W(^^l Social Aspirations. FEMALE CHARACTERS ONLY. ^ DICK & FITZGERALD, Publishers, NEW YORK. ^^^M I COME.DIi:S AND DRAMAS | t 15 CENTS EACH % k M. F. cK /JX ALL THAT GLITTERS IS NOT GOLD (The Factory Girl). Comic ^jj fjj^ Drama of great force ; 2 acts ; 2 hours 6 3 yjjf hS ARABIAN NIGHTS, THE. Farcical comedy ; always a great success with \f/ ^i\ amateurs ; 3 acts ; 2% hours 4 5 \|/ A BARBARA. Drama ; well-writt3n romantic story with touches of genuine W •!: humor ; i act ; 50 minutes 2 2 r/. /^\ BETSY. Farcical comedy; keeps audience in roars of laughter to final cur- y|^ ^|S tain ; 3 acts ; 214 hours 7 6 yf^ /<> BETWEEN TWO FIRES. Military drama : 3 acts ; 2 hours 8 3 ^f/ ^^ BROKEN PROMISES. Strong temperance play of unflagging interest, 9^ ijy relieved with much eccentric humor ; 5 acts ; i^ hours 6 3 W iHJS BY FORCE OF IMPULSE. (OfP to the War.) Military drama ; comic yf/ /JS and emotional ; 5 acts : 2j^ hours q 3 yf/i '(f^ CASTE. Comedy that always delights the public : 5 acts ; 23<( hours 5 3 Vl/' Jj; CRAWFORD'S CLAIM; OR, NUGGET NELL. Good rattling Western JK ^k drama ; 4 acts; 2^ hours 9 5 S'J ^|\ CRICKET ON THE HEARTH, THE. Dickens' story dramatized ; 3 acts ; j> /|\ 2 hours 6 6 ^j/ ^*> DEACON'S TRIBULATIONS, THE. Comedy drama. A worthy sue- NJ/ ?1. cesser to the ever-popular " Deacon " ; 4 acts ; 2 hours 8 4 W J^ly EAST LYNNE. Standard drama ; 5 acts ; 2>4 hours 8 7 ^|j ./J\ ENGAGED. Society comedy ; full of burlesque fun ; 3 acts ; 2j^ hours 5 5 \j/ ^J FROM PUNKIN RIDGE. Domestic drama ; successful wherever produced ; iV Jj> 1 act ; I hour 6 3 W /!\ HOME. Comedy; fresh dialogue and genuine humor combined with a very ^/. 2y Strong plot ; 3 acts ; 2 hours 4 3 ?K /(N HONEY-MOON ECLIPSE, A. Comedy marked by spirited dialogue and an vf/> /j\ abundance of comic incidents ; 1 act ; 30 minutes i 2 ^ jj IMOGENE; OR, THE WITCH'S SECRET. Realistic drama sure of being VJ/ J^ enthusiastically received everywhere ; 4 acts ; 2^ hours 8 4 w /|\ IN HONOR BOUND. Drama always given with entire success; i act; M% ^J; K hour 2 2 5J ^i> JACK FOR EVERY JILL, A. A most successful comedy ; i act ; ^^ hour. 4 4 ^^ 2J JEMIMA, OR, THE WITCH OF BENDER. Very laughable in its VJ> Iv absurd complications ; 3 acts ; 2 hours 4 4 yj! il^S JUST FOR FUN. Up-to-date society comedy. The piece is chee- fully ai /A recommended ; 3 acts ; 2 hours. 2 4 cii ^i^ LA CIGALE. (The Grasshopper.) Comedy, sometimes played as "The vjl? ^i^ Circus Girl " ; 3 acts ; 3 hours 13 4 ^ {J LADY OF LYONS. THE. Romantic Drama ; 5 acts ; 2^ hours ^ 5 '^|> /|\ LADY AUDLEY'S SECRET. Fimotional drama ; 2 acts ; ij^ hours 4 3$!^ /jy MAJOR ABORN'S PROPOSAL. Comedy in i act: about 45 minutes; a ^ (Us pretty comedy especially adapted for amateur production . . 3 2 \f/' ;{; MARBLE ARCH, THE. Comedy: one of the most popular little plays; Sj? i '^^^^ '^hour 2 2 W /JN MARRIED LIFE. Comedy; companion piece to "Single Life"; 3 acts; ^|^ /)\ 2 hours 5 s vf> ^i^ MEG'S DIVERSION. Drama ; pathetic, humorous and picturesque ; 2 acts • ^? /|^ 1 34 hours 5 3 Vf/ 2$ MEN, MAIDS, AND MATCHMAKERS. Society comedy sparkling with 9j' ;!y wit, interest and human nature ; 3 acts ; 2 hours 4 4 y/ /(\ MIRIAM'S CRIME. Drama : the interest in this play is kept up to the very yf^ /J\ end ; i acts ; 2 houi s :; 2 yi; ^,x ^ a-i /*> DICK & FITZGERALD, Publishers, 18 Ann St., N. Y. ¥ SOQAL ASPIRATIONS JVn Original Comedy in Cu^o Scenes BY HELEN SHERMAN GRIFFITH Copyright, igo3, by Dick & Fitzgerald (All rights reserved) • * ■ , 1 « NEW YORK DICK & FITZGERALD, Publishers i8 Ann Street "the ubracy of CONGKtSS, I Two CoiJies Receive*: | JUi 25 1903 I ta: fir « SOCIAL ASPIRATIONS, JIaSS ^ XXc. No. j . v^, SSrUL^—J CHARACTERS '4^^ ^^ \ 0^<^ ^ Annette Jaques /4/iaj, Comic sse de la V alette Mrs. Charlie Chick An American Tourist Miss Angelina Chick ) ^^^ Daughters Miss Theodosia Chick ^ Susanne , Femnie de Chambre Time.— The Present. Place. — Paris. Time of Representation. — About forty-five minutes. COSTUMES Annette Jaques. In Scene I., handsome, stylish outdoor cos- tume. In Scene II., elaborate dinner costume ; necklace ; hand- some opera cloak. Mrs. Chick and Daughters. In Scene I., neat house dresses. In Scene II., evening costume. Susanne. Neatly fitting print dress, skirt rather short, small white apron, white lace cap. PROPERTIES V In addition to the articles mentioned in the description of each "> S^cene, the tr^jpk should contain doilies, silver dishes, sofa cush- ions,' a'Ronvc^n bfahket, a srn-aH knitted shawl, a large plaid shawl, an Unibr^lia 'anci a table-cover. A book and a Japanese folding screen for T,HEoposi4. . A letter-; a round tin bathtub; a tray and, disbe?:; a hox-vjater bottle;. ?^ dish of fish; a large milliner's ■ box containing a dress- waist, low in the neck and short sleeves. A pair of white kid gloves for Annette. STAGE DIRECTIONS R. is right hand; l., left hand of the stage, as seen by a per- former facing the audience. It- 35 '^-^/ 5^:. SOCIAL ASPIRATIONS. ^ SCENE I. Scene.— Bedroom in Paris pension, somewhat shabbily fur- nished. At right back corner a cot bed, not made up. At back ccnfre a toilet fable draped in white muslin, with mir- ror and toilet articles on it. At side of left centre a bureau. In centre a moderately large round table; upon it a book and a call-bell. Trunk at foot of cot. Four straight-back chairs. Entrances back and left side. Theodosia discov- ered ^sitting at table, elbows on table and chin in hands reading. ' Theodosia {turning page and reading). "Another popular and interesting day's excursion from Naples is—" {Closes book, keeping place with iinger.) How I should love to make that excursion! That and a thousand others! Baedeker has such a charming way of putting things. He may not be ranked with Thackeray and all those literary standards, but I'm sure he's a clas-c. Anyhow, his work will live in posterity, and that IS more than can be said about most of to-day's popular writers. {Opens book again.) He comes so clearly to the poui^. too. See what he says about Rome. {Turns pages and reads.) Ah, Rome! Rome! how my artistic soul pants for your an- tiquities! I long to see your Ship of State standing in majestic ruins on the Palatine Hill !" {Speaks.) Oh. why can't momma give up trying to get into foreign society, and travel? That is what we cam.e abroad for. But Angelina got acquainted with that funny Countess who kept the cab driver from overcharging us, and who has "taken us up." So we've bought some ""fine clothes and must get into Parisian society! ENTER Susan NE, back, with letter. Theo. takes letter indif- ferently, still reading book. Then she glances at it and jumps up excitedly, knocking book on floor. Susanne picks up book, puts it on table, then crosses to corner and pro- ceeds to make up the bed. 4 Social Aspirations Theo. (excitedly, examining letter). A coronet! It must be a letter from the Countess ! I don't think much of her hand- writing. Looks Hke a servant girl's. And ugh! {sniifing it). What awfully strong scent she uses ! Ugh ! Musk ! Well, let's see what she says. (Starts to open letter, then stops.) Oh, it's addressed to momma. Well, that's proper enough. Now to have the momentous question settled of whether the Countess will take supper with us to-night! [EXIT Theodosia, l. SusANNE (making bed). Eet ees de queer visitor we have now at de pension, je crois bien. De ladies dey arrive. Dey are cheerful, amiable ; dey want to stay two, t'ree — dey know not how many day. Long enough to buy de gowns. T'ree day in Paris for to buy clothes ! Ha ! ha ! Dey buy dem ready-made at de shop, pent etre. Eh, bien! Yet dey remain. Dey have plenty of monnaie, but dey know not how to spend it. No vis- itor, no leetle dinner, no petit excursion. Dey go nowhere, dey know no personne. Den, all at once, dis talk of a Comtesse. What Comtesse? Where she live? Who ees she? She promise to introduce dem into de grand nionde of Paris! Ha! ha! Dere is more Comtesses in de city of Paris dan ees recorded in de books ! (Smoothes dozvn bed wearily.) Ah, I am so overwork! Eet ees already late in de afternoon an' I have but jus' feenish de young ladies' room. (Looks about.) Voila, eet ees done. Ah, no. I have not return de young ladies' bath — de tub. I go for eet. [EXIT SusANNE, back. ENTER Mrs. Chick, An- gelina and Theo., side. Mrs. Chick holds open let- ter, while a daughter clings to each arm, reading over her shoulder. All three advance front, reading aloud. Mrs. Chick ^ Angelina > (together, reading letter). "My dear Madame Theo. ; Chic: It gif me much plaisaire to dine wit' you dis night. I shall arrive on de hour. Until then, ma chere, au revoir. Je suis toute a vous, Annette, Comtesse de la Valette." (They repeat slozuly, with great unction.) Comtesse de la Valette! Ang. (rapturously). So she is really coming! Oh, mom, how perfect! A Countess to dinner! (Embraces Mrs. Chick.) Theo. (in matter-of-fact tone). To supper, you mean. And a jolly poor one in a lamp-smelling dining-room. Mrs. C. (with dignity). I shall order special dishes. The Social Aspirations 5 landlady will take pains when she knows I am willing to pay for it. Theo. (with ironic cheerfulness). And the light is so dim that the Countess won't observe the grease spots on the table-cloth. Ang. (crossly). Theodosia, don't be so vulgar. Theo. (innocently). But, Angie, / did not put the grease spots there ! It isn't my fault. Our predecessors Ang. Ugh! Do stop it! But, momma, we really can't have the Countess to dine. Mrs. C. (who has been re-reading note and mouthing the word "Countess" delightedly). Eh! What's that? Not have the Countess to dine ! Why, she's the key to our road into society ! Theo. (giggling). You don't lock roac?.y, mom. Call it puzzle. Ang. (frowning). If you would only let me finish my sen- tence ! We can't have the Countess to dine in the public dining- room. It would not be proper. Mrs. C. (amaacd). Not proper! Ang. Not the thing. Not— not Theo. (sotto voce). Not Chick, perhaps? Ang. (frozvning). Puns are so common, Theodosia. But it ivould not be ''chic," so there. I've been reading up on etiquette and things, and nice people— ^/it? people, you know— always seem to have their own private apartment. They dine in their own salon (pronounced here "saloon"). Mrs. C. (aghast). Their own saloon! Angelina, I am shocked! (Sinks into chair, but straightens at once.) Ouch! These uncomfortable chairs! I wish I had brought a rocker from home. Ang. You don't understand. Salon (corrects herself hur- riedly), I mean salong, is the French for drawing-room. Theo. Parlor, momma. Ang. People take a whole apartment, you see. Enough bed- rooms to go round, and their own parlor. Then when people come to dine with them Theo. Or sup! Ang. Why, they have their meal served up there. Mrs. C. (much impressed). Well. I want to know! Ang. (positively). It's common to dine in the public room. Why, momma, imagine a Countess in that dining-room ! Mrs. C. (curtly). It may be a little dingy, but I found it good enough for me. The sights and smells never took my appetite away. And (settling herself squarely upon her chair) I guess a free-born American citizen is as good as a French Countess! My land! 6 Social Aspirations Theo. Bravo, mom ! Hurrah ! (She marches about stage pretending to wave a Hag and singing: "Yankee Doodle went to town, riding on a pony. Stuck a feather in his crown — '' Speaks.) But what are you going to do about it, Angie? You've asked the Countess, she's coming, and we haven't any private parlor — with a capital P or without. Ang. {crossly). I wish we'd gone to a decent hotel to begin with ! It's silly and stupid to be shut off in this shabby old hole when we can afford to stay at the Continental. Mrs. C. (beginning to sob). But you told me to come here! You said it was vulgar to go to big, flashy hotels. Boo-hoo ! My land ! I like the gay people and red plush seats. It's much more interesting to be around where there's bright lights and things going on ! Boo-hoo ! Theo. For the land's sake, don't you two get to quarrelling! What are we going to do with this Countess that's coming? We've got to impress her with our importance, if we expect her to introduce us into the best society. Ang. I've got a plan, if you'll only agree. Mrs. C. (drying her eyes). I'm sure we're as good as the next one. I have a right to be acquainted with any one, even if she has got a tail to her name. Theo. (trying to be funny). Or a tale in her life, by the "Duchess." Ang. My plan is to have our dinner in here. Mrs. C. ) (together, in astonishment). In here! A dinner Theo. S in a bedroom! Ang. (quickly). The Countess need uot know that it's a bedroom. We can arrange things nicely. I've thought it all out. We'll just make the bed into a couch with a cover and some cushions Theo. (entering into idea). Yes, and put another cover over the dressing-table, and screen off the trunk Mrs. C. (looking about room). How about the bureau? Ang. (taken aback). That? Why, that Theo. (triumphantly ). Why, that can be the sideboard! Come on, Angie, let's get to work. Oh, I'm so glad now that we bought all that brocade and trash ! [She runs to trunk, opens it and pulls out a brocaded table-cover. She brushes things pell-mell oif the dressing-table, removes muslin drapery and covers it zuith brocade. Angelina takes handsome lace doilies and silver disJies out of trunk, pushes articles on bureau into top drawer and sets doilies and dishes on it, Mrs. Chick helping. Social Aspirations 7 Theo. (gathering up discarded toilet articles). I'll fetch the screen out of your room, mom. Angle, the so-called Roman blanket that you bought at the Bon Marche will be just the thing to put over the bed. [EXIT Theo. Mrs. C. {lifting Roman blanket out of trunk). We can eat off the centre table. I'm glad it's a round one. What shall we have for supper? Ang. {taking embroidered sofa-cushions out of trunk and help- ing Mrs. C. to cover and arrange bed to resemble couch). Oh, I don't know. A nice little dinner of four or five courses. Of course, we must have wine. Theo. {re-entering, l., carrying Japanese screen). Of course we must — champagne. Mrs. C. {helping Theo. to place screen around trunk). Dear me, that sounds very wicked ! Ang. {superiorly). Nonsense! The Countess will expect nothing less. Let us order things at once. It's almost time to dress. {Rings bell.) You will have to give Susanne a big fee for waiting on us, mom. It's outside her regular work. Theo. {bending over open trunk). Oh, mom! Here is that piece of drawn work you bought yesterday. Let's use it for a table-cloth over Angelina's square of pink felt, a sort of "Pink Tea" effect ! Ang. The very thing! I'll go for the felt at once. [EXIT Angelina, l. ENTER Susanne, back, with large box. Sus, {coming forward). A package for the Madame. [Susanne gives Theo. the box. EXIT, back. Theo. {taking box). It's your new waist, mom. Ang. {entering l.). Oh, I'm so glad I It has come just in time to wear to-night. Mrs. C. {opening box and holding up decollete waist). Wear to-night. But it isn't finished. Ang. ) {together, examining waist). Not finished! Why, Theo. ( what is left out? Mrs. C. {spreading out waist). Why, the neck and sleeves, to be sure ! [Theo. and Angelina laugh. Ang. But it's meant to be that way, momma. It is decollete; for evening wear, you know. 8 Social Aspirations Theo. Angie and I each have them, too. Mrs, C. (indignantly). I wear thatf I — I — why, it wouldn't be proper! Ang. {stiMy). It wouldn't be proper not to wear it at a din- ner party. Mrs. C. Now, you need not tell me Sus. {in doorzvay at back). Madame la Comtesse de la V alette! Mrs. C. {thrusting waist into box, aside to Angelina). Hide that improper waist, quick! Ang. {laying box, open, on chair, aside to Mrs. Chick). Non- sense ! I shall show it to the Countess. She will think it lovely. Don't let her see that you are not used to wearing it. ENTER Annette at back, dressed in handsome, stylish outdoor costume. Angelina and Theo. greet her effusively. Mrs. C. {aside, raising her hands). Used to wearing it! For the land's sake ! Annette {advancing with hands outstretched). Ma chcre, Madame! Eet ees such a joy to see you! Eet gif me what you call — ah — a heart-throb to see all my so dear friends again, eh? {She looks around at them all beamingly, then advances and kisses Mrs. Chick upon each cheek.) Non, non, merci! {as Angelina and Theo. each offer her a chair). I haf stop in for but one leetle moment to gif you a word of greeting. I pass by here on my way home from a musicalc chez la Duchesse de la Reine {looks about her, aside). Eet ees a privat salon! I did not know dey haf dat. Eh, bien! Dey are all right. I help dem into de grand monde, an' {making gesture as though lifting something) dey tak' me wit' dem. Ah, de monnaie, de mon- naie! Eet ees dat which count! {Clasps her hands.) [Mrs. Chick, Angelina and Theo. talk aside, exchang- ing appreciative nods. Ang. {aside to Mrs. Chick and Theo.). She is admiring the room. Theo. {aside to Mrs. Chick and Angelina). She is taken in completely. Mrs. C. {aside to Angelina and Theo.). I wish we had had time to tidy up the mess that box has made. Ann. {turning). I am just' admire your so preety leetle room, eh? Eet ees — ah — w'at you call sweetly preety, eh? Eet ees so simple, in such good — ah — good taste. {Seats herself.) De maison I haf jus' quit was so beeg, so decorate, so — so over- Social Aspirations 9 whelming, eh? De nmsiquc? Ah, good, good, but (shrugging her shoulders languidly) one hears eet so of-ten. Ah ! M. Jean Dereski an' {waving her hand) two, t'ree oders. Mrs. C. {much impressed). I want to know! Ang. ) {together). Oh, tell us about it! Who was there? Theo. ) Any Princesses? Ann. {aside). I had de honair to peek up de mouchoir of a Princesse in de dressino^-room while waiting for my maitresse. {Aloud, indifferently.) Ah, yes! Princesse Blanche an' her suite were dere. Also de Grande Duchesse de — But ah I (rising quickly) I mus' remain no longer now. I weel tell you all at de dinner, if I may? You surely— wan^ me. eh? (Looks from one to the other coquettishly.) Mrs. C. ) . Ang [ (together, curtseying). We are so honored, Coun- Theo. [ ^^''^ ENTER Susanne at hack with round tin hath tub. Theo and Angelina wave her away frantically. Mrs. Chick tries to engage Annett/s attention. Susanne stands looking at them in surprise. Mrs. C. (-flustered, hut trying to divert Annette). What a be- coming hat you have on Mrs. — I mean Countess! And such a pretty (looks around and sees Susanne still standing centre, back, with tub) — oh, dear! why don't she take it out? [Annette looks around in wonder. Ang. I (together, angrily, to Susanne). Take it away, I tell Theo. f you ! Sus. (advancing front with tub). Tak' eet away? But zvhyf Ees eet not de yotmg lady's bath? In de morning she weel wish eet, eet weel not be here. She weel ring violent — br-r-r-r-r ! / weel be blame! (Sets down tub.) No, I weel not tak' eet away! (Aside.) I haf seen dot Comtesse somewhere in a posi- tion zvhere she could not be a Comtesse. What does eet mean? Ang. ) Theo. C (together, angrily, to Susanne). Oh, you stupid! [They catch up the tub bctiveen them and run with it out L., Susanne looking after them in asfonish)nent. Mrs. C. (zvifh dignity). Su?anne. siirely you know that we do not want bath tubs in the pari — drawingr-room. Sus. (puazled, looking about). In ze drawing-room? But, Madame JO Social Aspirations Mrs. C {quickly). You may go. Sus. (aside). Je ne comprends pas! Eet ees very queer — very mysterious. Where was dat drawing-room? [EXIT SusANNE, back. Re-enter Angelina and Theo., L., Hushed and out of breath. Ann. (aside). Eet ees very odd, theese behavior. I won- der Ang. Susanne seems to think that she can put a bath tub any- where with impunity. Theo. (giggling). She must have waited on English people. Mrs. C. I am so mortified, Countess. Ann. Ah, chere, Madame, do not be embarrass before so — so ole a frien' as me, eh? (Kisses her on both cheeks.) Adieu, mes cheres. (Kissing Angelina and Theo.) In one hour I return — dat ees right, eh? Theo I (together). Yes, Countess, we dine at seven. Ang. If that hour suits you. Theo. We can easily put it off. Mrs. C. (aside). If they do I shall starve! We always have supper at six at home. Ann. (graciously). Ah. no. Eet ees my hour to dine; a very pop-u-lar hour in de high societe, n'est ce pas? (Aside.) I shall be much rush to dress my lady, wait on her to her car- riage, an' den borrow enough of her wardrobe to come here in de correct toilette! (Aloud, turning at door.) Ah — eef 1 am a leetle — ah — late, you weel pardon, eh? I haf so many duties — ah — of State! Mrs. C. ) Ang '^(together, curtseying). We are at your disposition, Theo. ^ Countess! [EXIT Annette at back. CURTAIN. SCENE II. Scene. — Same as first. A little more has been done to change the aspect from bedroom to drazving-room. Two decanters stand on the improvised sideboard. The centre table is spread with a ivhite cloth and set with glass and silver, laid for four. A large bowl of roses in middle. Social Aspirations U ENTER SusANNE wiih plate of rolls, which she places, one at each cover on table. Sus. (arranging table). I wis' dat I know where I haf seen dat Comtesse! (Clasps her hands suddenly.) Voila' I haf eet! (Puts one hand to her forehead.) Qui, oui! Eet ees de same ! Wen I was maid to Madame Hough dere was a young maid to one of de house-party ladies— Annette Jaques, who wait on Madame Ballaque. She haf aspirations— social aspirations (IVords pronounced sloivly and with French pronunciation ) Eet ees she— de very same! She t'ink she rise by flattering an' using dese innocent ladies, who haf also de disease of social aspiration. Monnaie an' a name— dose are need. Dey haf de monnaie. Annette assume de name. Voila! But eet s'all not happen so! Dese ladies are kin', seemple, ingenues! I betray de Comtesse! Voila! [EXIT SusANNE, back. ENTER Angelina and Theo., side, in evening dress. Ang. (surveying the room). Doesn't everything look nice? Theo. Awfully nice. But, Angle, have you a ten-franc piece handy? The boy is waiting to be paid for the flowers. Ang. (arranging sideboard). Get it from momma. Theo. I don't want to interrupt her dressing. Don't be stingy. Ang. (indignantly). I'm not stingy. But why don't you pay him 5^ourself? Theo. Haven't got it. Fact is (reluctantly), I lent fifty francs to the Countess. But you had a lot this morning. Ang. (starting). Lent it to the Countess I Why, so did I. Lent her all I had. [They look at each other a moment. Ang. It's odd. (Quickly.) But she had very good reasons for asking. Theo. Yes, she had very good reasons. But (uneasily) do you think she's— a// rights Ang. (positively). Of course. Remember the invitation to the Baroness Brun's ball that she sent us? Theo. (doubtfully). I know, but \Sounds without of breaking glass and falling articles. ENTER Mrs. Chick precipitately, dressed in handsome evening gozvn. She is Hushed and dishevelled. Pauses in centre. Mrs. C. (dramatically). Look at me! Do you think I am J2 Social Aspirations going to sit down to my supper like this? Well, I won't. So there ! [She seats herself determinedly, centre front, and folds her arms. Ang. ^ {together, in dismay). Oh, momma, you'll spoil every- Theo. s thing. Mrs. C. (drily). I shan't be spoiling my self-respect. Ang. (appeasingly). Well, then, mom, wear a shawl or a scarf of some sort over your shoulders. You can say you have a cold, or make some excuse. Only don't change. Theo. No, don't, dear. It would be such a bother. (Aside to Angelina). Her arms will show bare under the shawl, and the Countess will know she's correctly dressed underneath. Ang. (aside to Theo.). Even if she is covered up. I'll lend her my hand-painted liberty scarf. [EXEUNT Angelina and Theo. Mrs. C. (alone). Well, I might put on a shawl. It would be a nuisance to change my clothes again, and I'm too hungry for much exertion. (Rises.) But it must be a big shawl. [She goes behind screen, which is so arranged about trunk as to permit audience to see any one standing behind it, and opening trunk, bends over and searches among its contents. Door at back opens softly and Annette enters, dressed magniHcently, a handsome opera cloak half concealing her elaborate dinner toilet. She szveeps down centre with a grand air. Door slams to loudly. Annette starts and looks back. Ann. (indignantly). That insolent Susanne ! She haf not even announce me. Ees eet possible that I am recognize? Does she know me beneath de — ah — rouge an' de title? But she would not betray me! Ah, non, nan! Not w'en my troubles are so heap up an' de safety ees in sight. Madame Ballaque. my mai- tresse, haf learn dat I sometime — ah — borrow, eh? — her clothes. Eef I do eet again, she say, she gif me warning. To-night, by ill-luck, she dine in dis very pension. Et regardes-moi! Eef she see me, oh ! my foie-gras ees cook, as de Americain say. Stay, de young ladies haf not come down. Dey not know eef I haf arrive. I t'ink I slip out sof'ly an' see w'ere eet ees dat my maitresse dine. Eet ees well to know w'ere de danger sleep, eh? I return in one leetle moment. [EXIT Annette, back. Mrs. Chick lifts small knitted Social Aspirations 13 shawl from trunk and comes from behind screen. Draping shawl around her shoulders, she crosses and looks at herself in bureau mirror. Mrs. C. (screaming). Oh, it isn't half big enough! [She runs behind screen again, dropping shawl on chair just in front of screen. Door opens at back. Pause. SusANNE and Annette seen in background, arguing. Then: — Sus. (sullenly, in loud voice). Madame la Comtesse dc la Valette. [Annette enters with magnificent air. Susan ne shakes her fist from doorway. EXIT Susanne. Mrs. C. (behind screen, in dismay). For the land's sake! How am I to get out? Ann. (looking about in surprise). Why, de young ladies are not yet here. Ees eet possible dat I am airly, eh? [Mrs. Chick digs frantically in trunk. Mrs. C. (excitedly). Oh. where is that plaid shawl? I am sure I put it in here. (Turns.) Well, that little one would be better than nothing. [She tries to reach the shawl on chair in front of screen. Annette sees bare arm protruding around screen and screams. Mrs. Chick drazvs back her arm hur- riedly. She takes umbrella out of trunk and tries to reach shazul zvith that. Ann. (aside). Ees some one dressing behin' dat screen? Haf I come to de wrong room? (Looks about her.) Mais, non, eet ees de same. W'at does eet mean? Dat arm — dat screen? Am I deceive? Ees eet dat dey but prcten de grandes dames avec I'argentf Mrs. C. (behind screen). Pshaw! I can't reach it. Well, I can't appear this way. [She puts aside umbrella and searches in trunk again. Ann. (starting and listening). Eh? I t'ought I hear some one speak. Ah ! (She turns quickly as Angelina enters from L., hastily.) Ang. (greeting Annette). Oh. my dear, dear Countess, here alone! I hope we've not kept you waiting. I thought momma was in here. 14 Social Aspirations Mrs. C. (behind screen, aside). And so she is! Theo. (running in l,, not seeing Annette). Oh, Angie, where's momma? She's not in her room. Do you suppose that low-necked dress — Oh! (Sees Annette.) I beg your par- don. How de do? (Greets Annette.) Ang. ( ealmly). I dare say momma's giving some last orders. Let me help you remove your cloak, Countess. Mrs. C. (peeping around screen). Ahem! ahem! [Theo. looks up and sees her mother, who beckons. Theo. goes behind screen. There ensues a vigorous pantomime, Mrs. Chick explaining her search for a larger shawl. Theo. tries to persuade her to come out as she is. Mrs. Chick shakes her head. Theo. pulls her arm out. Mrs. Chick draws back and searches trunk again. Meanwhile Angelina helps Countess off with cloak. Annette wears superb evening gown, decollete, trained, and a necklace. Ann. (arranging her train). I dress hurriedly. Eef anyt'ing ees amees you weel pardon eet? I haf so many demands on my time! (Aside, eyeing screen.) Dere ees some one behin' dat screen! Wat does eet mean? Can dere be deceitfulness here? Eet ees very mysterious. Ang. You must be very gay. Countess. I have heard that the "smart set" in Paris give grand entertainments. Ann. (clasping her hands rapturously). Ah. wait until you haf atten' some of dem ! La Baronne Brun; Comtesse de Faux- Pas; la Duchesse de la heine ; la Princesse Niente — an Italian Princess of great beaute, who ees quite the — the — what you call eet? — fury, in Paris. Ang. Quite the rage. Ann. (shrugging her shoulders) . Bien, rage, fury ; dey are de same in de dictionnaire. I haf all dose ladies on my lis'. You weel haf introduction to dem all. (Aside.) After I leaf Ma- dame's service an' become your distinguish' gues'. Theo. (peeping around screen). Ahem! ahem! [Angelina looks. Theo. beckons. Angelina shakes her head. Theo. beckons again. Annette looks up suddenly from fastening her glove. Ann. (surprised). Eh, bien? [Theo. disappears, with a last imperative beckon. Ang. (confused). Oh — oh, I guess the — the cakes have come from the patisserie. Theodosia wants me to see if they are all right. Will you excuse me a moment. Countess? [Angelina goes behind screen. Social Aspirations J5 Ann. (with a sigh of relief). Ah, eet ees explain. De screen conceal a serving table. Eet was de maid I saw. Eh, hicn. Theo. (sotto voce to Angelina). Mom won't come out with- out a shawl on big enough to cover her. [They expostiUate with Mrs. Chick. Ann. (looking toward screen). Ah, eet mus' be de cakes. Eet nius' be all right. Dey are too — too naive to play trick about monnaie. Non, dey are truly reech, je suis certain. An' I haf everyt'ing plan. (Takes letter from pocket.) I fin' dis lettre, ecrite by Madame Ballaque to introduce her "charming foreign frien's," but wit' no nauics of dose fricn's. I gif eet to dcse ladies as soon as Madame Ballaque leaf town. Dey mak' calls wit' eet. Dey go every w 'ere — no one question de lettre d' intro- duction de Madame Ballaque! I go wit' dem. I am not recog- nize. We are receive by all de grande monde. (Spreads her arms.) But ah! we stay not long in dis country, non. I per- suade dem to return to Amerique. I go, too, as deir gues'. I lif upon deir bounty. I become a — a lioness in societe Americaine because of dis leetle so powerful tail handle I haf attach, home- made, to my name. Ah ! Mrs. C. (behind screen, lifting large plaid shazvl out of trunk). There, I knew it was in here ! (She wraps the shawl, folded cor- nerwise, around her. It covers her completely to the zvaist.) Ang. (horrified). Oh, momma, it is disgraceful. Theo. (giggling). It's hardly the garb of high society. Mrs. C. I don't care. It's respectable. [Mrs. Chick, enveloped in shawl with head and hands emerging, comes from behind screen, followed by Angelina and Theo. Mrs. C. (graciously, extending hand). How de do. Countess. So sorry to keep you waiting. Ann. (regarding her odd costume with astonishment). Ah, pray do not mention eet. ma chere Madame Chick! Eet ees not'- ing — rien du tout! (Kisses her on both cheeks, still regarding shawl curiously.) X^^ [ (together, approaching Mrs. Chick from behind, one on each side). Momma has caught such a bad cold. Isn't it too bad, when she has such a pretty dress on? (They catch at shan-l and pull it off, laughing.) Mrs. C. (screaming and huddling herself together). Oh, girl'^. how dare you ! I feel so — so Theo. (quickly). So chilly? Well, put it on again. The Countess will excuse you. t6 Social Aspirations Ang. Shall I ring for dinner, momma? Countess, let us be seated. You sit there, please. [They gather about table. Angelina draws out for An- nette the chair facing bed. Theo. helps her mother sit opposite. Mrs. Chick rings bell on table. An- gelina and Theo. seat themselves. ENTER Susanne at back, carrying tray with dishes. Sus. (setting tray on sideboard and placing dish of fish in front of Mrs. Chick). De Madame — Ian 'lady — say she haf rule' against de sairving of a meal in de bedroom unless illness ees present. But dis time Ang. (quickly). Susanne, fill the Countess's glass. Mrs. C. (embarrassed, frowning at Susanne and turning her back on her). Countess, may I give you some of this turbot? Susanne, offer the sauce to the Countess. Sus. (aside, sniifing). Humph! Comtesse, indeed! (She brings sauce from sideboard and passes it sullenly.) Theo. (frozvning at Susanne). What a lovely necklace that is, Countess. Perfectly exquisite ! Sus. (aside). Eet ees Madame Ballaque's. I remember eet well at de house party. [EXIT Susanne, back. Ang. (unstopping a decanter). Countess, let me fill your glass. Momma, will you have some claret? [Mrs. Chick starts to refuse. Angelina and Theo. frown and shake their heads. Angelina fills all glasses. Ann. (taking up glass). Ah, I t'ank you. (Sips. Aside, making wry face.) Vin ordinaire! (Aloud.) Wat a deleecious flavor ! At de musicale of de Duchesse dey haf de, oh ! so atro- cious punch. Eet ees a delight to remove de tas' of eet from my mout' wit' dis. {They eat. Door opens at back. ENTER Susanne zvith hot-zvaier bottle. Crossing to couch, she quietly removes sofa-cushions and Roman blanket, turns down the bed and tucks hot-water bottle betzveen the sheets. Annette sees her and sits zvith suspended fork, gazing at her in horror. Mrs. Chick, Angelina and Theo. see Annette's expression, endeavor to attract her attention, then turn to look. They arc struck dumb with dismay for Social Aspirations J 7 a moment, then rising, gesticulate wildly to Susanne. At length : — Mrs. C. ) Ang. > (together, wildly, rising). Susanne! STOP IT!!! Theo. ; Sus. (innocently, coming forzvard). Eh? Stop eet? Mais, pourquoif Eet ees w'at I do every evening. De night ees col'. Mademoiselle weel be glad of de leetle hot bottle, eh ? [Mrs. Chick, Angelina, Theo. and Susanne talk aside. Ann. (aside, tragically). Den dis ees a bedroom! I had mes soupQons. Sacre-Bleu! Dey are not reech ! Dey haf not de monnaie! Dey preten' ! Ah, I am los' ! Mrs. C. (turning). Ah, pardon, my dear Countess. It is noth- ing. (Airily.) A mere nothing. Come, let us finish our dinner. [EXIT Susanne, back, scowling. Ang. ) (together briskly, reseating themselves). Yes, a mere Theo. \ nothing! Countess, will you Ann. (severely). Not'ing? You call eet not'ing? (Slowly and dramatically.) You haf deceive me! Mrs. C. (dropping into chair). Th-ere, girls, I told you so! Ang. {(together, rising and running to Annette). Oh, don't Theo. ) take it that v/ay ! Ang. We only meant it as a compliment. Theo. We did not suppose Susanne would be so stupid. Ann. (looking from one to the other). As a compliment? (French pronunciation. ) Theo. (hastily). Yes, of course. You see, Angie had been reading some sort of Society Notes, and thought it wouldn't be the thing to eat in the public dining-room Ang. (interrupting). And there are no private parlors here Theo. So we thought we'd better turn this bedroom into one until we could move. Mrs. C. (triumphantly). I knew we ought to have gone to a big, cheerful hotel, with music and six-course dinners. Theo. But Angie thought them vulgar. Ang. (turning up her nose). And flashy! Ann. (relieved). Den eet was not because you could not afford a private salon dat you do — do dis (motioning to the ex- posed bed). Mrs. C. (bridling). Land's sake, no! What do you suppose? Theo. (giggling). La! I guess ma could buy out this whole pension. Ang. But I read so much about the elegant private hotels in Paris. J 8 Social Aspirations Ann. (laughing). Eh, hicn! but zere you haf made one droll mistake ! A hotel in French ees w'at you call a — a domicile, a home, eh? Ang. {confused). Then Sus. {opening door at back). Annette Jaques ! [Annette looks around involuntarily and screams. Mrs. Chick, Angelina and Theo. turn in astonishment. Mrs. C. What are you talking about. Susanne? Sus. {pointing to Annette), Slie know. I was talking to her. Ask her. Ann. {trying to appear indignant). How dare you address me so, aile de chambref {To the others.) Eet ees my name — Annette Jaques, Comtesse de la Valette — but she use eet wit'out de — de Sus. De disguise. Annette Jaques, your maitresse, Madame Ballaque, ees below, awaiting your service. Mrs. C. ^ Ang. > {together). What do you mean? Theo. ) Ang. {indignantly). How dare you insult the Countess so? Theo. {astonished) . Are you out of your mind, Susanne? Mrs. C. {sternly). Explain yourself! Sus. {meekly, but with suppressed triumph). Oui, Madame Annette Jaques {pointing to Annette), ees de lady's maid to Madame Ballaque. Mrs. C, {screaming) . What? A lady's maid? A Countess a lady's maid! Sus. {curtseying). A lady's maid, but not a Comtesse, Ma- dame. Mrs. C. ) Ang. > {together). It \s impossible! Theo. ) Sus. {pointing to Annette). Ask her. She weel not deny eet. [They all turn to Annette, who shrinks away and hangs her head guiltily. Tableau.) Ang. {reproachfully). Then you have deceived us? Theo. {disappointedly). And you can't take us to those grand palaces ? Mrs. C. {raising her hands). Well, I want to know! Ann. (wringing her hands in distress). Oh, I weel explain! Eet can all be explain, ladies, eef you weel lis-ten. I confess. I repent. But I can still tak' you to dose house eef you accep' my plan. [She motions them to conic to her, pointing Susanne to Social Aspirations 19 the door. Mrs. Chick, Angelina and Theo group themselves about her hesitatingly. Sus. {triumphantly, at door). She cannot explain away de fac's! [EXIT SusANNE, back. Ann. {frankly). I am a lady's maid. But I, too, have les ambitions. {Takes letter from her pocket.) Dis leetle lettre, which speak no name, weel introduce you to de bes' societe here in Paris. / accompanay you as your distinguish' gues'. I he'p you wit' de French tongue, eh? You haf much pleasaire. An' w'en you go back to America, a French Comtesse goes wit' you ! Eh ? Wat a — a triomph! Mrs. C. {shocked). How deceitful! You had better leave us at once! Ang. {scornfully). Yes, go back to your mistress, Annette Jaques ! Theo. And practise your theatricals — somewhere else. Ann. {in dismay). Wat? You t'row me off? Ah, non, Ma- dame! Ah, mesdemoiselles! {Appealing from one to the other, who turn their backs.) Ah, haf peety ! I meant de bes'. I meant to do you pleasaire. My lady, she haf gif me warning. I shall be desolee. Sans sous! Ah, Madame, chere Madame, tak' me ! Haf peety ! {She throws herself on knees before Mrs. C.) Mrs. C. {aside). Oh! A waiting-maid, and I called her a Countess ! I, a free-born American citizen, looked up to her! {Raises her hands in protesting horror.) Ang. {regarding kneeling figure). She might do as a lady's maid, momma. It would make a good impression at a big hotel to have a neat maid. Ann. {turning on her knees to Angelina). Ah, tak' me any- way — as maid eef not frien'. I sairve you well. Theo. {giggling). She might serve as a sort of advertisement of our respectability. Ann. {turning on her knees to Theo.). Ah, mademoiselle, I sairve you mos' respec'able. Mrs. C. Annette Jaques, stop crawling on your knees. Stand up ! Ann. {rising, aside). She call me Annette! She take me. goot! (To Mrs. Chick.) Ees eet agree? Ah, a million t'anks ! {Starts to embrace Mrs. Chick, zvho draws back indignantly.) Ah! {Curtseying.) Pardon, Madame! {Curtseying again.) I weel not offend again. {Aside.) De bargain ees goot, malgrc 20* Social Aspirations la decouvcrte ! Dey weel pay me two, t'ree times de wage Ma- dame Ballaque gif. Dey are Americains. Eh, hien, dey are reech, alors. Mrs. C. You miserable woman ! I need neither your thanks nor yourself. How dare you suppose that I would force my way into society by a stolen letter of recommendation ! Go ! Get out of my sight this moment. (Points to door.) Ann. (goes half-zvay toward the door, then turns, laughing). Ha ! ha ! You vairy funny ol' woman ! De two droll demoiselles ! Oh. how I fool dem ! (Mimics.) "De de-ar Comtcsse." I kees dem. Ha ! ha ! I tell ev'ry one ! How ev'rybody weel laugh ! Dey Sus. (opening door at back). Madame Ballaque eenseest you go to her queeck. She is fury ! An' w'en she sees you in dat costume she hav' you arrest'. [EXIT with Annette. Mrs. C. Girls, pack up everything. We go at once to the ''Continental." To-morrow we leave Paris. I think we have all had enough of ''Social Aspirations/' Tableau. CURTAIN. vill lady SAVED FROM THE WRECK. A DRAMA IN THREE ACTS, BY THOMAS K, SERRANO. PRICE, 15 CENTS. ill.fn^^^."'^''' -u'-^ ^^^& characters : Leading comedy, juvenile man, genteel illain rough villain light comedy, escaped convict, detective, utility, juvenile idy leading ccmeay lady and old woman. Two interior and one landscape scenes Modern costumes. 1 ime of playing two hours and a half. The scene of the acS IS laid on the New Jersey coast. The plot is of absorbing interest, the " business " effective, and the ingenious contrasts of comic and serious situations prese a con- urto^'e final taLTeau" ^^'^ '^^^ ^P«^'^^°- -^ose interest is increasingly maintained SYNOPSIS OF INCIDENTS. Tn,rrnbJ?«^lf^°rf"'' ^'^•"'^-"O"^^ KEEPHR.-An autumn afternoon.-The insult. — Irue to heiself.-A fearless heart.-l he unwelcome guest.-Only a foundling -An abuse of confidence.-The new partner.-The compact.-Saved from the wLk -^ Legal advice -Marned for money.-A golden chance.-The intercepted letter -A vision of wealth.-The forgery.-The rescue.-TABLEAU. • 1 . b Scene AS befoke ; time, night.-Dark clouds gathering.-Changing the \^h r~/T^''^l^'r-~9^' duty.-A struggle for fortu„e.-Lov?d for himsfif. ! Ihe divided greenbacks -The agreement.-An unhappy life.-The detective's mis- ifrtr^''""xv-\rl^T^^'' '^?.V'>;--1'^^ liJ^^"^^.^ again.-On the right track.lThe accident.- Will she be saved ? ' -Latour's bravery .-A noble sacrifice.-The secret meeting —Another case of mistaken identity.— The murder.— " Who did it?"— The fZr ■•■TvJ^'^ stands the murderer !"-- -Tis false! "-The wrong man mur- dered.— Who was the victim ? —Tableau. Act in Two Days LAXER.-Plot and counterplot.— Gentleman and convict.- The puce of her hfe^Some new documents.— The divided banknotes.-Sunshine through the clouds.-Deadly peril.-Father and daughter.-The rising tidef-A li e for a signature.-lrue unio death.— Saved.-The mystery solved.— Tableau. BETWEEN TWO FIRES. A Comedt^'Drama in Three Acts, by Thomas K. Serrano, PRICE, 15 CENTS. Eight male, three female and utility characters : Leading Juvenile man, first and second walking gentlemen, two hght comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers; leading juvenile lady, walk- ing lady and comedienne. Three interior scenes; modern and military costumes 1 ime of playing, two hours and a half. Apart from unusual interest of plot and skill ot construction the play affords an opportunity of representing the progress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up. and a startling phase of the slavery question IS sprung upon the audience in the last act. J h = '"'• SYNOPSIS OF INCIDENTS. Act L At Fort Lee, on the HuDSOx.-News from the war.-The meeting.- Ihe colonel s strange romance.— Departing for the war.-The intrusted packet —\n honest man.— A last request.-Bitter hatred.— The dawn of love.— A Northerner's sympathy for the South.— Is he a traitor?— Held in trust.— The mine for sale — Financi.il agents.— A brother s wrong.— An order to cross the enemy's lines.— Fortune's fool — Love s penalty.— Man s independence.— Strange disclosures.— A shadowed life —His last chance.— 1 he refusal — Turned from home.— Off to the war — Tablkau Act II. _ On the B,\TTLi:FiELD.-An Irishman's pliilosophy.-Unconscious of danger.— Spies in the camp.— 1 he insult.— Risen from the ranks.— The colonel's prej- V> "^^ ~ ^^^^''" ^'■°'" home.— The plot to ruin.— True to him.— The plotters at work — breaking the seals.— The n.eeting of husband and wife.— A forlorn hope.-Doomed as a spy. —A struggle for lost honor.— A soldier's death.— Tableau Act III. I!efoke Richmond.— The home of Mrs. De Mori.— The two documents. —A httle niisunderstanding.— A deserted wife.— The truth revealed.— Brought to light.— Mother and child.— Rowena's sacrifice.-The American Eagle spreads his wings.— 1 he spider s web.— True to himself.— The reconciliation.— A long divided home reunited.— 1 he close of the war.— Tableau. ti©^ Co/'/'es vtailed, postpaid, to any address, on receipt of the annexed prices. ..^ Dick & Fitzgerald, Publishers, i8 Ann Street, New York SQUIRE THOMPKINS' DAUGHTER. (25 cents) An original drama in tive acts, by Arthur L, Buzzell. 5 males, 2 females. Modern costumes. Time, 2| hours. 4 interior scenes and i exterior. The action turns on a cunningly devised plot involving forgery, mock-marriage and mortgage-foreclosure ; a revenge- ful attempt to ruin the Squire and his family, but happily frus- trated at the last moment by the unmasking of the two con- spirators. Absorbingly thrilling in every act. EDWARDS, THE SPY. (25 cents) An original drama in 5 acts, by Arthur L. Buzzell. 10 males, 4 females. 5 interior scenes and i exterior. Civil and military costumes. Time 2^ hours. A brilliant episode of the Civil War, in which the reckless daring and hair-breadth escapes of Edwards succeed in baffling a revengeful plot to destroy him. JEMIMA; or, THE WITCH OF BENDER. (15 cents) An original comedy in 3 acts, by H. Elliott McBride. 4 males, 4 females, i interior scene. Plain costumes. Time, 2 hours. A clever conglomeration of awkward events, arising from a fickle but persistent old maid, a jealous and watchful girl, and a too susceptible lover, but frustrated by the opportune appear- ances of Jemima, personating a witch. THE OTHER ONE. (15 cents) An original farce comedy in i act, by Charles Townsend. i male, 2 females, i interior scene. Modern costumes. Time 20 minutes. Shows how by a clever stratagem, and with the aid of a sprightly waiting maid, a ter- magant woman is brought into subjection by her husband. Can be played straight or introducing Specialities. THE GREAT LIBEL CASH. (15 cents) A new Mock Trial, by Harry E. Shelland. 21 males. 8 leading characters and 13 Jurymen (i excused). A roaring travesty of proceedings in Court in the backwoods of Kentucky. The w^ar experiences of the Defendant, a bogus Colonel, and the personalities of a Jury of mixed nationalities and occupations, make this trial a screaming farce throughout. It plays a whole evening. MAIDENS ALL FORLORN. (15 cents) An original comedy in 3 acts and i scene, by Evelyn Simms. 6 female characters. Scene, a parlor in a seaside cottage. Time i hour and a quarter. Three young girls chafing under the monotony of a man-forsaken resort, write Teddy to come 'and visit them. Teddy cannot come but answers that his friend, Dr. Jocelyn Denby will come and help while away the time. Great prep- arations are made for his reception, including much interest by a Maiden Aunt, Each prepares a present to bestow on the Doctor, and feigns an ailment to interest him. The Doctor arrives — a woman. The climax, deftly worked out, is sprung on the audience at the last moment, and insures the play a complete success. The characters are all good, the Maiden Aunt and Mrs. Maloney are great character parts. Mailed post-paid on receipt of price by DICK & FITZGERALD, 18 Ann St. New York, SHE WOULD BE A WIDOW; OR, BUTTERNUrS BRIDE. *n Original Farce-Comedy in Three Acts, for Laughing Purposes Only. By LEVIN C. TEES. PRICE. . - ^^ . . 2 5 CENTS. Eleven male, six female characters (by doubling, the piece can be played by seven gentlemen and four ladies). The leading male parts offer j^reat opportunitleg for two comedians ; the remaining male characters will yield barrels of fun All of the female parts are flrst-rate aud none of them difflcult to play As played by Matthkws & Bulger, under the name of "At Gay Coney Island," this play has won applause everywhere from packed houses. It is a laugh producer all around. CAST OF CHARACTERS. BENJAMIN BUTTERNUT, an unworthy plumber, who weds a young lady and contracts to make her a widow in two weeks, but doesn't live up to his jigreenient IjOw Comedt Dr. FELIX SYRUP, who brings about Butternut's matrimouiai adventure, and af terwai-d devotf-s his enerjcies to sever the >Jonds Lioht Comedt UNCLE ABEL SYRUP, who resorts to an innocent stratagem which fails to „ pan out well. . ■■■■■■ Straight Old Man WILLIE GOODFELLOW, witu a pet scheme for getting rid of objectionable husbands Juvemli-: G entleman GOPHIR BILL, a noted burglar whom the plumber attempts to teach the business Character Bit DEPUTY SHERIFF POUNCE, who meets first a cordial aud then a very vVarm reception Utility Man UNDERTAKER SCREWEMDOWN, who comes to grief In trying to bury a live subject Character Bit HIRAM JONES, a Irtnd speculator UtilityMan FIRST KEEPER Utility Man SECOND KEEPER .....UTILITY MAN REPRESENTATIVE GRABALL, a useful member of the Legislature, with an eye to spoils Character Bit SIX MEMBERS OF THE LEGISLATURE Supernumeraries GEORGIE FANSHAW, afterward Mrs. Benjamin Butternut, a vonng lady with a fad for bfcoming a widow without losing a husband... Leading Comedy Lady NAOMI ROSEBUD, who knows what fun "we widows have " Ingknuk Daisy carrots, with a penchant for mixiug up things general! y, RounHSoUBRBTTB Mrs. LYDIA BROCK, who finds her well-intended efforts unappreciatefl . . Comic Old Woman BIDDY MULHOOLEY. an excited matron from the Emerald Isle Character Bit NANETTE FANCHETTE, In s-»aich of her truant husband Character Bit Time, the present. Locality, Acts I. and II. in New York City; Act III. at Dover, Delaware. Time of Repuksentation, 2J^ hours. SYNOPSIS OF INCIDENTS. ACT L— Dr. Syrup's office— An M. D. in the dumps—" When are you going to paj me my wages, sa-ay ?"— Making 'em feel at home— Poor Willie— Striking a bargain- Uncle Abel's scheme— Daisy ill a scrape— An unprinciplpd plumber with a classical countenance— A deputy sheriff taking stock on the quiet. Throwing otit the wrong man— Fifty dollars for a husband— Preparations for the werlding. and arrangements for a first class funeral-" Doctor, the bath-ttib is busted and the house is afloat I " ACT II.— The home of Butternut's bride in Madison avenue— Not such a soft snap after all— "When I win my wife's affections, I'll rais-^ your wages"— Willie floored and the ladies have a little set-to— Old acquaintanc< s hatch a nice little plot-^ The doctor and the undertaker disappear thronL'-h tie wimlow, and the plumber assumes control of the establishment. The greatept scheme of all— A bursrlar goes a burglltig. Making mincemeat of the whole caboodle of them— Another surprise for old Bntternut^Uncle Abel is mistaken for a lunatic aud run off to the asylum, and Gophir Bill takes the last trick. ACT III.— Hotel parlor at Dover— Uncle Abel, bent on vengeance, sets a trap for the plumber— Mrs. Syrup cultivates the manly art and comes down to Delaware with blood In her eye— Butternut on a bicycle— "She bouirht yoii for a job lot and got stuck "—"Fixing" the Lpglslature—"'rell!ng her all "—Willie's Infernal machine —Making a will In a hurry— Mrs. Syrup gives tip boxing lessons, and the doctor getf anotherchance In business— The inferna I machine knocks out the Legislature—" Yon drunken Idiots, this aint the railroad bill ! "— Butternut on the matrimonial market again— Finale. tW Copies will be mailed, postpaid, to any address, on receipt of the prioe, DICK & FITZULRALD, Piiblislitris, 18 Ann St., New York. 1903 '•■^V^^ TS? NEW PARTNER. CAST OF CHARACTERS. James Harcotjrt, a rich manufacturer First Old Man. John Cartwright, sujyerintendent of the factory ; a man of the people Leading Man. Robert Fsrgcson, the neiv partner; a man of the world ...Genteel Heavy. Dr. Paul Pottkr, Jolly andi^artial to hypnotism Eccentric Comedy. Jake Abbott, the leader of the strike Eccentric Character. Ebknezer Bellows, a dark "subject" Ethiopian Comedy. !ro^S l-^-orJcmenintkefactory j Eccemric Character. Mrs. Harcotjrt, a butterfly of fashion First Old Woman. Kate Harcourt, the peiied child of fortune, who has an awakening to love and duty Leading I.ady. Bessie Conwa 4 . a slave of toil, Character Part. Mrs. Potter, whose specialty is skeletons Eccentric Comedy. Time of Representation, Two Hours and a Half. SYNOPSIS OF INCIDENTS. ACT I.— The Belle's Birthday. Harcourt's mansion in New York.— Speed- ing the parting guest.— A morning call.— The gathering storm.— A daughter of fortune, and a son of the people.—" Our future son-in-law " drives a pretty close bargain.— Bellows collapses.— The price ot safety.— An explanation.— Master and man.— "Yes, we will speak of this again ; and pray Heaven it m&y not be too late !"— Tableau. ACT II.— At the Factory. An agreeable surprise.— A fleeting dream.— Old Conway's story.— c;artwright's resolve.— The new partner and tlie bride elect.— "My daufihier" asserts herself.— "I did not know until today, that people live on three dollars a week."— A spirited argument.— The superin- tendent's appeal for the workmen.— The walking delegate.- Charity vs. jus- tice.-" Supply and demand you see, sir."— Cart wriglit resigns on the spot.— "It is too fate— the strike is on ! "—Insult and defiance.— Picture. ACT III.— Home Again. Preparing for f cstirities.- The doctor mesmerlzeo the darkey, with startling results.— Mrs. Potter to the rescue.— Kate's awak- ening to love and duty.— "Angels in dress coats."— An unexpected reckon- ing.—" Release that lady ! "—A broken troth and a dissolved partnership.— The working-man's friend.— Bellows has another scare.— "My new partner, Mr. Cartwright, vice Mr. Ferguson, resigned."— The end of the strike.— Happy denouement. i^° Copies mailed, post paid, to any address, on receipt of the price, i A Comedy- Drama in Three Acts, by Levin C. Tees. ^ PRICE , 25 CE NTS. ^ A realistic play of contemporary interest. It abounds in good sentiments ; has weil-drawn, lifelike types of character, a strong plot, moving episodes, and some roaring comedy scenes. There are some particularly fine passages in the second act that will fetch enough applause for a dozen plays. Can be played in any hall, and may be counted on as a sure hit. HAROLD ROORBACH, Publisher, 132 Nassau St., New York. I COME.DIES AND DRAMAS | f: 15 CENTS EACH |g ± MY AWFUL DAD. Comedy that always makes a brilliant hit; 3 acts; >K /[\ 2 hours >jj /|\ NIGHT IN TAPPAN, A. Farce comedy; excessively funny and sure to ^ /j>i take ; I act ; i^ hour 2 -5 ^ /j> NOT SO BAD AFTER ALL. Comedy ; sometimes plays as " Is Marriage >!? W a Failure ? '" 3 acts ; 1 % hours 6 S ?•? JS NOT SUCH A FOOL AS HE LOOKS. Comedy; one of the best ex- jK x^ amples of modern farcical comedy ever written ; 3 acts ; 2^ hours 5 4 S> ^j\ OUR BOYS, (.omedy ; always succeeds ; 3 acts ; 2 hours 6 4 ^IJr ^♦j OUT IN THE STREETS. Drama. Wherever this play is presented it is NJ? '.n received with the greatest enthusiasm ; 3 acts ; i hour 6 4 w •}y PAIR OF IDIOTS. A. Up-to-date society comedy, with bright and witty «% ^x dialogue and telling situations ; 2 acts ; 2 hours 3 3 2i /|\ PICKING UP THE PIECES. Effective comedy either as a parlor play or i$j> /JX curtain raiser ; i act ; 30 minutes i i ^ ^fS ROBERT EMMET. (New version.) A new, actable version of this great VV (f^ historical drama ; 3 acts ; 2 hours U) 2 w Jj; SAVED FROM THE WRECK. Drama ; serio-comic ; 3 acts, 2 hours. ... 8 3 jjj iffK SCRAP OF PAPER, A. Comedy of the present time, full of heahhy v(/ /|\ laughter ; 3 acts ; 2 hours 6 yjj^ hS SHAKESPEARE WATER CURE. Burlesque comedy; each character a XJ/ ^ft star ; 3 acts ; 2 hours 5 4 ^*' Av SINGLE LIFE. Comedy; the characters are all comic and all "Stars": ^/ •Jii 3 acts ; 2 hours 5 5 ^K iv favorite that will draw hundreds where other plays draw dozens ; 5 acts : ^j^ v!v 2 hours 7 4 ili /I; THREE HATS. Farcical comedy ; one of the greatest favorites ; cannot fail ^ jk to be a success ; 3 acts ; 2 hours 3 4 y(^ /J\ TIMOTHY DELANO'S COURTSHIP. Yankee comedy full of laughable \|/ /|\ incidents; 2 acts ; 1 hour 2 -; \|/ fi^ TRIED AND TRUE. Stirring play of city life, full of brisk action and lively Vj< ^♦^ dialogue ; 3 acts ; 2^ hours S -, w '♦> TRIPLE WEDDING. Short excellent drama of home life by the author of w ^V ''The County Fair" ; 3 acts ; i^ hours "^ "* iK ;|; UNCLE JACK. Drama ; comic, with a good moral ; 1 act ; ii^Chours 3 4 )^ Jk\ UNCLE TOM'S CABIN. New version. An old favorite rewritten so that i^y, /i\ it can be played in any hall ; 5 acts ; 2'/^ hours 7 5 ^ /IS UNDER A CLOUD. Comedy drama ; bright, breezy, full of snap and go; vt^ /JV 2 acts ; 1 14 hours "> - S^. '/is UNEXPECTED FARE, AN. Comedy affording excellent scope for amusing \y /J\ situations and by-play ; i act ; 14 hour 1 => \l/ % WANDERER'S RETURN. THE. (Enoch Arden.) Drama with strong \|/ ?\\ plot anu -tTective characters : 4 acts ; 2^ hours 4 NJ/ /i\ WOODCOCK'S LITTLE GAME. Farce-comedy ; funny ; 2 acts ; i hour.. 4 4 W /JN WOVEN WES, THE. Strong and sparkling drama; has a military flavor, >3ii> )\\ and is frequently played under the title of " In Old Virginia " ; 4 acts ; >!/ /»\ 2>< hours 7 ^ ^ /»> /♦> DICK & FITZCiERALl), Publishers, 18 Ann St., N. V. vp 1S\ '^€€€€€§$^€^€$i^^^€$$;^$i$;$5$^^$;^^^^^^^^^^^^^^- f/'y LIBRARY OF CONGRESS! ■I ^t^ 015 937 169 t COMEDIES AND Di^/\!ma^ IJ f 25 CENTS EACH t 4 M.F I (fS ALL THE COMFORTS OF HOME. Comedy by William Gillette. Only y»/ /(\ authorized edition of this famous play ; 4 acts ; 2^^ hours 10 7 Vf/" ^^ BREAKING HIS BONDS. Strong drama with comic underplay; easily ^Jj J}- staged ; 4 acts ; 2 hours 6 3 jj' /jx BUTTERNUT'S BRIDE; OR, SHE WOULD BE A WIDOW. Farce ^jj 'm\ comedy for laughing purposes only ; 3 acts ; 2 J4 hours 11 6 y^i -ftX CAPTAIN DICK. Effective drama, founded on an episode of the Civil War ; {I? ^i>i 3 acts; 2 hours 9 t> ^ •}: DEACON, THE. Comedy drama that is simply immense. Alvyn Joslyn v/ j1 type, old man leadmg character ; 5 acts ; 2% hours '. 6 6 W. /|\ EDWARDS THE SPY. Drama ; a brilliant episode of the Civil War ; 5 acts ; ^|^ Iflf^ 2^ hours .' 10 4 y^^ ^iV ERIN GO BRAGH. Up-to-date Irish drama; both serious and comic in Vlj' ^.fS scope, not sensational ; 3 acts ; 2 hours 5 4 'it/' ^|; GOLDEN GUlCH. (The Government Scoui.) Drama that combines fun, j|^ 7.: sentunent, and exciting situations ; 5 acts ; 2j^ hours 11 3 W^ yjy GYPSY QUEEN, THE. Romantic drama with bright comedy parts; ij^ iff^ 4 acts ; 2I/2 hours _. . . 5 3 i^f^ ^i> JAILBIRD, THE. Drama of city life, containing a vivid plot with well- iW' ^♦^ diversitled interest, together with a pretty love-story; 5 acts ; 2% hours.. 6 3 \f/ f} JOHN BRAG. DECEASED. Farce comeuy ; one of the best farces ever j[|j| ■}i published; nothing slow in this piece ; 4 acts ; 2^ hours 8 5 jK /|i JOSIAH'S COURTSHIP. Farcical comedy drama; uproarious comedy yf/r jl^\ features alternate with forceful, but not heavy pathos ; 4 acts ; 2 hours 7 4 ^|) /ft MAN FROM MAINE. Comedy drama with a wide-awake hero from "Down ij? /ft East '" ; 5 acts ; 2}{ hours 9 3 W /K MISS MOSHER OF COLORADO. Comedy drama with great " charac- ^K A ter " parts ; 4 acts, 2^4; hours 5 3 ^K ^|\ MY LADY DARRELL. Drama possessing all the elements of success ; ijljt l/jf^ powerful situations, effective stage pictures, and grand climaxes ; 4 acts ; ^) i^j\ 2^ hours 9 6 yf/i /|V NIGHT OFF, A. Comedy by Augustin Daly ; printed from the original \|/' /ft prompt-copy ; 4 acts ; 2]4 hours 6 5 w T PRISONER OF ANDERSONVILLE. Military comedy drama. An excel- >K ^y lent play for amateurs, as all the parts are good and evenly divided ; 4 acts ; ^|% ^y 2^4 hours 10 4 ^f^ (l^ REGULAR FLIRT, A. Up to-date comedy, especially recommended to ij^ ifjX those who have produced the author's "Just for Fun " ; 3 acts ; 2 hours... 4 4 \f/ /ft SEVEN-TWENTY-EIGHT. By Augustin Daly. There have been several NJ/ /ft imitations of this comedy, but none of them approaches the original ; W /ft 4 acts ; 2'^ hours 7 4 w /!y SHAUN AROON. Stirring drama of home life in Ireland ; a simple real pic- ^ /ly ture of country life in the Emerald Isle ; 3 acts ; 2 hours 7 3 ^1% /♦\ SQUIRE TOMPKINS' DAUGHTER. Strong comedy drama; 5 acts; ^|^ (Us 2 14 hou % /ft STEEL KING, THE. Comedy drama with brisk action; depicts the strug- .^ /ft gle between labor and capital ; 4 acts ; 2^4 hours 5 3 ?K /!y WHAT'S NEXT? Farce comedy: 3 acts; plays it;o minutes; raises 130 ^|^ /jy laughs 7 4 y(/ /ft WHITE LIE, A. Comedy drama: abounds in laughable comedy features \f> /ft and strong situations of serious interest ; 4 acts ; 2j^ hours 4 3 \f^ /ft «> /ft ^ ir/f /ft DICK & FITZGERALD, Publishers, 18 Ann St., N. Y. f /ft M/