PRICE 25 OIEIfcTTS. AMES' Series of STANDARD AND MINOR DRAMA. i^"' THE SPY OF ATLANTA, A GRAND MILITARY ALLEGORY IX SIX ACTS, A. D. AMES & C. G. HARTLEY, bsi o b a H72T/r CJST OF C//,4 JM CTERS, ENTRA NCESAND EXITS, RBI. A Tl VE POSITIONS OF THE PERFORMERS ON THE STAGE, DE- SCRIPTION OF COSTUME, AND THE WHOLE OF THE STAGE BUSINESS, AS PERFORM' EH AT THE PRINCIPAL AMER- ICAN AND ENGLISH THEATRES. CLYDE, OHIO. A. D AMES, PUBLISHER, AU1KS' «T.ni)ARI> %>!> MINOR l»U4Ht FIFTEEN CENTS PER COPY. 1. MR. AND MRS. PRINGLE, A comic interlude in one act, 7 male, 4 fe- male characters. A very funny afterpeice. A light plot hinging upon the fact that Mr. Piiijgle who lias a honor of children, marries as he supposes a widow of about fifty, without any. The situations as the children appear one by one, are vei y funny . Scene, a drawing room. Time of performance 45 minutes. 2. A DESPERATE GAME, A comic drama in one act, by John Madison Morton, 3 male 2 female characters. Scenery, simple in-door sets. It is very funny and since its publication ha.' been performed often and with great suc- cess. Time of performance 45 minutes. Every company should have it. 3. THE LADY OF LYONS. Nothing need be said in praise of this play. It is by Bulwer, and has 12 male and 2 female characters. A favorite with all great players. It abounds in eloquent declamation. Time of playing, 3 hours. 4. RICHELIEU. A play in 5 acts, by Bulwer. 12 males and 2 females. Time in representation, about 3 hours. 5. WHEJS WOMEN WEEP. A comedietta in 1 act, by J. Newton Gotthold. 3 males. 2 females. It is an old saying that if women will w-eep, their husbands or lovers will grant any favor. This shows how it is done. Scene » parlor. Time of perfotmance 30 minutes. 6. THE STUDIO. An Ethiopean farce m 1 act for 3 males. Very funny. Some very amusing experience in artist's studio is given. Just the farce for am- atuer minstrels. Easily produced. Time of performance 20 minutes. 7. THE VOW OF THE ORNANI. A drama in 3 acts, by J. Newton Gott- hold, 7 males, 1 female. Capital parts for hading man, two old men, and leading lady. Will he found a good drama in every respect. One hour. 8. THE BETTER HALF. A comedietta in 1 act, by Thos. J. Williams, 5 male 2 females. Time, present, costumes modern. "Julia" in this play is al- ways a favorite character with actresses. We have also a fop, a pouty old fellow, a husband who is not half as much of a man as his wife, etc. A tiptop play. Time of perfoimance 50 minutes. 9. LADY AUDLEY'S SECRET. A drama in 2 acts by Wm. E. Suter, 6 male 4 females. In addition to being a favorite stock play with the profession, it is always in good demand from amatuers. The character of Lady Audley is one of the best for leading lady. It has leading men, old man, and two first- class comedy parts. All who have read the celebrated novel by the same name will want the drama. Time of representation 1 hour and 40 minutes. 10. STOCKS UP AND STOCKS DOWN. A dialogue in 1 act, 2 male char- acters. Costumes exagerated, evening, and dilapidated. i*cene a street. Ex- tremely ridiculous. Time of performance, 10 minutes. 11. JOHN SMITH. A farce in 1 act by W. Hancock, 5 male 3 females. This farce must not he confounded with "John .Schmidt," as there is no similarity, this one heing much more laughable. The character of "Old John Smith" "is immensely funny, and will keep an audience in roars of laughter whenever he appears. A favorite farce, every character good. Cost nines simple. Scenery plain room. Time of playing, 40 minutes.^ 12. A CAPITAL MATCH. A comic drama in one act, 3 males, 2 females. This is one of John Madison Morton's best pieces, is very neat and easily produced. The scenery is simple, can he played in a parlor if necessary. Time 35 minutes. 13. GIVE ME MY WIFE. A farce in one act by Wm. E. Suter, 3 male, ." fe- male characters. Easily produced, costumes modern. A dreadful misunder- standing in this farce which the name will imply, Order a copy and you will like it. Time of performance '■'•<> minutes 14. THE BRIGANDS OF CALABRIA. A Mclo-Drama, in one act, by Wm. E. Suter, (I male, 1 female character. This is a capital play of the blood- and-tliunch r description, and abounds with sword combats, pistols, etc., etc. It also has ago. d ( omedy man, who always is very funny, and very hungry. This has always been a great favorite with all companies who have played it. Time of performance about 1 hour. 15. AN UNHAPPY PAIR. An Ethiopian Sketch for two characters. Is a favorite little -ketch with all who play it. Cost umes exagerated. This is"Ni^- ver all over," and ought to he in the hands of every minstrel company. Time of performance, in minutes. J& The Spy of Atlanta. A GRAND MILITARY ALLEGORY, IN SIX ACTS, ■BY- A. D. Ames and C. CL Bartley, together with synopsis of incidents, the original cast of characters, a description of the beautiful tableaux, entrances and exits, list of properties and _ the whole of the stage business, as performed un- der the direction of the authors. — „<>,-<2-fc^o4> Entered according to act of Congress, in the year 1819, by A. b. AMES, in the office of the Librarian of Congress, at Washington. [( Jfo. CLYDE, OHIO, A. D. AMES, Publisher. TS* -3 ,Zj ■ THE SPY OF ATLANTA. CAST OF CHARACTERS, as originally performed at the Opera House, Plymouth, Ohio, under the man- agement of the authors, on Thursday, Friday and Saturday even- ings, September 23d, 2 4th and 25th, 187-5. Edwin Dalton (a Union man — afterward a spy) A. D. Ames Edward StClair (a Southerner and a vidian) C. G. Ba.rtle> 4 ParKe StClair (Edward's father) T. Webber Charlie Dalton (son of Farmer Dalton and brother of Edwin) Fred Webber Farmer Dalton (a Northern and Union man) J. Ferguson Jake Schneider (a fat Dutchman, true blue) Joe Week Capt. Mason (XT. S. A.) H.S.Vinson Pete (a colored 'gemman') B F. 'Dimm Gen. McPherson (U.S.A.) Chas. Glover Gen. Sherman (U.S.A.) Gto. B. Drevnen Major W'ilber (U. S. A.) A. Mi.ttenbu.hler Col. Harrison (U.S.A.) J. M. Taylor Corp. Ogden (U. S. A.) Will Beelman Sergt. Bates (0. S. A.) Gro. Tyson Maud Dalton 'wife of Edwin) M xx Ida Hills Carrie Dalton (sister of Edwin) Mix* May Gulp Mrs. Dalton ( wife of Farmer Dalton) Mrs. Clii Topping Little Willie (the drummer boy) Master Nextor Webber Little Nannie (daughter of Edw'in and Maud) Ladies, troops, citizens, Union and Rebel soldiers, ladies for tableaux, etc. CAST OF CHARACTEBS, as performed at the Town Hall, Republic. Ohio, under the management of the authors, on Saturday, Monday and Tuesday evenings, October, 2d, 4th and 5th, 1875. Edwin Dalton (a Union man— afterward a spy) A. D. Ames Edward StClair (a Southerner and a villain, and after- wards an officer in the Rebel army) C. G. Bartley Park StClair (Edward's father) '. S. Chittenden Charlie Dalton (son ot Farmer Dalton and brother of Edwin) D. H. Cnssel Farmer Daltun (a Northern and Union man) A. D. Scott Jake Schneider (a fat Dutchman, true blue) ...J. A. Colwell Capt. Mason (U.S.A.) & A. Grover Pete (a colored 'gemman') -Cal Brayman Gen. McPherson (U. S. A.) & E. Kelsey Gem Sherman (U. S. A.) A. D. Scott Major Wilber (U. S. A.) Chas. Karshner Col. Harrison (U.S.A.) A. H. Singer Corp.Ogdm (U.S. A.) H. Melber Sergt. Bates (C. S. A.) W. Hamilton Maud Dalton (wife of Edwin) Miss Alice Hill Carrie Dalton (sister of Edwin) Miss Lizzie Ogden Mrs. Dalton (wife of Farmer Dalton) Mrs. A. D. Scott Little Willie (the drummer boy) Charlie Chittenden Little Nannie (daughter of Edwin and Maud) Mamie Bromley Ladies, troops, citizens, Union and Rebel soldiers, ladies for tableaux, etc. Time of performance, about three hours. The Spy of Atlanta: ACT I. SCENE FIRST.— A dining room in house of Farmer Dalton, in 4th grooves — table, C, set for dinner— small table, L. u. e— ten chairs, coffee pot ready off L. — at the rise of the curtain Carrie and Maud are discovered arranging the dishes etc. — Farmer Dalton and Mrs. Dalton sitting right of table, the formef reading a paper— Willie is with his mother — Charlie Dalton, left of table — Pete at small table, l. u. k. Mrs D. I am sure Edwin should have been here before this time. Farmer D. Yes, he is late. The news yesterday, was of such a charac- ter as to cause fears of a war between the North and South, but I trust it may be averted. Where are our guests? Were they not to leave us imme- diately after dinner ? Maud. They went out for a walk a short time ago, but will* soon be in. I hope, father, you will not talk politics any more this morning. Our guests will soon leave us, and it is better for us to part as friends, "than as enemies, and for Carrie's sake it would be much better. Farmer D. I am aware of the state of feeling, which exists between my daughter and Edward StClair, and I have no doubt, should a war break out, himself and father will both espouse the cause of the North, and be found battling for the Union. Charlie. Father, 1 fear not. They have the hot Southern blood — their interests are all with the South, and in case there should be war, you will find them fighting on the wrong side. Carrie. I fear it will be so, and 1 with Maud trust you will not get to talking politics any more while they are with U3. They will leave imme- diately after dinner — their baggage has already been ' sent to the depot. Ah, they are here now. Enter StClair and E hoard, l, 2 e. — Pete takes their hats and places them on the small table, l. tt. e. St Clair. Ah, we are late. Farmer D. It does not matter. We were waiting for you and Edwin ; but Pete, place the chairs around the table, we will not wait any longer. THE SPY OF ATLANTA. Pete places the chairs around the table. When this is done they sit as shown tn diagram. Pete behind table. Mrs. D. Farmer D. Carrie. 1 Edward. Table Parke St Clair. Charlie. Maud. Chair for Edwin. Willie. Nannie. Note. The character of Nannie can be used or omitted at pleasure. As her picture is used in the Andersonville scene, it is better to have her on the stage in the first act. Mrs D. {after they are seated) Pete, bring the coffee. Pete. I fly. [exit l. {Farmer Dalton and others of the family will proceed to wait upon the ta- ble. Care should be taken to have everything perfectly natural, and the business of the scene should not be hurried) Farmer D. Well, friend StClair, how have -you enjoyed your walk * StClair. Very much, indeed. Edward and myself remarked the beauty of the scenery. We think nothing need mar your happiness. Enter Pete with the coffee, xohich he places on the table before Mrs. Dalton. Edio. We are very grateful to you for the kindness you have shown us since we have been visiting you, and most earnestly hope the time is not far distant, when we shall see you in our Southern home. Farmer D. The happiness has been mutual, I assure you. Your lather and myself were schoolmates together — we have always been firm friends, and I trust at some near time in the future, our families may be still, more closely united, (noise off l.) Ah, did 1 not hear Edwin coming? Pete, step to the door and see if it is him. Pete noes to door, l. Pete, (at door) Yes, massa, it be he suah. (speakinq off l) You must be lively, massa Edwin, or you'll loose your dinnah — it is gwine mighty lively, I tole you. Enter Edwin, L.j Pete takes his hat and places it on small table, l. u. b. Edwin, (in reply to Pete) Well, I'm not very hungry — it won't make much difference, (to the guest 1) Ah, how do you do, Mr. St Clair Ed- ward ? Fdw ' ) (R e Pty io salutation) Farmer D. What is the news in town, Edwin ? Is there anything par- ticularly exciting ? Edwin. Really, I do not know. I was over to see Mr. Rife, who resides two miles the other side of town. I only stopped on my return long enough to get the paper, and have not opened it. Here it is — you can read it for yourself. THE SPY OF ATLANTA. 7 Edwin takes the paper from his pocket and hands it to Farmer 'Dalton, who opens and reads it for a few moments. He evinces much ^surprise, and striking the table excitedly, rises to his feet. Farmer D. Those cursed rebels have fired on Fort Sumter. Major An - derson gallantly defended it but for want of reinforcements, was compelled to surrender. President Lincoln has called for seventy-five thousand vol- unteers for three months. StClair. It cannot be possible that war has actually begun ! Charlie. From the general aspect of affairs, it is nothing more than I ex- pected ; but of this I am convinced — the cowardly traitors at the South will soon be whipped into subjection, like unruly curs. Edw. Do not be too sure of that, my young friend. It is a mistaken notion, that Southerners cannot fight, as the North will find to its sor- row, should we have a war, which now seems inevitable. Farmer D. (to Parke StClair) Mr. StClair, we have long been friends, our forefathers fought side by side to establish this grand old Union, and I trust that in the coming struggle, yourself and Edward will be found bat- tling for the maintainance of this government, which is so dear to us all. Edw. Mr Dalton, I can speak both for my father and myself — we both were born and nurtured in the South — our homes are there, all our interests are centered around the dear old homes of our childhood, and we should be more than traitors, now that we are called upon to protect our sacred rights, should we be found wanting. Edwin. Pray let this matter end here. I fear if it is continued, it may end in a quarrel, which>we may all regret. Charlie. Quarrel or no quarrel, I do not believe in letting anyone talk treason in this house — (rises) — they hung traitors in former times, and Edw. (rising from tabic and goes L.) Father, I can stand this no longer. I have sat and listened to the contemptible abuse of these cowardly abol- itionists, until forbearance has ceased to be a virtue. StClair (rises and goes l„ near his son) Be calm, my son, be calm. Maud, {to Edwin) Oh, husband, do not let them quarrel! You are cool, ask Edward's pardon. Edwin, (rise* and goes 11. , Maud follows to c, in front of table) I regret this as much as anyone, but I cannot ask pardon of a traitor — no never ! The characters all rise, who are tip to this time sitting. Edw. (l. 1 e.) Traitor, you cowardly Yankee 1 I do not wish you, or any of your crew to ask my pardon — it would not be granted if you did. Edwin, (r. 1 k. ) Edward StClair, one word, we have been friends, it would have been my wish that we could have remained so ; but I cannot be a friend to a traitor. There's the door, sir, begoue, both of you, or 1 will be obliged to kick you out. Edw. Kick me out, will yon ? (he rushes upon Edwin and attempts to strike him— a short struggle. They are separated by StClair and Maud. Ed- win Dalton, you have made me your bitterest enemy. This matter does not end here — we shall meet again and then it will be my turn to triumph. StClair. Pete, our hats. (Pete gives them from small table) Mr Dalton, allow me to wish you a-very-good-day. (St Clair and Edward exit l., followed by Pete) Carrie. Oh father, I am so sorry this has happened. I was very much afraid it would be so. Farmer D. Well, what is done cannot be undone : but however much I may regret it, I eannot harbor traitors beneath my roof. My name is without a stain, and I am now too old to allow any act ot mine to blacken it. ♦ (Loud knocking outside, l — in case of small stage, the table should be set back) THE SPY Of ATLANTA. Mrs D. Willie, there is some one knocking — go and see who it is. ( Willie goes to door l. Willie, {at door) Oh, it's Jake Schdeider. Come in Mr. Schneider. Enter Jake Schneider, l. Jake. Why, goot morning, mine frients, goot morning. How you all vas dose morning? Dese news, vat ve vas heard, vas de virst news dot I ever saw of mine life. I spose you heard of dot Brigadier Sheneral Major Anderson was surrendered a fort mit three million men to dose rebels, vay down south dare at South Carolina, in Charlestown, only dot vas ouet in de vasser — und dey fit, und fit, und fit, und den dey surrendered mit dere Hag a floating. Oh, I tole you dot scare me all up into noddings. I tink I vas lose fifty pounds since I hear dose news. Farmer D. Yes, friend Schneider, it is bad news indeed. I suppose you will go and help to punish these rebels. Jake. Vas I goin' ? You can yoost bet I vas goin. I shall raise me one leetle company of militia all mineself, und ve vill go down and glean dose rebels ouet, dat's vat's de matter. {drum heard off i. Willie. I hear a drum — I must go and see where it is. {goes to door, l. Jake. I vas go too. {Jake and Willie exit door n. Maud. (l. c. — to Edwin) Oh, Edwin, you will not go and leave me. Edwin. (r. c.) Dear wife, I can only do my duty. My country needs the help of all her sons, and you know dear one that Edwin Dalton is not one to avoid responsibility and duty. Maud. It seems so hard to have you leave me." The few years of our married life have been full of sunshine and happiness, and to have you leave me and go to war, 'mid all its dangers — it seems as if my heart would break. gleans Iter head on Edwin' s shoulder Edwin. You must not talk so wife — let us hope the war will be of short duration, and that ere many months I shall be home again. Maud. {raising her head and looking into Edwin's face) Well, dear Ed- win, hard as it may be to part from you, I will not say another word to discourage but only say, go and God be with you. Edwin, {caressing her) Maud, dear wife, I never felt so proud of you in all my life before. '-Go, and God be with you," — how those words will cheer me wherever I may be. By the camp-fire, on the march, or on the battle-field, wherever the duties of the hour may place me, they will al- ways be remembered, together with the one who gave them utterance, cheering me when else 1 might have given up to despondency. {Edwin and Maud move a little to r. Mrs D. {seated h. c.) But father, how will we ever get the crops in if the boys all go to war ? Farmer I). {seatedR. c.) Never mind that, mother, I am pretty old but I can lend a hand. Carrie, (c.) Yes, and Maud and I can help to plant the corn if nec- essary. Farmer D. Mother, do you hear that ? No danger of failing when our women talk in that way. Enter Willie, L., he runs quickly to his mother. Willie, {eagerly.) Oh, mother! you know I went out to see what was the matter, and Jake Schneider, he met a lot of the boys, and they talked about the war — and they are coming this way — and — and I'm going to war too. Mrs. D. Ohy my boy, you are too young, you could not do any good; besides we could not spare you. Willie. Ob, yes mother, 1 could drum, steal ehioken3 All.. Steal chickens ! THE SPY OF ATLANTA. 9 Farmer D. ( rises, and takes Willie by ike ear and leads him to door, l.) Why, you young rascal. Willie, {at door, sees Schneider — noise of dogs barking.) Oh, here comes Schneider, now. ( Willie standi l. Jake, {without l., as dogs bark.) Get ouet ! Shoo. Get ouet. , Enter Jake Schneider, l. Jake. Dot vas de vorst dorg dot I efer seen — he vas having von gseat vish to inspect mine legs. I don'd guess he better make some foolishness mitmine legs or I'll blow his prains ouet mit mine fisht right away queek. {to Dalton.) I say, vot for you keep such a dorg like dot? Vy dot dorg vas not fit for bologna sassage. Farmer D. (r. c.) He would not bite you, friend Schneider. Jake. Veil, I don'd know aboud dot. i don'd vas like so much familiar- ity mit dot dorg on short acquaintance. Farmer D. Well, what were the drums beating for Jake? Jake, (l.) 1 vas most forgot aboud dot ven der dorg mate foolishness mit me. Dotvar vas pizness. Say , {beckons to Edwin who is R. — they meet ■in c.) Ead, I have got mine leedle gompany ouet here, und I vant you, and your brother Sharlie to go mit me. Vill you go? Edwin. Yes, of course I will go. Jake, {joyfully.) Dot vas pully — Shake, {they shake hands — Edwin re- turns to his position-, R., near Maud.) Sharlie come here ! {beckons to Char- lie who comes to him.) I vas raisin von leedle gompany to go mit de var. Your brother here, vas going in my gompany — vill you go too? Charlie. I have no doubt but you will make a fine captain, and I think I may as well g » with you as any one. Jake. Dot vas pully — shake, {they shake hands.) Now poys let's go down town and put our names of dot papers. Mr. Dalton, you and your frau go mit us, und de gals. Farmer D. Yes, we will all go. Carrie, bring my hat and cane. {Car- rie goes off u., stage and returns with them.) Charlie, hitch the horses to the big wagon, {exit Charlie, R.) Mother, you and the girls get your things on, so we will not have to wait. {Mrs. Dalton and Maud g^t their shawls and. hats — Edwin helps Mr. Dalton on ivith his coat.) Come, Schneider. {All exit r. 3 e., except Carrie. Carrie, {sinks into a chair, L. c.) They have all gone but me. Oh, Ed- ward must it be so? Fe left us in anger, and when he thinks calmly he will not leave me, his affianced wife, to fight against his country. And. yet I fear 1 know not what. If I could only see him again — It seems as though my heart would break. Enter Edward, cautiously, L. 1 k. Edw. Dear Carrie, are you alone ? I could not leave you without one word. Carrie. Edward, you will not leave me? Oh, relinquish your wild thoughts of Southern rights, and remain with us. Edw. Carrie, heaven knows how dear you are to me — that to part from you is like tearing asunder my very heart-strings. But there is another dut y — the struggle which is to come, will be long and bloody. Years may perhaps elapse before peace will again reign over our unfortunate country. Oh Carrie, if you love me as you say you do, fly Avith me to my Southern home — there amid the luxuries and comforts which I can provide for you, you will scarcely know of war ; Carrie, will you go — what is your answer ? Carrie. Edward, you tell me you are summoned to your duty — you sure- ly forget that you are not the only one of whom duty has a right to claim obedience. My aged father and mother, my brothers and sisters all have claims on me, and more than this, I cannot be a traitor to my country. No, no. You may trace our ancestry from the foundation of this govern- 10 THE SPY OF ATLANTA. meiit, and you will not find one single traitor to our country'3 flag. That you should share your lather's opinions is but natural. But oh, Edward, thfrik of it before it is too late. Edw. Carrie, I have thought of this matter in all its forms, and there is one path and only one open before me. The South is my country, ana when she calls for help, I cannot turn a deaf ear to her entreaties. No, Carrie for me to remain idle now, would be worse than treason. Carrie, (rises.) ]f such be your resolution, I will not attempt further to change it. In your fidelity to the South you have divided your love, and I will have it all or none. 1 cannot go with you, and you will not remain. It will be better for both, that this interview should close. Think, Edward — on the battlefield you may be brought face to face with those I love — the thought is horrible, (aside) Oh, my heart will break. Edw. Only one word more, Carrie, and then we part, perhaps forever, for when two souls turn from each other and steadfastly pursue ways as oppo- site as ours, how can they meet again? Oh, Carrie when I have gone, and you are happy in another's love, do not think too harshly of me, for as God is my judge, I am doing only that, which in nay inmost soul I think is hon- est and honorable. Carrie our paths are henceforth wide apart — and now farewell, (they embrace.) Farewell, and may God bless you. (exit quickly, L. 1 E. Carrie, (covers face with handkerchief.) Oh, Edward — Edward, do not leave me in anger, (looks up.) He has gone — and — forever. (sinks in chair, h. c. — scene closed in. NOTE. — Clear the stage behind the next scene for scene third — it must be done quietly and quickly. SCENE SECOND.— A street in first grooves. Enter Parke S-lClair and Edward, from L. Edw. Well, father we must hurry or we will miss the train. Pete has gone on with the trunks. We have been basely insulted by these aboli- tionists, and I never can forgive them. StClair. I fear we have all been too hasty, It was wrong for us to allow a slight difference in political opinion to create an enmity between cur families, beside y« u know you are to marry Mi&s Carrie. Edw. No, father, I am not to many Miss Carrie — Country first and love afterward. Eut come, We must not delay — (looks at watch.) It lacks only a few moments of train time. (th y exit r. — Scene changes to, SCENE THIRD.— A street or landscape, in third grooves. As the scene opens, the voice of Jake Schneider is heard without, v., as he drills his company — "Left, left, left." — Tne squad should be dressed in os awkward a manner as convenient, and shou'd vary in size as much as possible. The whole object to make everything appear as awkward as possible. Do not hurry. Enter Jake with sword, at head of the squad, L. Jake, (as they march in.) Left, left, left, (as they march no two keep step — when near the e., Jake gives the command) Halt ! ( The first man stops very suddenly, falling backward against No. 2 — No. 2 against No. 3, etc., until one after another, nil fall to stage.) Boys, va* make you shtop so sudden— shtop kind o f easy like. Now then fall een— (they slowly rise.)— line oop, line oop. THE SPY OF ATLANTA. 11 (form in line.) Dot, vas goot. Vront fac* 1 ! (men face in an directions.) No, no, no ! I show you. ( turns his back to them, facing the audience.) Face shust like dot. Now, vront face, (men all turn their backs to him.) No, no, Shust you get your face behind you. (men turn their faces towards him.) No, no. no. (places first man in position .) Dot vas right, (other men, one after another get position.) Dress oop a leetle on dot under eend — Dot vas richt. Now den poys, I vas tole you somedings. Dose rebels down south, vns raisin a dundering of a muss, und 1 tinks by shingo ve go richt avay down, und glean um ail ouet — und dot vas why I show you how to drill mit dose guns — so you knows how to shoot mil dose guns. Ven I come to dis country 1 vas only a kaptin, und if you go mit me, I roaKe y«>u all kaptins shust like me — dots so — vili you go? (men reply, "yaw, you bet," etc) Dot vas goot. Now poys, look ouet of dose guns — Order arms ! (No. 5 man lets gun fall on his toe and makes a great fuss, groaning etc. Jake goes to him and discovers v;hnt is the trouble.) Dot vas too pad mine friend, but dot gun must fall somewhere, und if \our feet be so pig I cannot help dot. (giving order.) Present goons! (All of the squad rush towards him with the/r guns pointed at him.) Oh, no, no, no. (they fall back slowly — he takes a gun and shews them.) Some dings like dis — don'd make fools on top of ycftrselves. Now, present goons! (men present guns.) Dot vas goot — vy poys we learn right away queek. Order arms ! (men do so in an awkward manner.) Goot. Now poys, • inspect dose goons. Make dose ram rodu ; ouet of dose goons, right away qu (men draw ramrods out their tfuns. except the first man, Jake watches hi m i/ibiiient.) Veil, vot in the tuy-ful is der matter mit you — vy don'd you take dose ramrods ouet? Take hold of dose goons ! (he takes hold of the tun at the barrel, the man at the other, end. astride, back to back.) Now pull, pull, (after several ineffectual at- tempts, the ramrod slips out and each go headlong upon the stage, comic busi- ness getting up.) Mine friend you had petter grease dot goon mit hog's tal- ler, (takes second man's gun. Veil dot vas shust as goot aa nis. (takes. third.) Py shewillaker dot vas the vorst goon dot I efer saw. How you, got dose ramrods ouet? (takes fourth gun.) So helep me cracious dot vas the vorst goon of any. Mine frient you had petter grease dot goon mit brick doost. (takes fifth gun.) Now poys dot vas a niee goon — shoost look of dot goon. 1 to!e you all the vile dot vas a nice goon, I make dot man my. high private, (as he is examining the gun it is discharged — the men very, much frightened, run in all directions — Jake tumbles to the stage, and rolls, about, at last seeing he is not hurt, rises and runs about, calling very bravely.)) Fall 'een, fall 'een poys — line oop, line oop ! (they come in and form in line.) You vas a nice set of cowyards to go mit dot var. Vat you done there vid- otiet me? So helep me cracious if I thought dere vas one cowyard in mine gompany, I vould kick him right away ouet quick mit mine left hand-. (No. 1 man discharges his gun — Every one very much frightened, run off stage in all directions. Jake falls upon stage and rolls about ad libitum. After- wards seeing no one is hurt, becomes very bold and rises.) Fall 'een, fall 'een, line oop, line oop. (goes to h., and aside.) Godfrey tarn, but F vas scarf most my wits ouet. (aloud.) Fall 'een, fall 'een! (men enter slowly and take position.) Py golly poys, I guess you vas scarf. Now, vront face queek— let's get ouet of dis. flight face, forward march, left, left, left, etc. (Juke at head of column. He moves to l., and crosses in front of stage to l., continuing the order "left, left." When at l., he says, "halt J" discovers that his squad has gone off R.) Veil, I should say I vas left, (with very long strides he follows, R. — a pause, and squad crosses from r. to l., followed by Jake still trying to overtake them.-^scene changes to, 12 THE SPY OF ATLANTA. SCENE FOURTH. — A street in fourth grooves. Captain Mason discovered a little back of a, with a small stand or table, a roll to sign etc. Enter Edwin, Charlie Dalton, Mr. Schaffer and others, L. Edwin. Oh. good morning Captain, (all shake hands with the Captain and exchange salutations, then go to r. of him.) Do you want any more recruits this morning ? Capt. M. (c.) Yes I want about a dozen men to complete my company. Schaf. (e.) Captain, did you see anything of Jake Schneider this morn- ing ? Capt. M. No, I have not seen him. Schaf. He has been drilling a squad of men, and says he is going to war. (looking l.) There they come, now. Jake is heard upon the l. outside, "left, left." He enters at the head of the squad — when he is near Capt. Mason, he gives the command "halt !" * Jake. Shentlemens how you vas ? I vas have the honor to introduce to you the gompany of Schneider Wolunteers. All. How are you toys! (shake hands. Jake. You see, gaptin, I vas triliin dos gompany, und dey dond vas ex- actly understand my gomands, und dey vas run avay, but 1 run so last .ib liefer vas, und come tip mit em, und they say dey vas gom to enlist mit some one vof don'd know so much like me, und if you gif us all offices gaptin, ve vas goin mit you. Capt. M. Well Schneider, what office do you want? Jake. Oh, I vant to be Bhenerals, or gorporal, or brevet couk ; or some- dings pig like dot. Capt. M. Well, Schneider, if you go with me, I will make you compary cook, and if you fight well, I have no doubt you will get your full rations, and it may be, get promoted. Jake. All right, ve vill go. Poys put down your names off dose papers. (the members of the squad, one after another sign the paper. Jake, (the last one to sign, with much cercmmxy, spelling.) Y-a-e-h, yach, H-a-u-b hub, S-c-h-n-e-i-d snide, h-e-r her, Yacub Schneider. Edwin. Captain, if you wish to protect the remainder of your company put Schneider in the front ranks — he would make splended breastworks. Jake. See here Mr. Dalton, it you don'd stop dose talk aboud my mak- ing breastworks for dose gompany, I vill take my poys here, und make foolishness mit you. Veil poys if you've all enlisted, ve vill go und have some trill. Fall 'een, line oop. Now forward march ! ( 7nen obey orders and exit L. Edwin. Well boys, let us put our names down — Schatfer, go ahead. (Schaffer signs, and any others beside the. Dalton s. Charlie, (after the others have signed.) Wait a minute Edwin until father and mother come, {sees them l. ) Oh, here tney are now. Enter Farmer Dalto?i, Mrs. Dalton, Maud, Carrie and Willie, l. 2 m. Capt. M. Good day, Mr. Dalton. Farmer D. (l. c.) How do you do, Captain ? Rather startling news we have been receiving. War sometimes, is a necessity and in this case is no doubt the only thing which will bring these secessionists to a sense of their duty. I cannot go myself, but my two boys will go in my place, if you have room for them. Capt. M. Yes sir, I think their names will complete the list. Maud, (to Edwin.) Oh, husband, must you go ? Edwin. Should I hesitate now, I should be weak indeed, and unworthy the name of Dalton. THE SPY OF ATLANTA. 13 Mrs. D. Well, my boys, it is gad to have you go, but I can only say, do your duty. {Edwin and Charlie sign the roll. Willie, (to Capt. Mason.) Captain, -won't you take me? (to Mrs. Dal- ton) Mother let me go, won't you ? Mrs. D. {placing her arm around him and looking in his face.) We can- not spare you my boy, beside you are too small. Capt. M. I fear you are rather small, my boy. Willie. I can drum, Captain, and Edwin and Charlie will take care of me. Capt. M. Well, if your mother is willing I will take you. Willie. Oh, mother can I go ? Please let me go. Mrs. D. ( choking with emotion) Weil, my dear boy, if you can do any good — although it nearly breaks my heart to part from my last boy go, and God bless you. Farmer D. [wiping his eyes) This is almost too much — to part from Willie, our youngest, our baby — but the dear old flag must be protected, although it takes our heart's dearest treasures. May God bless you my boy', guard and keep you from all harm, is the prayer of your father. {Exit Farmer Dalton, Mrs. Dalton, Maud and Carrie, L. 1 b. Capt. M. Well boys, the company is full and now come with me and I will issue your uniforms, then we will join the regiment. {they all exit l. NOTE.— Blouses for the soldiers should be ready l. so the change can be made very qv.ickty. SCENE FIFTH.— Landscape or street, full depth of stage.— As the curtain rises, noise of martial music is heard off~L. and enter Col. Harrison L. 1 e. com- manding companies — Col. Harrison gives commands so as to bring companies around three »ides of stage, as follows : Col. H. Column right, march— Column left, march— Column left, march — Halt— Left face — Eight dress — Front — Order arms— Parade rest. Enter l. Farmer Dalton, Mrs. Dalton, Carrie, Mated, and others. Carrie has a U. S. flag, she advances a little in front of the others and sings the "Star Spangled Banner," all joining in the chorus, or all may sing it, as may be deemed best. STAR SPANGLED BANNER. say can you see by the dawn's early light, What so proudly we hailed at the twilights last gleaming ; Whose broad stripes and bright stars, through the^perilous fight, O'er the ramparts we watched were so gallantly streaming, And the rocket's red glare, the bombs bursting in air, Gave proof through the night, that our flag was still there ; O say does that star spangled banner yet wave, O're the land of the free, and the home of the brave. Chorus. 0, say does that star spangled banner, &e. And war's clamors o'er, with her mantle hath peace. Once again in its folds, the nation enshrouded ; Let no fratricide hand, uplifted e'er be, The glory to dim, which, now is unclouded ; Not as north or as south, in the future will stand, But as brothers united throughout our broad land ; 14 THE SPY OF ATLANTA. And the star spangled banner forever shall wave, O'er the land of the free and the home of the brave. Chorus. And the star spangled banner, «fcc. O, thus be it ever when freemen shall stand, Between their loved homes and war's desolation ; Blest, with vict-ry and peace, may the heaven rescued land, Praise the power that has made and preserved us a nation ) Then conquer we must, when our cause it is just, And this be our motto, "In God is our trust," And the star spangled banner in triumph shall wave, O'er the land of the free and the home of the brave. Chorus. And the star spangled banner, &c. Carrie, {after the song — to Col. Harrison) Colonel Harrison, in behalf -of the ladies of this place, allow me to present to your regiment this beautiful emblem of our glorious union. May its bright stars and stripes never be trailed in the dust by traitor's hands. Rest assured Colonel Harrison, that as you are battling lor the rights so dear to us all, our prayers shall always follow you. Take it Colonel, and may you carry it till its folds shall wave over every foot of American soil. {gives flag to Col. Harrison . Col. H." Ladies I accept this sacred trust in behalf of the regiment which I command, and assure you its sacred folds shall never be sullied by any act of ours. We feel that our cause is a noble one, and assure the donors of this flag, that our love for it is so groat that if need be, we will die in its defense, (to the companies) Attention battalion — Shoulder arms — Color guard to the frwnt, and center march, {color guard marches c. and he hands him the flag) About face — Battalion, present arms — Color guard, to your post, march — Battalion, shoulder arms! Order arms! Parade rest ! Now boys, three cheers for the noble ladies, {cheers) Now, three cheers for the flag, {cheers) Attention, battalion ! Shoulder arms ! Right face ! Forward, head of column to the left, march ! Music — As they march off, Edwin, Charlie, W' I He and others fall out of the ranks and bid friends good hj/e — when all are of then the TABLEAU OF SECESSION.— Is arranged by building, at the extreme rear of the stage, a platform of sufficient hight, and covered with dark blue. In the centre is placed the Goddess of Liberty with shield and sivord. La- dies representing the seceding states are upon the left, South Carolina near~ est to the Goddess. Upon the right are the ladies representing the North- ern states, Massachusetts nearest to the Goddess — all the states with shields. At a signal South Carolina raises a danger to strike the Goddess, the Goddess raises her shield, and all the Northern states do so also turn- ing toward* the Goddess. All the Southern states turn their backs on the Goddess, except South Carolina. The whole brilliantly illuminated with colored fire. CURTAIN. THE SPY OF ATLANTA. li ACT II. SCENE FIRST. — The Union Camp by night— Soldiers asleep about stage. A sentinel on duty L. Jake on duty as a sentinel e — Edwin Dalton reclining on blanket B. C, reading a letter ', a lighted candle near in a bayonet which is stuck in the side of Willie's drum. Willie lying on stage to the e. of Edwin Dalton. Edwin. Aletter from home. Oh, how it cheers my heart to recive them. Wife writes that all are well, and wishes that the war would soon close, so that we might he again united. Ah, dear Maud, God only knows when it will be. Edwin falls asleep leaning his head upon his hand. The curtain draws, showing the "Soldiers dream of home." The Sentinels stop walking. This tableau should represent the dear ones at home, and may be arranged to suit the stage manager. It may also be omitted if deemed advisable. Edwin. I declare, I fell asleep and dreamed of home, and the dear ones there, {bugle sounds taps) Ah, it is time to put out the light. I must try to get a little sleep, for to-morrow is my turn on picket. {blows out candle and lies down. Enter Capt. Mason and Serg't. Chas. Dalton with grand rounds, L. 1st. Sentinel. Halt ! Who comes there ? Charlie. Grand Rounds. 1st. Sent. Stand Rounds, advance Sergeant with the countersign. Sergi. Dalton advances to Sentinel, who stands at "Arms Port" while Char- lie whispers the countersign. 1st. Sent. The countersign is correct. Advance, Rounds j They proceed to b. where Jake is on guard. Jake. Say, stop a leedle. Whoyouvas? Charlie. Grand Rounds. Jake. Ish dot all ? I thought it vas a geese. But you stop a leedle. You can't go by here unless you say Washington, dot's vat's the matter. Capt. M. {shows him hovj to hold his gun, and other busines ad libitum) Sergeant, advance Guard to next post. {Sergeant does so and they exit e. Bugle sounds Reveille l. The company fall in, and the roll is called. After which the order is given to break ranks. Here may be introduced songs, dances, etc. For convenience the words cf "Tenting on the Old Camp Ground" and ''Just before the Battle Mother" are inserted. A guitar or other instrument may be used by any one who sings. Copies of the songs may be ordered of the publisher of this play. * TENTING ON THE OLD CAMP GROUND. We're tenting to-night on the Old Camp Ground, Give us a song to cheer. Our weary hearts, a song of home, And friends we love so dear. Chorus. M^fcy are the hearts that are weary to-night, Wishing for the war to cease, Many are the hearts looking for the right To see the dawn of peace. Tenting to-night, Tenting to-night, Tenting on the Old Camp Ground. The words of "Tenting on the Old Camp Ground" are used by permission of 0. Ditson & Co., Boston, who own the copyright. £1$ THE SPY OF ATLANTA. We've been tenting to-night on the Old Camp Ground*, Thinking of days gone by, Of tne lov'd ones at home that gave us the hand, And the tear that said "Good bye 1" Chorus. "We are tired of war on the Old Camp Ground, Many are dead and gone, Of the brave and true who've left their homes, Others been wounded long. Chorus. "We've been fighting to-day on the Old Camp Groundj, Many are lying near ; Some are dead, and some are dying, Many are in tears. Chorus. Many are the hearts that are weary to-night, "Wishing for the war to cease, Many are the hearts looking for the right To see the dawn of peace. Dying to-night, Dying to-night, Dying on the Old Camp Ground. ♦JUST BEFORE THE BATTLE, MOTHER. Just before the battle, Mother, I am thinking most of you, While upon the field we're watching, With the enemy in view — Comrades brave are round me lying, Fill'd with tho'ts of home and God"; For well they know that on the morrow., borne will sleep beneath the sod. Chomts. Farewell, Mother, you may never Press me to your heart again ; But 0, you'll not forget me, Mother, If I'm numbered with the slain. Oh I long to see you, Mother, And the loving ones at home, But I'll never leave our banner, Till in honor 1 can come. Tell the traitors, all around you, That their cruel words, we know, In ev'ry battle kill our soldiers By the help they give the foe. Chorus. Hark ! I hear the bugles sounding, 'Tis the signal for the fight, Now may God protect us, Mother, As he ever does the right. Hear the "Battle- Cry of Freedom," How it swells upon the air, Oh, yes we'll rally round the standard, Or we'll perish nobly there. Chorus. The words of, "Just before the Battle, Mother'" are used by permission of S. Brainard's Sons, Chicago, who own the copyright: THE ~6PY OP ATLANTA. IT Jake, (who is still on guard) I say — I think it vas aboud time dot I vas relieved, don'd it ? (looks r.) Hey, who's dot ? Halt 1 Enter Old Pete, r.Ie. Pete. Say, just you lower dat machine, if you J s got no dejections. I hab got some news lor you uns. Edwin. Fknow this man — perhaps he has something of importance to communicate. Ptte. Ah ! Massa Edwin, am dat you ? I'm mighty glad to see you, I tole you. Jake. If you got any news to tell us, spit it ouet right avay queek. Pete. I hab deserted de rebels, Massa Edwin dar, knows dis chile, an he knows I neber wanted to fight wid 'em. Ole massa StClair didn't watch very close and I left him. Jake. Veil, I spose you can stay mit us. We shall vatch you mighty close, I vas tole you. Go over dare, right avay queek. (shoves Pete to l. 3 e. among soldiers. Bugle calls assembly — All fall in — Moll call. Enter Colonel Harrison, L. Col H. Battalion, order arms. Parade rest. (Music — Hail to the Chief.) Attention Battalion ! Shoulder arms ! Enter Generals Sherman and McPherson with Maj. Wilber and other staff officers, l. Col H. Battalion, present arms ! (the General's raise their hats.) Battal- ion, shoulder arms ! Gen Sherman. Colonel, I wish to inspect your regiment, (the Generals pass in front of the soldiers) Colonel, pass your regiment in review Col H. Battalion, right face ! Forward, head of the column, to left- March ! (they march off L. 1 E. Gen S. Well, General, is there any news from the iront ? Can you, by any means, ascertain the number of rebel troops held in readiness to repel an attack upon Atlanta? Gen McPherson. There is noway, General, of ascertaining the number to any certainty, except by sending a courageous and resolute man into their lines. Gen S. Do you know of any man in your command, whom you can rec- ommend for this perilous duty ? Gen McP. I think Colonel Harrison may be able to furnish us the man. Major Wilber, inform Colonel Harrison that I wish to speak with him. Maj W. Yes, sir. (salutes and exit L. Gen S. General, have our troops all crossed the river? Gen McP. Yes, General, the last regiment crossed to-day. Gen S. Did they cross on pontoons, or have they rebuilt the bridge? Gen McP. I think th^y crossed on pontoons. Enter Major Wilber and Colonel Harrison, L. Maj W. General, Colonel Harrison. (retires l. 3 e» Gen McP. Good morning, Colonel. Col H. Good morning, General. Gen McP. Colonel Harrison, I am in want of a trusty and courageous man — one in whom I can place the utmost confidence, to send upon a peril- ous mission. Have you such a one in your regiment, wnom you can rec- ommead? Col H. Yes, General, I think I have. Gen McP. Have him detailed and sent to me immediately. Col H. Is that all, General ? Gen McP. That is all. 18 THE SPY OF ATLANTA. Col H. Good morning, General. Gen McP. Good morning. Colonel. ( Col. Harrison salutes and exit l. A pause and Enter Edwin Dalton, l. Edwin, (salutes) General, I was ordered to report to you for orders. Gen McP. I have need, Sergeant of a trusty man to send into the en- emy's lines. It is very important for our success, that we should know the number of rebel troops in Atlanta. Would you be willing to accept the per- ilous undertaking ? If you are successful, you shall be promotted. Edwin. Perhaps, like many others, I desire to advance in position, but believe me, General, it is from no such thoughts as these th?t I accept this extremely hazardous undertaking, for the chances are that if I am hot kill- ed, I shall be made a prisoner, but if I can be of any service to my country, I will cheerfully make the attempt. Gen McP. It will be necessary that you exercise the greatest caution. You had better disguise yourself as a citizen, and pass yourself off as a rebel. Edwin. What, and become a spy ? Well, for the good of my country I will do even that. Gen McP. Well, go now, and prepare yourself, and report to me as soon as possible. Edvjin. (salutes) Yes, General. (exit L. 2 E. Gtn S. Gentlemen, we will now proceed to the front. I wish to make some observations, (to Major Wilber) Major Wilber. Maj W. Sir. Gen S. Have you my field-glass with you? Maj W. I nave. (gives it to him, as they go slowly towords R. 2 E. Enter Edwin Dalton, l. 2 e. Edwin. General, I await your orders. Gen. McPherson crosses to h., and in dumb show gives Edwin instructions. Edwin. I understand. (salutes and exit L. 2 K. Generals McPherson and Sherman, with all others exit R. 2 e. — stage clear. Scene changes to SCENE SECOND. — Camp of the Confederate army. Soldiers discovered •asleep r. c. and l. Edward St Clair pacing to and fro in front. Sgt. Bates on guard. Edw. Curses on the luck ! Will the opportunity never come for me to have my revenge upon this Edwin Dalton? Here have I waited patiently, for, I know not how long, for an opportunity to get him in my power, but the fates seem against me. When I remember his threats to kick me out of his father's house, it makes my blood boil; but I can only wait and nourish my hatred until the fortunes of war turn in my favor. Sgt Bates. Fall in, second relief! (soldiers of second r el iej fall in facing front) Guard right face ! Forward march 1 (they march off R. Enter Old Pete, r. 1 e., with basket on his arm. Pete. I say, boys, don't you wart to buy some prowisions ? Edio. How do you sell them uncle ? Pete. Only five dollars apiece, dey is bully pies I tole you. (soldiers feel in basket) Boya keep your nasty fingers away from dat basket — don't take dose pies unless you pay for dem. Edw. Do you trust or take greenbacks? Pete. I don't want any greenbacks in my dish, and I don't trust neither. THE SPY OF ATLANTA. 19 Enter Segt. Bates with squad, b. ■Sat B. Squad halt ! Front ! Order arms 1 Edw. Is all quiet, Sergeant ? Sat B. All is quiet 1 believe. «i Bois let's -hoop this old nigger up-he's too nq. 3ftjL act a blanket, and one man at each comer. Pete w tumbled into tt, whmi They get a W"^ ^^ ^ (fa , ^ ^ ^i. ,. s bctrvj doM , Enter Edward St Clair, R. , , (they let him out, SS' (irY"U olght°Tbe ashamed of yourselves, to treat a cu.lud Mcdin di. manner. If. ^J "£££».$& in , Officer of the Day ,» .Edw. Fall in, boys ! Shoulder arms ! Enter Colonel St Clair, L. £»„. Guard, present arms! ( GrfcmcZ ^uto.) Shoulder arms J St Clair. Captain, dismiss your guard ! Edw. Guard, order arms, in place rest. StClair. Good-day, Captain. Edw. Good-day, Colonel. StClair. Is there anything new at Atlanta / Edw. Nothing, I believe, Colonel. Enter Corporal Ogden, l., with Edwin Dalion, disgw*ed. n rolnnel I found this man prowling around, and he cannot or ^iW'give 1 2 TktLaXy account o? himself, so I have brought h.m to StClair All right, Corporal, return to your post, ( e*it Corporal Ogden, L.) j? ^teri^r/^r-T f « - ^ ta a** sbk: ^rup r^r/r i^Vt « „» <* my „.. T h 0S e internal Yankee's have stole all mine. StOotr. Where's your pass? 4sJ^ ^'"^ ^?;^H^n Signature * P- ^^tiSSfc* question this man no forthe,. We M^erea^ 4/i. A spy ! recognize this man. \ he goes to Ed- ra ^l enter C^, SS^^^ JSS?5 when in the hands of yourself and.son. I say, Edwin 20 THE SPY OF ATLANTA. St Clair. Have a care, Edwin Dalton, I may have it in my power to aid you, and a little different deportment, under the existing circumstances, would, perhaps be more in your favor. What was your object in entering our lines ? Edwin. That sir, the direst tortures you can inflict, will never cause me to answer. StClair. Then sir, you shall be taken before a Military Court Martial, where you will be tried as a spy, and if found guilty, hung like a dog. Edvrin. Colonel StClair, I defy you — do your worst. StClair. Captain, put this man under strong guard, see that he has no conversation with any one, and for your life see that he does not escape. Edw. All right, Colonel. {exit Col. StClair, l. Edwin, (l. — aside to Pete) Pete, make your way to the union lines, tell them that I have been taken prisoner, and to send a body of soldiers to my relief, as I have important news. Edw. Come along, sir ! (seizes and tries to force him along) Ah, you re- sist ! Guard, seize this man ! (guard roughly seize him on each &ide) Guard, foiward march ! (all exit r. SCENE THIRD. — Landscape in second grooves. Enter Pete, hurriedly, r. Pete. Goodness gracious! Jumpin' jingo! but dat was tight aqueezin,' I managed to squeeze fru though. Now, if I can only manage to get back to de union lines, I guess it will be all right yet. I'll tell de gineral to send out live million men wid fifteen thousand cannon to release dat poor boy. If I don't, he's gwine to pass in his checks suah. Dis nigger must run like AUTO ^II^OR S)RA!WA. 40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena Larnbla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain room. A Variety peice, yet can be performed by Amntuers, etc. A Mysterious bundle figures in this farce, which contains a . Time of performance, 20 minutes. 41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Reeve, 7 male. 3 female characters. Costumes modern. Scenery, drawing-room, street ana otiice. Every character is good. Jennie Hight starred on the character of "Con- stance" in this play. Amatuers can produce it. Time of performance, 1 hour 45 minutes. 42. DOMESTIC FELICITY. A Farce in one act, by Hattie Lena Lambla, 1 male, 1 female character. Costumes modern. Scene, a dining room. The name fully describes the piece. Very funny. Time of performance, fifteen minutes. 43. ARRAH DE BAUGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 5 female characters. Cot>tumes modern. Scenes, exteriors and interiors. A most exquisite love story in a play, abounding in scenes of great beauty. The depth of woman's love is beautifully shown. Time of performance about two hours. 44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- comes vely peevish and particular. A plot is formed to break him of his foolish- ness. Very amusing, lime of performance twenty minutes. 45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes modern. Scenes interiors. Time, during the Rebellion. This play represents the real "deown easi" characters to perfection. An old man and woman are al- ways quarreling, and their difficulties, are very amusing. Time of performance, one hour and twenty minutes. 40. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 female characters. Costumes modern. Scenery exteriors and interiors. This drama is one of'in tense interest and is a faithful dramatization of VVilkie Collins' storv of the same name. This is said by competant critics to be the best dram- atization published, and it should be in the hands of every dramatic company in the country. It has become a great favorite. 47. JN THE WRONG BCX. An Ethiopean Farce in one act, by M. A. D, Oifton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. Scene, a wood. Characters repiesen ted, a darkey, au Irishman and a Yankee. Time of performance twenty minutes. 48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- male character. Costumes, burlesque German. Scene, a plain room. A neat little piece for two Dutch players, introducing songs and dances. Time of per- formance, 15 to 30 minutes, at the pleasure of the' performers 4.9. DER TWO SUBPRISES. A Dutch Farce in one act, by M. A. D. Clifton, I male, 1 female character. Costumes, peasant's, and old man's and old woman's dress. Scene, a kitchen. A very neat little sketch, introducing songs and dances. Time of performance, about twenty minutes. 50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female characters. Probably no other play by the immortal Shakespeare is produced as frequently as this one. It needs no description. Time of performance about two hours and thirty minutes. 51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 male, -8 female characters. This play visibly depicts the dangerous consequen- ces of falling into bad company, the follies of the intoxicating bowl, and shows that even the pure love of a noble girl will be sacrificed to the accursed appetite. The solemn scenes are balanced by the funny portions, and all in all the play is a grand success. Costumes modern. Scenes, interiors some neatly and some handsomely furnished. Time of performance one hour. 52. HENRY GRANDEN. A Drama in three acts, by Frank Lester Bingham, II male, 8 female characters. This drama is sensational in a high degree, abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It should be purchased by every dramatic company that wish something to suit the public. Costumes not hard to arrange. Time of performance two hours. ) QGQ/OQGQ€iWQCQa<^ a a $ £ 8 AU**ES' STANDARD AI¥I> "?II>OR »KAHA. ;

MirVOK I»KAJHA. I act, hy W. Henri Wilkins. 6 male, ins' plays, this is first class. The D using, andproves an immense suc- room. Costumes modern. Time of 64. THAT BOY SAM. An Ethiopoan Farce in one act, hy F. L. Cutler. 3 male, 1 female character. Scene, a plain room and common furniture. Cos- tumes, comic, to suit the characters. Very funny, and effectually gives the troubles of a "colored gal" in trying to have a beau, and the pranks of "that boy Sam." Time of performance twenty minutes. 65. AN UNWELCOME REllRN. A Comic Interlude, in one act, by Geo. A. Munson. 3 male, 1 female character. Seine, a dining room. Costumes, modern. Companies will find this a very amusing piece, two negroes being very funny — enough so to keep an audience in the best of humor. Time of perform- a nce, twenty minutes. 66. HANS, THK DUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 3 male, 1 female character. .An exceedingly funny piece. Hans figures as a Justice in the absence of his master, and his exploits are extremely ludricous. Costumes modern. Scene, plain room. Time of performance, twenty minutes. 67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 male, 1 female character. Simple scenery and costumes. First class characters for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- ing lady. This drama is one of thrilling inlerest, and dramatic companies will invariably be pleased with it. Time of performance, one hour and forty-five minutes. 68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 mule characters. This intensely funny afterpiece can be produced by any company. The characters are all first class, and the "colored individual" is especially fun- ny. Scene, a plain room. Costumes, simple. Time of performance, about twenty minutes. 69. MOTHER'S FOOL. A Farce in on. 1 female character. Like all of Mr. Will characters are all well drawn, it is very a cess wherever produced. Scene, a simple performance, thirty minutes. 70. WHICH WILL HE MARRY. A Farce in one act, by Thomas Egerton Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- ly arranged on any stage. A barber hears that one of eight women has fallen heir to some money, not knowing which, he makes love to them all. This, to- gether with the revenge the females have upon him, will prove laughable enough to suit any one. Time of representation, thirty minutes. 71. THE REWARD OF CRIME. OR THE LOVE OF GOLD. A Drama of Vermont, in two acts, by W. Henri Wilkins. 5 male, 3 female characters. A drama from the pen of this author is sufficient guarantee of its excellence. Characters for old man, 1st and 2d heavy men, juvenile. A^ splendid Yankee, lively enough to suit any one. Old woman, juvenile woman, and comedy. Costumes modern. Scene, plajp rooms and street. Time of performance, one hour and thirty minutes. Easily placed upon the stage, and a great favorite with ainat tiers. 7»jL THE DEUCE IS IN HIM. A Farce in one act, by R. J. Raymond. 5 !!jaiare, IJemale character. Scene, a plain room. Costumes modern. This farce '' is easily' aijKanged, and can be produced on any stage, in fact, in a parlor. The pranks of the doctor's boy will keep an audience in roars of laughter, every line being full of fun. Time of performance, thirty minutes. Order this, and you will be pleased. 73. AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 1 female character. This rs. one of the most effective temperance plays ever pub- lished. Good characters for leading man, 1st and 2d villain, a detective, old man, a Yankee, and a capital negro, also leading lady. The temptations of city lifejpre faithfully depicted, the effects of gambling, strong drink, etc. Every company that orders it will produce it. Costumes modern. Scene, Mobile, Time of performance, one hour and thirty minutes. 74. HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by Henry J.. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in the rear of a grocers shop. Costumes modern. Whiffles the proprietor of the grocery, ha?Jla mofther-in-Iaw who is always interfering with his business. Vari- ous expediems are resorted to to cure her— a mutual friend is called \\ who, by the aid of various disguises frightens the" old lady nearly to death, fina.ly Whif- fles gets on a "ge-lorious drunk," and at last triumphs. A perfect success. { ) Time of performance, thirty-five minutes. ($ ' AMCST $TA^»4RD Ai*l> MINOR DRAMA, 13 7W? SERF. A Tragedv, in five acts, by R. Tal!)Ot Esq.. 6 males, 3 fe- iii lie characters. Good part* tor 1st and 2nd Tragedian, and Tragic lady. The character of Ossip is very powerfully drawn. Tne history of his early love— of his marriage— the indignities he is made to suffer, and the death of his wife, is highly wrought; and his sarcastic levity and deep revenge are unfolded with a terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. 17. HINTS ON ELOCUTION AND HOW 10 BECOME AN ACTOR. This valuable work has just been published, and contains valuable instructions that amateur actors, and every one that ever expect to make a favorable appearance in public, cannot do without it. It teaches you how to become a good and ef- ficient reader, reciter, debater, a good actor, how to hold an audience silent, and treats on every subject that is necessary to be acquired in order to become a good and pleasing actor. IS THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged bv A. D. Ames, 8 male, and 3 female characters, A thrilling drama, always a faVorite. Leading man, villiau, two comedies, old man, leading lady, comjdy lady, etc. Costumes modern. The situations in this play, are most excellent. Time of performance, 1 hour and a half. 19. DI" I DREAM IT? A Farce in one act by J. P. Wooler. 4 male, 3 fe- male characters. Scene, drawing room. The question "Did I Dream it" is what the farce is founded upon. Very strange things happen, and a nice little love scrape helps to color the plot. A good piece. Costumes simple, lime ot per- formance 45 minutes. 20 .4 TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 male, 2 female characters. A play written by this author is sufficient guarantee ot its excellence. Scene, a sitting room, plain furniture. Costumes modern, lime of performance, 35 minutes. This is an excellent farce. 2J 4 ROMANTIC ATTACHMENT. A Comedietta in one act, by Arthur Wood, 3 male, 3 female characters. A most excellent little play, well adapted for school exhibitions, lodges, amatuers, etc. Th ■ scenery is simple, being a plain room, is always a favorite with every company which plays it. Time ot performance, 35 minutes. 92 CAPTAIN SMITH. A Farce in one act, bv E. Berrie, 3 male, 3 female character)}. This excellent little farce is equally well adapted for school exhi- bition., etc., as No. 21. The dialogue is sparkling, nor a dull speech from be- ginning to end. The plot simple, the piece easily performed. S:-ene, a plain room. "Costumes modern. Time of performance, 30 minutes. •>•! MY HEARTS IN THE HIGHLANDS. A Farce in one act, by Wil- Seene, exte- ce is eas- ; ; I i; i i i i> liam Brongh and Andrew Halliday, 4 male, 3 female characters. See rior of house in the Highlands. Costumes, simple Highland. This far ilv produced and verv effective is full of fun, caused by the mishaps of two char- acter-,' who go from the city to the country, and do not know a pig from a roe- buck, nor a turkey iron an ostrich. Time of performance, 25 minutes. 24 HANDY ANDY. An Ethiopean Farce in one act, 2 male characters. Sceneffe kitchen. Costumes, exagerated and comic. The difficulties in procu- ring a good and suitable servant are most ludicrously set forth in this farce. Time of performance, 20 minutes. 25 SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 male characters. Costumes, exagerated sportsman's dress, and boyish dress. Scene, a wood. Time of represcuta.i ,,u, Z0 minutes. A tip top negro farce. 20 Diniom Swiss THE HWNTER OF THE ALPS. A Drama in one act, by William I 9 male 4 female characters. Scene in-door and forest. Costumes, Kosalvi, the hunter of the Alps leaves his home to procure provisions to to id demands, brothers, f per- I Sfe keen his wife and children from starving, meets l-elix, a torn, anu uema and finally implores of him money. Felix moved with compassion gives money and goes with him to his hut, and there discovers they are bro ^ There is some fine comedy in it. The story is beautifully told, lime o formanee 1 hour. 27 FETTER LANE TO GRAVESEND. An Ethiopean Farce mi one act, 2 male characters. Scene, plain room. Costume, exagerated and comic The two characters, Ike and Hvstericks are very funny, and will keep an audience in roars of laughter. Short, easily produced, and a tip top farce, lime of per- form nice 15 minutes. . - - : '- _ ,.;:::: ? ^ ^ ~ n ^ n rtann ry> reooccr:^ i.o * % LIBRARY OF CONGRESS A. D. AMES, PUBLI! 017 1984579 / OUR B USINESS- k - «-* „ ^ ^„. PLATS. We sell everything in the line of dramas and farces, and call tho attention of our numerous patrons to our own liet. We think it em- braces play which will suit either professional or ama'teur companies. If however you need something, published elsewhere, do not hesitate to send us your orders — our stock is very large, and we fill promptly.— Stocks of every publisher on hand. LETTERS OF INQUIRY answered promptly, and we solicitcorrespond- ence. If the business upon which you write concerns you alone, enclose a 3 cent stamp for reply. Amateurs who are puzzled upon any questions relative to the stage will be answered explicitly, and to the best of our abil- ity. MANUSCRIPT PLAYS. Parties who have Mss. to dispose of should write to us. We will publish whatever may be meritorious, on terms which will be satisfactory. SHEET MUSIC. Orders for sheet music, or music books will be re- ceived and filled as promptly as possible. CATALOGUES will be sent free to any address. Send a postal card, with your address, and the catalogue will be sent by the next mail. HOW TO ORDER. It would perhaps seem to every one that any di- rections as to 'how to order' plays was entirely superfluous ; but not so. We have many instances, and remember to have been severely censured by parties, some cf whom tailed to sign their name to their order, or failed to write the state, etc. In the first place, begin your order with the name oi your post office, county and state. If you order from our list, it is not nec- essary to designate, only by giving the name of the play ; but i!' from the lists of other publishers, state the publishers name, if you know it. Do not write your letters of inquiry on the same sheet with your orders, ami make the order alwaysaB brief as possible. When completed do not fail to sign your name very pJahdy.. Attention to these rules will insure the filling of your orders, by return mail. Postage stamps of the denomination of 1, 2 and 3 cents, will be taken in any amount less than $3.00. PLAYS TO SUIT COMPANIES. Amateur companies frequently have trouble in procuring Plays well adapted to their wants, frequently ordering perhaps five dollar's worth in single copies, before anything suitable can be found. All this can be done away with. Our catalogue embraces playa suitable for any and all companies, and if our friends will write to us,state- t>nts of their companies, there need bo no trouble, in this a temperance society wants plays, we have something for n< r the r< 'M 1 line a I least. I hem. If n e< I hem. In I' io. suit yon. Km and we guarantee to a. i.l wheth r best ad iv wants something which have dramas, farces, tragedies ; 1 a cents per copy, for as many > suit you, if you will state tin pted t< the serious or funny rv funny, we can suit ml comedies which will •opies as you may need, size of your company, Give us a trial at least. MAGNESIUM TABLEAU LIGHTS. There is scarcely a person who has not been annoyed by the smoking of colored tires, which are so often used on tableaux, and whole scenes in dramas have been ruined by the coughing and noise always attendant on their use. We earnestly recom- mend the use of the Magnesium lights. They can be ignited with a common match, and burn with wonderful brilliancy. There is no danger in their use; they make no smoke and are cheap. Price, 25 cents each, by mail, post paid. Those who do not know how to burn them, will be instructed by addressing the publisher.