/'8-7S .fV \ l'B-75 ^ R 4089 866 H8 |,P75 JPRIOE IS CEIVXJfsJ. .x:^- -- 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 J cents. JtX:.AJ>Y. I I.EAl» Y^EAR. A Musical Duality. In One Act. By Alfr- wick. Price fifteen cents. DE WITT'S HALF-DIME MUSIC OF THE BEST SONGS FOR VOICE AND PIANO. ^HIS SE(^IE8 of first class Songs contains the Words and Music {with the Piano accompaniment) of the most choice and exquisite Pieces, hy. the most abUy gifted and most popular composers. It contains every style of good Music— from the solemn and pathetic to the light and humorous. In brief this collection is a complete Musical Library in itself, both ofYochi. AND Piano-Forte Music. It is printed from new, clear , distinct, elegant Music Type, on fine white paper, made expressly for this Series y and is published at the low price of Five Cents. Remember, Each Number contains a Complfte Piece of Music, beautifully printed on Sheet Music Paper. Any Twenty Pieces mailed on receipt of One Dollar, postage paid. t^" JPIiEJLSE OMI>EM SF THE NTTMBEMS, -^ft Address, S. M. DE WITT, Publisher, SS Hose Street, JV, rj SENTIMENTAL SONGS AND BALLADS. Jfc. Composer. 3. K.*irer's I^etter-Bax Wrighton. B. Xhy "Voice is IXear Wrlghton. 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. S9. ei. 64, es, •TO, '5'4, •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. Allow me to direct your atten- tion to the fact that I have just pub- lished a COMPLETE EDITION of BULWER^S DRAMATIC WORKS, suitable for the Library, in one volume, cloth, gold lettered, price One Dollar and Fifty Cents. DeWitt's AcTiNa Edition Bulwer's Plays; being the complete Dramatic Works of Lord Lytton (Sir Edward Lytton Bulwer, Bart.), compnsing "The Lady of Lyons;" "Money;" "RicheUeu;" "The Rightful Heir;" "Walpole;" "Not So Bad As We Seem;" "The Duchess de la Vallierre." From the author's original text. An entirely new Acting Edition. By John M. Kingdom. EGBERT M. DE WITT, PubHsher, 33 Bose Street, N. Y. Now Ueaeij/,— Tennyson's Great Play, QUEEN MARY* Properly prepared for the Stage. The only Acting Edition in the market. Price 30 Cents, being a double Number (181 and 182) of De Witt's Act- iNQ Plays. *:,c* Be sure to order " De Witt's Acting Edition " of above plays. EGBERT M. DE WITT, Publisher, 33 Rose St)-eet K Y 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.