MARCO RETTI. A romantic Drama in three acts, by
John M. Kingdom. Ten male and three female characters. A thrillingly
effective piece, full of strong scenes. Costumes, brigands and rich Italian's
dress. Scenery, interior of castle, mountain passe?, and princely ball
room. Time iu representation, two hours.
164 LITTLE RUBY ; or. Home Jewels. A domestic Drama
in three acts, by J. J. Wallace. Six male and six female characters.
This drama is at once affecting and effective. Little Ruby fine per-
sonation for young prodigy. Costumes modern. Scenery, interior of
dwelling and gardens. Time in representation, two hours.
165 THE LIVING STATUE. A Farce in one act, by Joseph
J. Dilley and James Allen. Three male and two female characters. Brim-
ful of fun. Trotter a great character for a droll low comedian. Costumes
modern, with one old Roman warrior dress. Scenery, a plain interior.
166 BARDELL vs. PICKW^ICK. A Farcical sketch in
one act, arranged from Charles Dickens. Six male and two female cha-
racters. Uncommonly funny. Affords good chance to 'take off" local
legal celebrities. Costumes modern. Scenery, a court room. Time in
performance, thirty minutes.
161 APPLE BLOSSOMS. A Comedy in three acts, by James
Albery. Seven male and three female characters. A pleasing piece,
with i-ich part for an eccentric comedian. Costumes modern English.
Scenery, exterior and interior of inn. Time in representation, twa Sours
and twenty minutes.
168 TWEEDIE'S RIGHTS. A Comedy in two acts, by
James Albery. Four male and two female characters. Has several ex-
cellent characters. John Tweedie, powerful personation ; Tim Whiffler
very funny. Costumes modern. Scenery, a stone mason's yard and
modest interior. Time in representation, one hour and twenty-five
minutes.
DE \A^ITT'S ACTING PLAYS.
No.
169 MY UNCLE'S SUIT. A Farce in ono act, "by Martin
Becher. Four inaJe ami unc female cliaraclers;. lias a jolly good low
comedy part, a fine liirht comedy one. and a brisk, pert lady's maid.
Costumes modern. Scenery, a well furnished sitting room. Time in rep-
resentation, thirty minutes.
no ONLY SOMEBODY; or, DreadfxiDv Alarming. A
Faree in one act. by Conway Edwarded and Edward Cullerne. Four
male and two female characters. Immensely funny. Full of queer
incidents. Every way fitted fo. amateurs. Costumes modern Scenery,
a garden and back of a house. Time of playing, thirty minutes.
71 NOTHING LIKE PASTE. A Farce in one act, hy Chas.
Marsham Rae. Three male and one female characters. Every character
supere.xcellent. Billy Doo a regular Burtoaiaii part. Admirable piece
for amateurs. Costumes modern. Scenery, exterior of a small villa, with
gardens. Time in representation, forty minutes.
172 OURS. A Comely in three acts, hy T. W, Roljertson.
Six male and three female characters. One of the best and most admired
plays in our language— while a fair .stock company can play it acceptabij-.
It has several characters fit for stars. Coslumes modern, with British
military uniforms. Scenery, gardens, park, drawing room, and rude hut
in the Crimea. Time of representation, two hours and thirty minutes.
173 OFF THE STAGT5. An entirely original Comedietta
in one act, by Sydney Rosenfeld. Three male and three female characters,
all equally exceilent. One of the spriglitlie.st. wittiest and most iunusing
little plays ever written, causing almost an hour's constant merriment.
Costumes modern. Scene a handsome interior.
174 HOME. A Comedy in tliree acts, by T. W. RoT^ertson.
Four male, three female characters. A charming piece. Needs but a
small company. Every character very good. Costumes modern. Only one
scene throughout the play. Time of representation, two hours.
175 CAST UPON THE W^ORLD. An entirely Origrinal
Drama in five acts, by Charles E. Newton. Ten male, five female charac-
ters. A remarkably effective piece. Costumes modern. Scenery some-
what elaborate, but very fine. Time of representation, two hours and
thirty minutes.
176 ON BREAD AND W^ATER. A Mnsical Faroe in one
act. being a free adaptation from tlie German, by Sydney Rosenfeld. A
rollicking little piece. One male and two female characters. Containns: a
brilliant .soubrette part. Costumes modern. Scene an uncarpeted school
room. Time in representation, twenty-five minutes.
177 I SHALL INVITE THE MAJOR. A Parlor Comedy
in one act. by G. von Moser. Containing five characters, four male and
one emale. A very pleasing little play, with good parts for all. Very
bright and witt\'. Costumes modern. Scene, a handsome interior. Time
in representation, forty minutes.
178 OUT AT SEA. An entirely Original Romaatic Drama
in a prologue and fo)ir acts, by Charles E. Newton. Sixteen male, five
female chaiacters. Powerfully written. Full of strong situations. Very
telling scenic effects. Costumes modern. Time in representation, two
hours and ten minutes.
179 A BREACH OF PROMISE. An extravagant Comic
Drama in two acts, by T. W. Robert.son. Five male, two fema'e charac-
ters. A capital, very merry piece. G"od for amateurs. Time in repre-
sentation, one hour. Scenery, two interiors. Costume, modern.
180 HENRY THE FIFTH. An Historical Play in five act .
By William Shakspeare. Thirty-eight male, five female charartei s. This
grand play has a rare blending of the loftiest traiiedv, with the richest and
broadest humor. This edition is the most complete m cverv rcsjiect ever
])ul)lishcd. Costumes rich and expensive. Seencrv, etc., verv elaborate.
Time of representation, three hours.
" Let those laugh now who never laughed before ;
And those who always laughed now laugh the more."
Nothing so thorough and complete in the way of Ethiopian
and Comic Dramas has ever been printed as those that appear
in the follovjing list. Not only are the plots excellent, the char-
acters droll, the incidents funny, the language humorous, hut
all the situations, by-play, positions, pantomimic business,
scenery and tricks are so plainly set down and clearly explained,
that the merest novice could put any of them on the Stage. In-
cluded in this Catalogue are all the most laughable and effective
pieces of their class ever produced.
*j(;* In ordering, please copy the figures at the commGncement of each
Play, which indicate the number of tlie piece in " De Witt's Ethiopian
AND Comic Drama."
Any of the following Plays sent, postage free, on receipt of
price — fifteen cents.
Address as on first page of this Catalogue.
DE wm'$ ETHiomH m come deama.
1 THE LAST OF THE MOHICANS. An Ethiopian Sketch,
by J. C. Stewart. 'I'hiee male and one female characters. Costumes of
the day, except Indian shirts, &c. Two scenes, chamber and wood. Time
in representation, eighteen minutes.
2 TRICKS. An Ethiopian Sketch, by J. C. Stewart. Five
male and two female characters. Costumes of the period. Two scenes,
two interiors. Time in representation, eighteen minutes.
3 H£MMED IN. An Ethiopian Sketch, hy J. C. Stewart.
Three male and one female characters. Costumes modern, and scene, a
studio. Time in representation, twenty minutes.
4 EH ? WHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart.
Four male and one female characters. Costumes of the day, and scene, a
chamber. Time in representation, twenty minutes.
5 TWO BLACK ROSES. An Ethiopian Sketch, by J. C.
Stewart. Four male and one female characters. Costumes modem, and
scene, an apartment. Time in representation, twenty minutes.
DE WITT'S ETHIOPIAN AND COMIC DRAMA.
No.
6 THE BLACK CHAP FROM ^/HITECHAPEL. An
eccentric Nep;ro Piece, adapted from Kurnand and Williiims' "' B. T? " by
Henry L. Wiiliamt?, Jr. Four male chimuterB. Costumes modern. Scene,
an interior. Time iu represientation, thirty minutes.
7 THE STUPID SERVANT. An Ethiopian Sketch in one
scene, by Charles White. Two male characters. Cliaracters very droll ;
fit for srar "darky" players. Costumes modern and fantaptic dresses.
Scenery, an ordinary room, lime in representation, twenty minutes.
8 THE MUTTON TRIAL. An Ethiopian S] etch in two
scenes, by James Maltit. Four male characters. Capital bnile-que of
courts of "justice;"' all the parts ijood. Costumes modern and ^lakcr.
Scenery, a wood view and a court room. Time In representat-ioi^wwenty
minutes.
9 THE POLICY PLAYERS. An Ethiopian Sketch in one
scene, by Cliarles Wliite. Seven male characters. A vety clever satire upon
a sad vice. Costumes modern, and coarse nei;;ro rai?ii;e>! clothes. Scenery,
an ordinary kitchen. Time in representation, twenty minutes.
10 THE BLACK CHEMIST. An Ethiopian Sketch in one
scene, by Charles Wh te. Three male characters. All tjie characters are
A 1, funny in th^ extreme. Costumes modern or Yankee -extravagant.
Scenery, an apothecary's laboratory. Time iu representation, seventeen
minutes.
11 BLACK-EY'D W^ILLIAM. An Ethiopian Sketch in two
scenes, by Charles White. Four male, one female chciracters. All the
parts remarkably good. Costumes as extravagant as possible. Scenery, a
p( lice court room. Time iu representation, twenty minutes. -
12 DAGUERREOTYPES. An Ethiopian Sketch in one
scene, by Charles White. Three male characters. Full of broad humor ;
all characters excellent. Costumes modern genteel, negro and Yankee
garbs. Scenery, ordinary room with camera. Time in representation,
fifteen minutes.
13 THE STREETS OF NEW^ YORK; or, New York by
Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male
characters. Three of the parts very droll ; others good. Costumes some
modern, some Yankee and some loaferish. Sceuer)% street view. Time
in representation, eighteen minut-es.
14 THE RECRUITING OFFICE. An Ethiopian Sketch in
one act, by Charles White. Five male characters A piece full of incidents
to raise mirth. Three of the paits capital. Costumes extravagant, white
and darkey, and a comical uniform. Scenery, plain chamber and a street.
Time in representation, fifteen minutes.
15 SAM'S COURTSHIP. An Ethiopian Farce in one act,
by Charles White. Two male and one female characters. All the charac-
ters paiticularly jolly. Two of the parts' can bo played in either white or
black, and t.ne in Dutch. Costumes Yankee aud modern. Scenery, plain
chamber. Time in representation, twenty minutes,
16 STORMING THE FORT. A bmlesque Ethiopian Sketch
in one scene, by Charles White. Five male characters. Richly ludicrous ;
all the characters funny. Costumes fantastical, and extravagant military
uniforms. Scenery, ludicrous "take off" of fortifications. Time in repre-
Bentation, fifteen minutes.
n THE GHOST. An Ethiopian Sketch in one act, "fcy
Charles White. Two male char.icters. A right smart piece, full of laugh.
Costumes ordinary " darkey '^ clothes. Scenery common looking kitchen.
Time in representation, fifteen minutes.
18 THE LIVE INDIAN ; or, J^m Crow. A comical Ethi-
opian Sketch in four scenes, by Dan Bryant. Four male, one female 5
character'^. As full of fun as a hedgehog is full of bristles. Costumes I
modern and darkey. Scenery, chamber and street. Time in representation. \
twenty minutes, \
DE WITT'S ETHIOPIAN AND COMIC DRAMA.
19 MALICIOUS TRESPASS ; or. Points of Law. An Ethi-
opian Sketch in one scene, by Charles White. Three male character-s.
Extravagantly comical ; all the parts very good. Costumes extravagant
modern garbs. Scenery, wood or landscape. Time of playing, twenty
minutes.
20 GOING FOR THE CUP ; or, Old Mrs. WilHams' Dance.
An Ethiopian Interlude, by Charles White. Four male characters. One
capital part far a bright juvenile ; the others very droll. Costumes modern
and darkey. Sceuery, a landscape or wood. Time in representation,
twenty minutes.
21 SCAMPINI. An anti-tra«:ical, comical, ma^ioal and
lauijhable Pantomime, full of tricks and transformations, in two scenes,
by Edward Warden. Six male, three female characters. Costumes extra-
vagantly eccentric. Scenery, plain rustic chamber. Time in representa-
tion, thirty minutes.
22 OBEYING ORDERS. An Ethiopian Military Sketch in
one scene, by John Arnold. Two male, one female characters. Mary
Jane, a capital wench part. The piece very jocose. Costumes ludicrous
military and old style dresses. Scenery either plain or fancy chamber.
Time of playiug, fifteen minutes.
23 HARD TIMES. A Negro Exrtravaganza in one scene,
by Daniel D. Emmett. Five male, one female characters. Needs several
good players— then there is " music in the air." Costumes burlesque,
fashionable and low negro dresses. Scenery, a kitchen. Time in represen-
tation, twenty minutes.
24 BRUISED AND CURED. A Negro Burlesque Sketch in
one Hcene, by A. J. Leavitt. Two male characters. A rich satire upon
the muscular furore of the day. Costumes tights and guernsey shirts
and negro dress. Scenery, plain chamber. Time in representation, twenty
minutes.
25 THE FELLOW THAT LOOKS LIKE ME. A laughable
Interlude in one scene, by Oliver Diirivarge. Two male characters— one
female. Boiling over with fun, especially if one can make up like Lester
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time
in representation, twenty-five minutes.
26 RIVAL TENANTS. A Ne^ro Sltetch, by George L. Stout.
Four male characters. Humorously satirical ; the parts all very funny.
Costumes negro and modern. Scenery, an old kitchen. Time of playing,
twenty minutes.
21 ONE HUNDREDTH NIGHT OF HAMLET. A Negro
Sketch, by Cliarle-; White. Seven male, one female characters. Affords
excellent chance for imitations of popular "stars." Costumes modern,
some very shabby. Scenery, plain chamber. Time in representation,
twenty minutes.
28 UNCL^ EPH'S DREAM. An Original Negro Sketch in
two scenes and two tableaux, arranged by Charles AVhite. Three male,
one female characters. A very pathetic little piece, with a sprinkling of
humor. Costumes, a modern southern dress and negro toggery. Scenery,
wood, mansion and negro hut. Time in representation, twenty minutes.
29 WHO DIED FIRST ? A Netjrro Sketch in one Scene, by
A. J. Leavitt. Three male, one female characters. Jasper and Hannah
are both very comical personages. Costumes, ordinar;^ street dress and
common darkey clothes. Scenery, a kitchen. Time in representation,
twenty minutes.
30 ONE NIGHT IN A BAR ROOM. A "urlesque Ske+ch,
arranged by Charles White. Seven male characters. Has a funny Dutchman
and two good darkey characters. Costume, one Dutcli and several mod-
ern. Scenery, an ordinary interior. Time in representation, twenty min-
utes.
DE WITT'S ETHIOPIAN AND COMIC DRAMA.
No.
31 GLYCERINE OIL. An Ethiopian Sketcli, hy Jolin Ar-
nold. Three male characters, all §ood. Costumes, Quaker and eccentric
modern. Scenery, a street and a kitchen. Time in representation, lif teen
minutes.
32 WAKE UP, W^ILLIAM HENRY. A Negro Sketct, ar-
rauged by Charles White. Three mule characters, whicli have been favor-
ites of our best perforuier?. Costume.^* modern — some eccentric. Scenery
plain chamber. Time in representation, ten minutes.
33 JEALOUS HUSBAND. A Ne^ro Sketch, arranged by
Charles White. Two male, one female characters. Full of far. icai dia-
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham-
ber. Time in representation, twenty minutes.
34 THREE STRINGS TO ONE BO'W. An Ethiopian Sketch
in one scene, arranged by Charles WLite. Four male, one female charac-
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land-
scape. Time m representation, fifteen minutes.
35 COAL HEAVERS' REVENGE. A Negro Sketch in one
scene, by George L. Stout. Six male churacters. The two coal heavers
have '• roaring " parts. Costumes, modern, Irish and negro comic make
up. Scenery, "landscape. Time in representation, twenty minutes.
36 LAUGH NG GAS. A Negro Burlesque Sketch in one
scene, arranged by Charles White. Six male, one female characters. Is a
favorite with our best companies. Costumes, one modern genteel, the rest
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min-
utes.
37 A LUCKY JOB. A Negro Farce in t\nro sce^ies, arranged
by Charles White. Three male, two female characters. A. rattling, lively
piece. Costumes, modern and eccentric. Scenery, street and fancy cham-
ber. Time in representation, thirty minutes.
38 SIAMESE TTVINS. A Negro Burlesque Sketch, in two
scenes, arranged by Charles White. Five male characters. One of the
richest in fun of any goin^. Costumes, Irish, darkey and one wazai-d's
drese. Scenery, a street and. a chamber. Time in representation, twenty-
five minutes.
39 WANTED A NURSE. A laughable S' etch in rne
scene, : rranged by Charles White. Four male characters. All the charac-
ters first rate. Costume, modern, extravagant, one Dutch dress. Sceuery,
a plain kitchen. Time in representation, twenty minutes.
40 A BIG MISTAKE. A Negro Sketch in one scene, by
A. J. Leavitt. Four male characters. Full of most absurdly funny inci-
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain
chamber. Time in representation, eighteen minutes.
41. CREMATION. An Ethiopian Sketch in two scenes, ty
A.J. Leavitt. Eight male, one female characters. FuU of broad, ijalpable
hits at the last sensation. Costumes modern, some eccentric. Scenery, a
street and a plain chamber. Time in representation, twenty-five minutes.
42. BAD WHISKEY. A comic Irish Sketch i^ one sceue,
by Sam Rickey and Master Barne} . Two male, one fenialc characfers.
One of the very best of its clam. Extravagant low Irish dress and a police-
man's uniform.
43 BABY ELEPHANT. A Negro Sketch in tu-o (^cenes.
By J. C. Siewart. Seven male, one female characters. Uproariouslv comic,
in idea and execution. Costumes, modern. Scenery, one street, i.nc
chamber. Time in representation, twenty-five minutes.
44 THE MUSICAL SERVANT. An EthioTJian Sketcli in
one scene, by Phil. II. Mowroy. Three male characters. Verv orii'lnil
and very droll. Costumes, modem and low darkey. Sceuery, a plain
chamber. Time iu representation, fifteen minutes
DK WITT'S f^TtriOPlAN AA^D COMIC DRAMA.
45 REMITTANCE FROM HOME. An Ethiopian Sketch in
one scene, by A. J, Leavitt. Six male characters. A very lively piece,
full of bustle, and giving half a dozen people a good chance. Time in repre-
sentation, twenty minutes.
46 A SLIPPERY BAT. An Ethiopian Sketch in one scene,
by Robert H art. Six male, one female characters. By a rery simple mechan-
ical contrivance, plainly planned and described in this book, a few persona
can keep an audience roaring. Time in representation, sixteen minutes.
47 TAKE IT, BON'T TAKE IT. A Negro Sketch in one
scene, by John Wild. Two male characters. Affords a capital chance for
two good persons to "do" the heaviest kind of deep, deep tragedy.
Time of representation, twenty-three minutes.
48 HIGH JACK, THE HEELER. An Ethioijian Sketch in
one scene, by A. J . Leavitt. Six male characters. Happily hits off the short-
haired bragging "lighters" that cun't lick a piece of big taffy. Time of
playing, twenty minutes.
49 ANIGHT IN A STRANGE HOTEL. A laughable Negro
Sketchin one scene, arranged by Charles White. Two male characters. Al-
though this piece has only t\\ o personators, it is full of fun. TIluc in rep-
resentation, eighteen minutes.
50 .THE DRAFT, A Negro Sketch in one act and two scenes,
by Charles White. Six male characters. A good deal of humor of the Mulli-
gan Guard . nd Awkward Squad style, dramatized. Time in representation,
eighteen minutes.
51 FISHERMAN'S LUCK. An Ethiopian Sketch in one
scene, by Charles White. Two male characters. Decidedly^ the best " fish
story " ever told. It needs two "star" darkeys to do it. Time in represen-
tation, fifteen minutes.
52 EXCISE TRIALS. A Bnrlesqne Negro Sketch in one
scene, arranged by Charles White. Ten male, one female characters. Full of
strong locarsatire ; can be easily adapted to any locality. Time of repre-
sentation, twenty minutes.
53 BAMON ANB PYTHIAS. A Negro Burlesque, by Chas.
White. Five male, one female characters, in two scenes. A stunning bur-
lesque of the highfalutin melodrama ; capital for one or two good imita-
tors. Time of representation, fifteen minutes.
54 THEM PAPERS. An Ethiopian Sketch in one scene, hy
A. J. Leavitt. Three male characters. Full of comical mystifications and
absurdly funny situations. Time of representation, fifteen minutes.
55 RIGGING A PURCHASE. . A Negro Sketch in one scene,
by A. J. Lea^'itt. Three male characters. Full of broad comical effects.
Time iiV"epresentation, fifteen minutes.
56 THE STAGE STRUCK COUPLE. A laughable Inter^
lude in one scene, by Charles White. Two male, one female characters.
Gives the comical phase of juvenile dramatic furor; very droll, contrasted
^\n.t]x the matter-of-fact darkey. Time in representation, fifteen minutes.
57 POMPEY'S PATIENTS. A laughable Interlude in two
scenes, arranged by Charles White. Six male characters. Very funny
practical tricks of a fast youth to gain the governor's consent to his wed-
<ling his true love. Half a dozen good chances for good actors. Time in
representation, twenty minutes.
DE WITT'S ETHIOPIAN AND COMIC DRAMA.
No.
58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in
one scene, by Mr. Mackey. Four mule characters. As comical as its title ;
running over with practical jokes. Time of repreeontatioii, twenty min-
utes.
59 THE SAUSAGE MAKERS. A Nejrro Burlesque Sketch
in two ?ceni'3, arrauiji d by Churles White. Five male, one female charac-
ters. An old story v>orked up with a deal of biiighable effect. The ponder-
ous sausage machine and other properties need not cost more than a
couple of dollars. Time of representation, twenty minutes.
60 THE LOST "WILL. A Negro Sketch, hy A. J. Leavitt.
Four male characters. Very droll from the word "go." Time of repre-
sentation, eighteen minntes.
61 THE HAPPY COUPLE. A Short Humorous scene, ar-
ransred by Charles White. Two male, one female characters. A spirited
burlesque' of foolish jealousy. Sam is a very froUcsom.e, and very funny
young darkey. Time of playing, seventeen minutes.
62 VINEGAR BITTERS. A Negro Sketch in one scene, ar-
ranged by Charles White. Six male, one female characters. A broad bur-
lesque of the i)opular patent medicine business : plenty of humorous inci-
dents. Time of representation, Hftcen minutes.
63 THE DARKEY'S STRATAGEM, A Negro Sketch in one
act, arranged by Charles White. Three male, one female characters. Quaint
courtship^scenes of a pair of young darkies, ludici-ously exag£rerated by the
tricks of the buy Cnpid. Time of representation, twenty minutes.
64 THE DUTCHMAN'S GHOST. In one scene, hy Larry
Tooley. Four male, one female characters. Jacob Schrochorn, the jolly
shoemaker and ais frau. are rare ones for raising a hearty laugh. Time of
representation, lifteen minutes.
65 PORTER'S TROUBLES. An Amusing Sketch in one
scene, by Ed. Harrigan. Sis male, one female characters. A laughable ex-
position of the queer freaks of a c-ouple of eccentric lodgers that pester a
poor "porter."' Time in representation, eighteen minutes.
66 PORT WINE vs. JEALOUSY. A Highly Amusing
Sketch, by William Carter. Two male, one female characters. Twenty
minutes jammed full of the funniest kind of fun.
61 EDITOR'S TROUBLES. A Parce in one scene, by Ed-
ward Harrigan . Six male characters. A broad farcical description of the
ninning of a country journal "under difficulties." Time of representa-
tion, twentj-three minutes.
68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An
Extravagant, fimny Sketch, by Charles WTiite. Nine male characters. A
rich burfesque of sports in the ring and stone smashing prodigies. Time of
playing, varies with "acts" introduced.
69 SQUIRE FOR A DAY. A Negro Sketch, by A. J.
Leavitt. Five male, one female characters. The " humor of it " is in the
mock judicial antics of a darkey judge for a day. Time of repre?ent;Uion,
twenty minutes.
70 GUIDE TO THE STAGE. An Ethiopian Sketch, by Chas.
White. Three male characters. Coritains some thumping theatrical hits of
the " Lay on Macduff," style. Time of playing, twelve minutes.
MAirtrSCEIPT ?LAYS.
Belozu will be found a List rf nearly all the great Dramatic
successes of the present and past seasons. Every one of these
Plays J It will he noticed, are the productions of the most eminent
Dramatists of the age. Nothing is omitted that can in any
manner lighten the duties of the Stage Manager, the Scene
Painter or the Property Man.
ON THS JURY. A Drama, in four Acts. By "Walts Phil-
lips. This piece has seA^cn male and four female characters.
EI.FIE; or, THE CHERRY TREE INN. A R mantic
Drama, in three Act;'. JBy Dion EoucicaulL. This piece ha^ six male and
foil:- female characters.
THE TWO THORNS, A Comedy, in foiir Ac'r. By James
Albery. This piece has nine male and three female ciiaracters.
A WRONG MAN IN THE RIGHT PI.ACE. A Farce, in
one Act. By John Osenford. This piece has one male and three female
characters.
JEZEBEL ; or, THE BEAD RECKONING. By Dion Bou-
cicault. This piece has six male and fiv. female characters.
THE RAPAREE ; or, THE TREATY OF LIMERICK. A
Drama, in three Acts. By Dion Boucicault. This piece has nine male and
two female characters. .
'TWIXT AXE AND CROWN; or, THE LADY ELIZA-
beth. An Uistoricnl Play, in five Acts. By Tom Taylor. This piece has
twenty-five male and twelve female characters.
THE TWO ROSES. A Comedy, in three Acts. By James
Albery. This piece has five male and four female characters.
M. P. (Member of Pa'^liament.) A Comedy, in four Acts.
By T. W. Eobertson. This piece has seven male and five female characters.
MARY W^ARNER. A Domestic Drama, in fotir Acts. By
Tom Taylor. This piece has eleven male ; nd five female characters.
PHILOMEL. A Romantic Drama, in three Acts. By H. T.
Craven. This piece has six male and four female characters.
UNCLE DICK'S DARLING. A Domestic Drama, in three
Acts. By Henry J. Byron. This piece has six male and five female cha-
racters.
LITTLE EM'LY. (David CopTierfield.) A Drama, in four
Acts. By Andrew Halliday. "Little Em'ly " has eight male and eight
female characters.
T>K WITT'S MANUSCRIPT PLATS.
FORMOSA. A Drama, in four Acts. By Dion Boucicault.
This piccu has eighteen nmie and eight female characters.
HOME. A Comedy, in three Acts. By T. W. Robertson.
" Home '" has four male and three female characters.
AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S LAST
Shillinj^. A Drama, In font Acts. By Henry J. Byron. This piece con-
tains nine male, four female characters.
FOUL. PLAY. A Drama, in four Acts. By Dion Boucicault.
This piece has fourteen male ind two fi.male characters.
AFTER DARK. A Drama, in four Acts. By Dion Bouci-
cault. This piece has fourteen male and two female characters.
ARRAH-NA-POGUE. A Drama, in three Acts. By Dion
Boucicault. This piece has fourteen male und two female characters.
BREACH OF PROMISE. A Comic Drama, in two Acts. By
T. W . Robertson. The piece has Hn e male and two female characters.
BLACK AND WHITE. A Drama, in thre ^ Act«. By W^ilkie
Collins and Charles Fechter. This piece has six male and two female cha-
racters.
PARTNERS FOR LIFE. A Comedy, in three Acts. By
Henry J. Byron. This piece has seven male and four female (baracters.
KERRY ; or. Night and Morning. A Comedy, ia one Act.
By Dion Boucicault. This piece contains four male and two female char-
acters.
HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman-
tic Play, in a Pro oi^ue and five Acts. By ^Y. G. Wills. The Prolorrue con-
tains four male and tliroo female characters. The Play contains tun male
and seven female characters.
NOT JF I KNOW IT. A Farce, in one Act. By John Mad-
dison Morton. This piece contains four male and four female characters.
DAISY FARM. A Drama, in four Acts. By Henry J. Byron
This piece contains ten male and four female characters.
EILEEN OGE ; or. DARK'S THE HOUR BEFORE THE
Dawn. A Drama, in four Acts. By Edmund Falconer. This piece con"
tains fifteen male and four female characters.
TW^EEDIE'S RIGHTS. A Comedy-Drama, in two Acts. By
James Alberj". This piece has four male, two female characters,
NOTRE DAME; or, THE GIPSY GIRL OF PARIS. A
Bomantic Drama, in three Acts. By Andrew Halliday. This play has
seven male, four female characters.
JOAN OF ARC. A Trageiy, in Five Acts. By Tom Taylor.
This piece has twenty-one male, four female characters.
Manuscript copies of these very effective and very suc-
cessful plays are now ready, and will be furnished to Man-
agers on very reasonable terms.
m WITT'S BLOCtraOMBT SEBIES.
PRICE IS CENTS EACH.
Young people who were destroys of acquiring a practical knowledge of the beauti-
ful, as well as highly usefui'-urt of Reading and Spealcing correctly and elegantly,
hate found great difficvUy in 'procuring books that would teach them rather in the
manner of a ge iai feiekd than an im2')erious master. Such books we here present
to the public in " De Witt's Elocutionary Series."" Not only are the selections made
very caref ally from the abundant harvest of dratnatic literatu7x, but the accompany-
ing INSTRUCTIONS are so plain, direct and roRciBLE, that the least intelligent can
easily understand all the rules and pi ecepts of the glorious ai t that has immortalized
Boscius and Kean, Chatham and Henry.
No. i. THE ACADEMIC SPEAKER. Containing an un-
usual variety of striking Dramatic Dialogues, and other most effective
scenes. Selected M^ith gi'eat care and judgment from the noblest and
wittiest Dramas, Comedies and Farces most popular upon the best stages.
Interspersed with such able, plain and practical criticisms and remarks
upon Elocution and stage efiects, as to render this Avovk the most valuable
hand-book to the young orator that has ever been produced.
COH«XEI\TS — GciK'ni] Tutroductory Reiyaiks ; On ilie quality of Selections : On True Eloquence ;
On Awkward Delivery ; On Necessity of Attentive Study ; On Approiiviote Gesture ; On the
Appearance ofLadies iipon the Sta.^-e f'l'he Sta.ire ami the Curtain ; Remarks ui)on the subject
or Scenery ; How to easily Construct a Stage ; Stag^e Arranfjenients and Properties ; Iteniarks
upon improvising AVaidiobes, etc., etc. There are Ticeloc jiiect-s in this book that require two
Male Cliaracters ; Six pieces tliat leqnire six Male Characters; Two pieces that require yowr
Male Charactirs.
No. 2. THE BRAMATIC SPEAKER. Composed of many
very carefully chosen Monologues, Dialogues and other effective Scenes,
from the most famous Tragedies, Comedies and Farces. Interspersed with
numerous Directions and Instructions for their proper Delivery and Per-
formance.
COINXEr«X3.— There ave three pieces ill this book that require om Male Character; One that requires
three Mnie Characters ; Ten that require two Male Characters , Nine that require one Male and
one Female Characters ; Four that require three Tvlale Chaiacters ; One that requires two Male and
one Female Characters ; One that requiies two Female Charactefs ; One that requires one Male aud
two Female Characters.
No. 3. THE HISTRIONIC SPEAKER. Bein^ a careful
compilation of the mo'^t amusing Dramatic Scenes, light, gay, pointed,
witty and sparkling. Selected from' the most elegantly written and most
theatrically effective Comedies and Farces upon the English and American
Stages. Properly arranged and adapted for Amateur and Parlor Eepresen-
tation.
COTSTEiVTS.— T^rcc of ttie i)ieces in this book require two Female Characters; Oue piece requires
lei'fa Female Cliaracters ; Nineteen pieces that require one Male and one Female Characters ; One
pie<-e that requires o)ie Male and <wo Female Chani'ters ; Ojk piece that requires lico Male and
one Female Characters.
No. 4. THE THESPIAN SPEAKER. Being the Ijest Scenes
from the best Plays. Every extract is preceded by valuable and -\'ery plain
observ.,tioi)e, teaching the young Forensic Student how to Speak and Act
in the most highlj' approved manner.
COi^TEiVTS. — I'ire of the pieces in this book require one Male and one Female Characters ; Three of
the pieces require three Male Characters ; Th7-re of the piecen lequire two Male and one Penialo
Characteis ; Seven of the ]iiece8 require two Male Characters ; One of the pieces require one Male
and onf. Female Characters : Two ot the pieces require tim Male and two Female CharactPrs ; One
(if the 7)ieces require /oMT Male and /oitr Female Characters ; Three of the pieces requir* three
Male aud one Female Characters.
*^* Single copies sent, on receipt of price, postage free.
1^^ Address as per first page of tliis Catalogue,
OCT 6
No. Compoaer.
8S. Last Favewell Tucker.
Se. My Heart is Thine Alone. .Glover.
87. Come Back to Erin Glaribel.
8S. Morn on the Meadow". . . Wrighton.
90. Sad Brown Leaves Chantrey.
91. Fond Menaory Olover.
92. I Heard a Spirit Sin^j: Taylor.
94. Autumn Twilight Glover.
9B. Roclied in the Cradle of the
Deep Tucker.
98. Origin of the Harp Moore.
lOO. Strangers Yet Claribel.
10«. Sweet Land of Tyrol Theresa.
103. My Pretty Bird, Sing On.
Lindbland.
104. Spring and Autumn Tucker.
106. Upon the Sno^vy Mountain Tops.
Moller.
lOT. Ave Maria 'iuonod.
tlO. Believe Me if all Endearing
Charms JBoore.
««4. Children's Voices ,... .Claribel.
US. Long, Long "^Veary Day.. .Tucker.
lie. "VVhy was I Looking Out?
Blumenthal.
117. Angels Ever Bright and Fair.
Tucker.
ISS. Annie Laurie Tucker.
193. My Pretty Jane Bishop.
1S4. Distant Land Benslett.
laS. Dream of Love Rodwell.
IST. I Love and I am Beloved. .Richard.
188. Xenia Lutz.
1S9. On the Mountains Benedict.
130. Oh, "Waly. Waly. Up the Bank.
Bluinenthal.
131. The Birds were Telling One
Another Smart.
13S. Come Sit Thee Down Sinclair.
133. The Standard Bearer. .Lindpainter.
134. SheUs of Ocean Cherry.
135. Isle of Beauty, Fare Thee ^Well.
Bayley.
136. Bloom Again, Sweet Prison
Flower Toung.
.Vo.
137. Ever of Thee Hall.
138. Aa I'd IVothiag Else to Do.
HattoB.
139. Grieve IVot for Me WrichtM.
140. I Cannot Sing the Old Songs.
aarlbel.
141. IVhy Do Summer Roses Fade?
Barker.
144. I Cannot Mind my W^heel,
Mother LInley.
145. Araby's Daughter. KUUmark.
14G. Young Jenny Allen.
147. O Fair Dove : O Fond Dove !
Oatty.
148. Oh, Keep Me in Y'our Memory.
GloTer.
15S. Upon the Danuhe River. ..Tucker.
1S4. Just Touch the Harp Gently. My
Pretty Louise Blamphin.
159. IVhen the Corn is Waving,
Annie Blamphin.
leO. Love's Secret Tucker.
163. When my Ship Conaes Home.
Lee.
164. Bird on the Tree Nish.
165. Yeoman's Wedding Seng.
Ponlatowikl.
166. Linden Waltz Aid*.
167. Michael Bray Phllp.
168. Lover's Pen PonJatawskl.
169. Eily's Reason MoUoy.
170. -^^'ith the Stream Tours.
174. Out in the Cold Bagnall.
175. The "^Vishing Cap Wrighton.
178. The Island of Green.
Arranged by Tucker.
180. Meeting in Heaven Wrighton.
18a. Jenny of the Mill Lednc.
186. Esmeralda LeTcy.
196. Heavenly Golden Shore. Rosenthal.
197. Don't You Bemember, Love ?
Lawrence.
198. Hark! the Drum Nlsta.
SCO. Anita (the Chieftain's Wife).
Richards.
OPERATIC SONGS.
lO. Little Blue Butterfly H«rve.
S7. Loving Daughter's Heart Balfe.
89. Paradise of Leve Balfe.
69. O Rare Hali>oisie: Offenbach.
71, Light of Other Days B»U«.
7S. Rhotomago's Partner Fair.
Offenbach.
77. Ah! VThat a Fate! Offenbach.
80. Then You'll Rememher Me..Balf«.
SI. Turtle Doves Offenbach.
88. 'Tia Sa4 te Leave Oar Father,
laad Balfe-
84. On Yonder Reek Reclining... A«ber.
«*5. Walk Up Now. This is IVo Hum-
bug.
89. Song of the Tight Repe Dancer.
Offenbach.
93. These Aching Teeth Offenbach.
97. Painted so Fine— Eyes Divine.
Offenbach.
99, Anvil Cbenas Verdi.
lOl. Feel. Yon may Say it If Yen
Ple««e Offenbach.
Jfo, Composer.
^•S. Oik. Flo^pvers s* Fair and Street.
Offenbach.
108. IHigrB*n Thomas.
«09. Pleased -with Myself Offenbach.
111. Heart BoDved Down Balfe.
lis. Young; Agnes* Beauteaus
Flowver Auber.
113. I Dreamt I Bwrelt iu MarblM
Halls. Balfe.
118. Her Gentle Voice Expressed, etc.
Balfe.
LIBRftRY OF CONGRESS
■n
i«.xi». 014 386 187 9
190. "Why Linger, IHonrireF ^meBMnrjr^
Mellow.
121. I^ist to the Cay Castanet ... .Balfe.
l«e. The Ball Thomas.
14«. my Own, iMy Guiding Star. .
Hacfarren.
143. Ah I So Pure Flotow.
1S5. IVhere shall I Xake my Bride ?
Heme.
COMIC AND SERIO COMIC SONGS.
1. Pretty Polly, if you tumrwc Me.
Coote.
S. Fishorman's Daaghter Bagmtll.
4. I'll Xell Your Wife Egerton.
■7. X^p in a Balloon Bunt.
9. Captain JinUs Xaclagan.
11. Champagne Charlie Lee
IS. Thady O'Flynn..... Molloy.
13. Tassels on the Boots Tucker.
IS. Tommy Dodd Clarke.
IT. That's the Style for Me Young.
18. Pretty Little Flora L<iybome.
1». Bother the Men Walker
SS. I Yi'ish I was a Fish Hunt.
54. Put it Down to Me Gatty.
»8. Oh. YVonldn't You Like to Know?
Musgrave.
30. YVhere is my niancy? Hunt.
33. ImmenseikoflT Lloyd.
38. Good-bye, John: or. Chickabiddy.
40. Beau of Saratoga Yauce.
4S. IVot for Joseph Lloyd.
44. California Gold Hunt.
48. Susan, Susan. Pity my Confusion.
Bnmam.
SO. YValking in the Park Lee.
55. Bell Goes a-Riuging for Sa-i-rah.
Hunt.
S3. Call Her Back and Kiss Her.
Hinasl.
56. Flying Trapeze Lee.
S8. It's IVice to be a Father Hunt.
151.
153
IS*?.
158.
16S.
i-yi.
ITS.
If3,
ITC.
181.
183
181
185,
189,
190.
191.
19S.
193<
. She Oanced Like a Fairy.. DHdley.
. I IVe-ver Go East of Madison
Square.
. Lancashire Lass Williams.
. Rowriag Honae in the Morning.
EdgertoB.
If E-ver I Cease to Love. .Leyboume.
His Heart -was True to Poll.
Tucker.
I'm a Timid, IVervons Man.
Cherry.
Rhein 'Wine Sharley.. .Leyboume.
Heathen Chinee Tucker.
Housekeeper's YVoes Pechter.
Bo-wn in a Coal Mine. . .Oeoghegan.
Dolly A'arden Lee.
Little Coquette L«e.
Good-bye, CharUe Hunt.
Bom! BomI Bona! Hunt.
Modern Times Coot«.
The Hardware Line Banka,
Jack's Present Byron.
YVhen the Band Begins to Play.
Hunt.
L7poa the Grand Parade ... Davlei.
Ada -with the Golden Hair.
G. W. M.
A-wfully Clever Hunt.
Perhaps She's on the Railvray.
McCarthy.
Mother Says I Mustn't Hnnt.
MOTTO SONGS.
34. YVay of the YVorld Ellery.
36. It's All the Same to Sam... Hunt.
46. It's Better to Laugh than to Cry.
Clifton.
54. On. Boys. On, the Course is
Always Clear Fetchet.
60. Act on the Square, Boys Lee.
ITT. A Bit of my Mind Bell.
1T9. An Old Man'.s Ad-vice Tinaey.
18T. Up and be Doing. Smith.
188. Ten Minutes Too Late CUrt«n.
195. Would You be Surprised?. .Coot*.
199. O'Doanell Aboo Mortaie.
149. Popular Airs for Little Fingers.
No. 1. Walking in the Park ; B«auttf«l
Bells.
150. Popular Airs for Littlo Fingers.
No. 2. Captain Jinka ; lapping at th*
Garden Gate.
161. Berger Family" Bells Mantrka."
LIBRARY OF CONGRESS
014 386 187 9
HoUinger Corp.
pH 8.5