GpEyiiglit^- CDEYRIGOT DEPOSm ^citations ''^ C briar en WALTER H.BAKER CO. FORTY CENTS r Plays for Colleges The Air Spy Bachelor Hali The College Chap The Coiooers Maid Daddy The Deacon's Second Wife The District Attorney The Dutch Detective At the Sign of the Shooting Star The Elopement of Ellen Engaged by V/c:3nesday The Chuzzleryitts, or Tom Pinch For One Night Only Hamilton Constantlne Pueblo Jones Excuse Me The Hoodoo The Hurdy Ourdy OIri Katy Did Let's Get Married London Assurance Lost a Chaperon A Foul Tip The Man Who Went The Man Without a Countr? Master Pierre Pdtelij How Jim Made Good Just Plain Mary Line Busy Mr. Bob Mrs. Brlggs of the Poultry Yard Nathan Hale Patty Makes Things Hum Professor Pepp A Regiment of Two The Private Tutor The Rivals Silas Marner When a Feller Needs a Friend Sally Lunn The School for Scandal She Stoops to Conquer Step Lively The Submarine Shell The Thirteenth Star The Time o! His Life Tommy's Wife The Twig of Thorn The Amazons The Conjurer BAKER, Hamilton Place, Boston, Mass. ^es and High Schools MaUt fimalii Tim» ?rk* ttvaltj 12 4 l}4 hrs. 35c 510.00 8 4 2 " 3SC Free II 7 2}i u 35c 6 3 2 " 35c u 4 4 I'A " 35c u 6 6 2}i " SS<^ u lo 6 2 " ZS<^ u 5 5 2 " 3SC ** lO 10 2 ** 3S<^ *l 4 3 2 ** 35c tt 5 II 1% " 35c u '5 6 2X « 35c «« 5 4 2 " 2SC *• II 5 2 «* 60c I25.00 Free 10 4 2X " ZS<^ 4 6 IX " 35c 6 12 2 " 3SC «« 9 9 2 " 3SC « 4 8 1/4 " 35c *4 3 5 2 «« 60c 1 10.00 to 3 2 «« 25c Free 6 9 2 " 35c (( 7 3 2 *' 35c u 7 3 2^ " 35c 1 10.00 46 5 IX " 2SC Free 4 I IX " 60c (f 7 3 2 " 2SC «« 7 13 2 «• 35c «« 5 »9 IX " 3SC " 3 4 IK " 25c «« 4 7 2 «« 35c " IS 4 2% " 60c 510.00 4 6 2 «« 35c Free 8 8 2X " 3SC 6 4 '2 «« 35c S 3 2 " 35c 9 5 ^'A " 25c " 19 4 IX " 250 «« 5 5 2X " 35c fio.oo 3 4 IH " 25c Free 12 4 2% « 250 " >S 4 2X " 25c " 4 10 2 ♦« 35c «♦ 7 4 2 «« 35c fio.oo 9 I>4 " 3SC 1.-. - 6 3 2X " 35c 1 S i;^." 35c 7 IX " 75c " 7 5 2X •• 60c 1 10.00 8 4 2% " 35c 510.00 n^ Recitations, Drills and Plays for Children By BERTHA IRENE TOBIN n BOSTON WALTER H. BAKER COMPANY 192 I ^ Copyright, i 921, by Bertha Irene Tobin As Author and Proprietor PLEASE NOTICE The professional stage-rights and moving picture rights in these entertainments are strictly reserved by the author. Ap- plications for the professional use of any material in this book should be addressed to the author in care of the publishers. Attention is called to the penalties provided by the Copyright Law of the United States of America in force July i, 1909, for any infringement of his rights, as follows : Sec. 98. That any person who wilfully and for profit shall in- fringe any Copyright secured by this Act, or who shall knowingly and wilfully aid or abet such infringement, shall be deemed guilty of a misdemeanor, and upon conviction thereof shall be punished by imprisonment for not exceeding one year or by a fine of not less than one hundred dollars, or both, at the discretion of th« court. Sec. ag. That any person who, with fraudulent intent, shall insert or impress any notice of Copyright required by this Act, or words of the same purport, in or upon any uncopyrighted article, or with fraudulent intent shall remove or alter the copyright notice upon any article duly copyrighted shall be guilty of s misdemeanor, punishable by a fine of not less than one hundred dollars and not more than one thousand dollars. StF 15 1921 §)C!.A624633 CONTENTS FIRST PART Recitations for Small Children rxGs The New Car 7 Jim's Complaint . . . , . • . 8 A Four Year Old 9 Sleep, Dolly, Sleep lO Not All Bad Luck . . . . . . la Proud Mister Turkey 13 SECOND PART Monologues for Youngsters The Sewing Society ...... 1/ A Trip in an Automobile 19 Playing Grandma « . 31 Big Brother .,.,,... JJ The Other Side 2$ Getting Her Lessons . , . ... 3/ Getting Even .....•• 30 Getting Ready for Thanksgiving .... 3a Friends 33 My Uncle John ! 35 The Finishing Touches 3/ The Skating Contest 39 The Gardens •41 3 4 CONTENTS THIRD PART Drills for Children Tin Soldier and French Doll Drill ... 47 Santa Claus Drill 50 FOURTH PART Plays of Various Lengths for Children Long Ago and Now ...... 57 Dollies and Girls 59 Men and Women of America .... 62 For Others 65 •• Laugh and the World Laughs With You " . . 68 Real Americans All 74 The Uninvited Guest ... . . 88 The Land of Vacation 104 FIRST PART RECITATIONS FOR SMALL/ CHILDREN THE NEW CAR Daddy's got an automobile, And it can surely go! It's the fastest one in this here town, ril tell you it's not slow! Johnny's father's got one too, And he thinks it a good one, But my ! it can't compare with ours, Not for a good long run ! Daddy's got an automobile. And he'll teach me to run it. He teased me so 'bout being afraid. Till I told him : " Not one bit ! Afraid? Well, I just guess I'm not. I'm big enough, you know." And Dad said : " Yes." But Mother — She nearly fainted though. ' Oh, Daddy, don't let Billy try. I'm sure he'll ditch us all. Oh, Daddy, careful! Not so fast." Now that's the way she'll bawl. But Daddy, it don't worry him. He just keeps teasing so. And tells her : " You'll be a-running This car yourself first thing you know." Daddy's got an automobile, And I'll soon learn to run it, And how to go around a curve, And a rut — just how to shun it. Then when I get older, see ? I'll tell you what I'll do, I'll have a great big airplane And learn to fly it, wouldn't you? RECITATIONS, DRILLS AND PLAYS FOR CHILDREN JIM'S COMPLAINT I tell you Vm not a little baby, If Fred does say I am, And leaves me home all by myself While he goes off with Sam. Fred thinks that he's a grown-up man, But he isn't, not a bit! You wait till I get big as him, And then I'll be the " it." He tells me, " Oh, you little kid, You're too small to go with me. Why you're a regular nuisance ! Now, you stay home, Jim, see ? " Gee! That makes me mad, it does! And I'll just show him some day That small boys are not babies And not always in the way. Humph ! There he goes now, Smartyf Going to skate, I know. I guess I'll follow after him, — But then I can't skate though. What'd I care anyway? He's just as mean As mean as mean can be ! But I'll get even with him If it takes forever, see? Some day when I get bigger, I'll just pass him right by, And then he'll be sorry that he Ever acted so. For my, I'll be a big man then! And Fred, Maybe he won't be at all. And — oh, what's the use of complaining? Mother, where's my ball? RECITATIONS A FOUR YEAR OLD Tm only a little girl, you say. I'm only four years old to-day. But if I am small, Til let you know That I am '" mighty," my dad said so ! He said I was like the four-leaf clover I found when at play in the yard with Rover, I bring good luck to all who are near. And when Fm good, I'm a ** regular dear." My dad said that good luck was ever found Whene'er there's a good little girl around. And so you see if I am so small, I'll bring the best of good luck to you all. It is nice to find a four-leaf clover, And I think I'll hunt again with Rover, And then the clover will bring to me. More good luck to give to you, see ? 10 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN SLEEP, DOLLY, SLEEP! (For a little girl. She enters carrying a doll in her arms, and stands talking to it, until she asks, " Why, are you sleepy, dolly f " then she sits and rocks doll in arms. Rises on first line of last verse, places doll on chair, covers it, then exits.) Don't you like my dolly ? I think she's very fair. Her eyes are blue, you see. And golden is her hair. Oh, she is such a good dolly. She minds everything I say. All I have to tell her is, •* Now don't do that, Miss May I "- Why, are you sleepy, dolly ? Well, come and go to sleep. Here, lie down now in my arms- No, dolly mustn't weep ! Listen, now, I'll sing to you. Just like Mamma does to me. Go on to dreamland, my dolly dear. That's where you ought to be. (Sings the following to tune of " Baby's Booths a Sil- ver Moon.") Mamma's dolly, go to sleep. Close your eyes, now do ! Mamma loves her dolly dear, Loves her very true. RECITATIONS II Sleep, dolly, sleep, Don't you dare to weep ! Close your eyes and soon you'll be Fast asleep, you see ! {Speaks again,) Now my dolly is asleep. Guess I'll lay her here, And cover her up so nicely. Good-night, my dolly dear. 12 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN NOT ALL BAD LUCK Gee, I believe it's going to rain. There's clouds over in the West. Mother says that it's no matter, That whatever comes is best ! But someway I don't always see it, No, I don't think I do ! For I'm sure that I'd much rather Have that sky up there all blue. We are going to have our ball-game This afternoon at three, Over on the old school campus; Now, it will rain, oh gee! I hate to wallow round in the mud ; Can't play half as well, I know, As when the ground is hard and dry — But, then, neither can they, though. Ours is the team that's best of all. Best of any near here. Those " Sunny Jims " — why they can't play. We can lick them, never fear ! So let it rain if it wants to rain. My suit needs cleaning anyway, And I won't have to clean it now. For it will get muddy again to-day. Let it rain, oh, I don't care ! Who's worrying about it? I'm not, I'll have you notice! I'm not ! You hear me shout it ! There's no use to grumble anyway. It does no good to whine. And after all their team's so punk We can beat them, rain or shine ! RECITATIONS 1 3 PROUD MISTER TURKEY Old Mister Turkey Gobbler Held his head so high, When a little maiden Tried to pass him by. Then she drew back in terror ! *' Oh, Mister Turkey, say. Do go away, now, won't you, Please now do go away ! " But Mister Turkey Gobbler Did not pay heed to her. But strutted all the prouder. And she was afraid, yes sir! •' Never mind. Old Gobbler," Then the maiden said, " It will soon be Thanksgiving. You'd better watch your head! " But alas, for Mister Turkey, No heed to her he paid. So when Thanksgiving came, Thus spake the little maid : " I told him not to strut so. Nor to hold his head so high, But he just wouldn't listen And so he had to die ! " SECOND PART MONOLOGUES FOR YOUNGSTEKJS THE SEWING SOCIETY (Four minutes) (A monologue for a girl) The Sewing Society met with my mother the other day, and I just had the grandest time ever was, watch- ing them. Some of them were awful nice and good to Httle girls, but others didn't pay any attention to me at all. Just looked past me as though I was the " grass under their feet." I heard Mrs. Hall say that once, and I say it sometimes, *cause it makes me seem grown-up. There was one woman that came and I didn't like her at all. Her name is Mrs. Overmuch, and I know this much, she can talk too much. This is just about the way that woman acted: {Impersonates an affected woman.) Why, how-do- you-do, Mrs. Jones? How are you, anyway? Is this your little girl? I know though, she is, for she looks so much like your husband — has his turned-up nose and small eyes to a T, hasn't she? Oh, yes, and your freckles. Looks a little like you both in fact. (Takes a step forward.) How-do-you-do, Mrs. Bateman? — and Mrs. Adams — and if here isn't Mrs. Craig. (Bows to R. and l.) How-do-you all do? But where is Miss Linsey? She's always early for fear she will miss something. (Sits down, spreading out her dress, very affectedly.) I never saw such a peculiar woman as Miss Linsey, anyway. Have you heard the latest about her? Well, you just wait until I get my sewing out (Action.) and ril tell you. (Rocks and sews.) You all know that she is thought to be about the most hopeless old maid around here, and that her chances have been few and far be- tween, if any. Well, if you'll believe me, she and old 17 l8 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN man Wagner have been having a regular case, just act- ing Uke a couple of children. Oh, sh — sh — sh ! There she comes! Why, how-do-you-do, Miss Linsey? What kept you so long ? You don't say ? A snake ! Was it as large a one as that? Oh, I'm sure I don't see why you should be so frightened at a small snake. {Natural voice of child.) That was all I heard her say, for I went out on an errand just then. But when I came back she was talking as hard as ever, and she was giving it to some one else then. But, anyway, I g^ess it was old man Wagner, for she said to Miss Linsey after a while : {Impersonates again.) Oh, I see. Miss Linsey, when you screamed, he — Mr. Wagner came to your help. Oh, I understand, but after all, didn't you feel silly to have screamed at such a trifle as a tiny snake? {Screams and jumps up.) Oh, oh, oh, do look! O-o-o-o-o! A horrid snake, right under my chair. {Jumps on chair, holds skirt tight.) Oh, kill it, somebody. I never will dare to get down unless you do. Oh, oh ! ( Turns sud- denly.) What are you laughing at, you rude child? — A toy snake? {Gets down.) Well, I think some children had better be raised properly. Mrs. Jones, I am com- pletely unnerved, and will be forced to go home at once. {Child's own voice again.) Oh, but she was mad. She just flung herself out of that house. But I ran after her and called : " Oh, I wouldn't be afraid of a little snake." Oh, yes, of course I was punished and punished hard. But it was worth it just to see the way that mean old thing jumped. Oh, yes, I had put the snake there. That was why I went out while she was talking. I had lost it in the yard, and didn't know where it was, till Miss Linsey said she saw one in the yard. So I got it and put it to good use. Oh, I didn't care if I did have to be punished, it was surely worth it. MONOLOGUES I9 A TRIP IN AN AUTOMOBILE (Three minutes) (A monologue for a small girl) My Uncle Bob's got the finest new automobile you ever saw. It'll hold a great big lot of folks, and it has the nicest cushions to bump up and down on. Mamma says she don't like to bounce quite so high as we did once when we struck a mud-rut. But I do. You're sitting so still and all at once you go up in the air like a sky- rocket, and then you come down on the cushions bumpity, bump, bump! Just like this. (Jumps up and down.) Oh, I think that is just lots of fun. I love autos anyway. They have such big bright lights. But, say, I think those lights look real scary, when they come at you in the dark — just like two big eyes. My papa said one time when the one coming towards us did not turn down their lights, that they were fierce. That he didn't blame horses for being afraid of them, 'cause that S-S-S — oh, who was it? Well, anyway, somebody himself, couldn't look worse coming at you with lights in his horns. I guess he meant a cow, don't you ? 'Cause cows's got horns. One day Uncle Bob took us all to the races at the fair. Papa sat in front with him and he looked at his watch and said we didn't have much time, and Uncle said yes, but that that was why he liked an automobile, they were so sure. You could get most any place on time, even if you did once in a while have to burn a little. Let me see, did he say burn? — I think that's it. Anyway, I know it sounded like clothes smell when Bridget gets mad 'cause the iron's too hot. And we went so fast part of the time. But I liked the bumps and I liked the wind cutting my face. But just as we got a little past half-way, and were making 20 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN " such good time," Uncle said, something went z-z-z and " chu-chunk " and we stopped with a jerk, and I almost went out on my head, I did. Then they had to work on that machine, and Uncle got real mad, but at last we got to go on again. We got to the fair late, but got to see some of the races after all. But my papa said when we got home that he guessed he wouldn't get a car right now, for it was too hard on your nerves and temper. What'd he mean, I wonder? But I wish he would; for I like them, I do, even when we stop off short like that and everything. MONOLOGUES II PLAYING GRANDMA {Three minutes) {A monologue for a small girl) {Enter, wearing a long skirt , pinned up high at waist- line, a cape or old-fashioned shawl thrown around shoulders. Hair rolled hack and powdered. Walks in like an old woman, picks up spectacles and puts them on.) Now, where did I put my knitting? I shouldn't won- der if that naughty child, Lulu, hadn't hidden it again. {Hunts.) I really do not see what Ruth will ever do with that child, she's such a dreadful little mischief. {Finds knitting.) Oh, here it is! Right under these papers. I just knew she'd hidden it. Bad, bad child! I really must tell Ruth to punish her. She's fast grow- ing beyond her, I'm afraid. {Sits and rocks as she tangles up knitting, hums an old hymn, her ball drops and rolls around on floor, she picks it up, tangling it more than ever.) These glasses are so dim I just cannot see anything. (Cleans them.) Here comes that child. Now, Lulu, you must not touch those books. Put that one right back. Right away, do you hear me? Now, do go out and play. Go on, I say, or I'll call your mother. (Resumes knitting, yawns, then jumps up and begins to talk in natural voice.) I'm tired of playing Grandma. Did you think I was really Grandma ? I'm not. I'm Lulu, that bad child, you know. At least Grandma thinks I'm bad. I powdered my hair {Shakes some on floor.), then I put on this shawl, and this long skirt. (Takes them off, as she mentions them. She is just dressed as a liitle girl.) Grandma's taking her nap. So I thought I'd see how it went just once to act like she does. Listen. There she comes. What'll I 22 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN do with these things? {Rolls them hurriedly into a bundle and puts it by the door.) Oh, she'll be hunting her glasses. I'll put them with her knitting and she will never know I've touched them. {Jumps away from table, looks very innocent,) Grandma, did you have a nice nap? Your glasses? I'll hunt them for you. Maybe you dropped them. {Goes to table.) Oh, here they are. Will you let me put them on for you? {Action.) My hair? Oh, I was just playing grown-up and I powdered it. No, Mother won't care, either. She lets me play it whenever I want to. No, she says the powder doesn't hurt my hair. See, it comes right out. {Shakes head.) Your yarn's all tangled up? {Very much surprised.) How do you s'pose it ever got that way? My being so good now makes you s'picious of me tangling it ? Why, Grandma, whatever would I do it for? {Starts to edge toward door, where she put the bundle; stops.) Oh, I know. I'll just bet that mean old Tabby-cat did it. I'll run right out and catch her, and scold her good and hard. Yes, I will. {Snatches bundle hurriedly, while watching where Grandma is supposed to be sitting, then looks at audience and grins, and runs out.) MONOLOGUES IJ BIG BROTHER (Three minutes) (Monologue for a little girl) Oh, I have the meanest big brother there ever was. He teases me dreadfully. But he can be as nice as pie when he wants me to do something for him — run some errand, Uke as not. But I always know why he is honey- ing around and then I say : " Oh, you are too good to be true. What is it you want me to do ? I am sorry, but I am very busy to-day. I haven't time to do what you want, whatever it is." But if he would be good to me all the time I'd just love to be nice to him. But I'm not going to do all the being kind and good. Anyway, he's bigger than I am, and Mother says he should " set an example for me ! " Oh, my, if I followed his example, wouldn't I be a nice little girl? What does he do? Why, everything. He is an awful tease. The other day Bettie Brown was here and we were out in the garden playing " come and see " with our dolls. And Bettie had just been to call on me, and her doll had been naughty, and had to be spanked good and hard. And then as she was starting to take her home — not to her really home, you know, but her play, " make- believe," I said: " Come back again, Mrs. Brown, when your little girl can behave better. I'll come over to your house for tea after a while, and bring my good child." " Well," said Bettie, " I don't know as my little girl is any worse than yours. I have known your child to be- have in even a worse way. But come for tea, I'll expect you." And she pretended that she was of -of -off ended, and was starting to her house, about like this. (Imitates a 24 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN haughty walk, shrugging her shoulders, now and then.) Her house was over behind the rose-bush. Suddenly we heard Bob laugh and saw him run away from there. And you should have seen us run. We knew he had been up to something. We had everything out on my little table for our tea- party. But Bob had been there and, as we were afraid, had eaten up our cake and bread and butter and every- thing we had fixed for our tea-party. He had even up- set the table, and everything. I just cried and screamed for Mother. She came out there and said Bob had been very naughty and that she would give him a ** good talking to." And then she gave us another party. But that is the way I have it all the time. Sometimes I almost wish there weren't any big brothers in the world ! But, say, I think Bob needed a good, sound thrashing, instead of a " talking to." Don't you? MONOLOGUES t^ THE OTHER SIDE {Four minutes) (Monologue for girl) (She is dressed in shabby clothes, and is carrying school-books.) I'm only a poor little girl. But I know when I'm not being treated right, I do ! I do not want to go on home this afternoon. The other girls are going on a picnic. There is a half-holiday from school, and oh, they will have a good time ! But then I don't get to go. Oh, they were kind enough to ask me, but Mother felt that she could not afford to fix me any lunch. I just hate to be so poor, I do. It just isn't fair. (Starts to cry, swallows hard a few times then tries to brighten up.) But I just won't cry about it. I'll see if I can think of something funny instead. (Thinks, then laughs.) Of course I can! Only this morning I had a laus^h. I helped take Mrs. Benton's clothes home for Mother, and her little girl came running out to see me. She always does when I go there. I knew she had her tonsils and adenoids taken out last week. So I said, "And how is Gertrude this morning?" And she answered, " I'se all right. Tum in and see my new dolly. Daddy gave it to me, 'cause I'se a good little girl. I had my ag-e-noids out." And she said it so funny. She just wrinkled up her little nose and drawled out the word like it was a big mouthful, just like this: (Imitate while repeating word, then laugh.) "Ag-e-noids." Oh, she is so dear and funny. Well, I must run on home. I have almost forgotten about my disappointment about not getting to go to the picnic. See? It isn't difficult to forget our troubles, if we only try hard enough to forget, and then to think of something else instead. It does no good to pout any- a6 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN way. So it's on home for me. I'll just start on and get it over with. I expect I can find something to do at home that'll be fun ! And so I'm oif ! (Starts off, then stops suddenly.) Why, Margaret, I thought you girls had all gone. — Not without me! But you see I cannot go. {Embarrassed.) I — I — I — you see — my mother — why What's that ! You don't care about that ? You have more than enough for two? And the others want me to go, too? Oh, how darling of you all. Of course I'll go! I came al- most crying about it. I was so sorry for myself. But now, how glad I am that I did not cry ! {Goes off laugh- ing.) MONOLOGUES I'J GETTING HER LESSONS {Five minutes) {A monologue for a girl ten or twelve years old) {She has books on the table in front of her, and a tablet and pencil in her hand. She is working her arithmetic problems.) One and ten are eleven, and eight are nineteen and five are twenty- four, and — I'm tired of lessons anyway. Where was I ? Oh, yes, twenty- four and eight ? Twen- ty-four and eight? {Calls.) Mother, how much are twenty- four and eight? — Think it out myself? I have thought and thought. {Puts hand to head.) Twenty- four and eight. Well, I don't know what it is. {Counts on fingers.) Twenty-five, twenty-six, twenty-seven, twenty-eight, twenty-nine, thirty, thirty-one, thirty-two — that's it, thirty-two. Thirty-two and nine ? Oh, I'm go- ing to stop studying arithmetic and study my language. {Puts one book on table and picks up another, turns the pages as if hunting lesson.) What is the lesson any- way ? I know, here it is. " Tell, or write, a story about some pet animal." We have to write our story. {Studies.) What will I write about? {Picks up tablet and writes again, speaking slowly while writing.) We have a dog. His name is Rover. Rover will run and pick up a stick whenever I tell him to. Rover runs the cat. He don't seem to like cats very well. One day he chased our cat up a tree. Rover barked and growled, and the cat put up her back like she does when she is angry and just spit at him, she did. {Speaks without writing.) Now look what I have done, I went and put that " she did" at the end of that sentence, and now teacher will make me write it all over. She said she did not like me to use it that way, she did. There it goes 28 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN again. O dear! Anyway, I'm not going to write it all over now. I can't help it if I did leave that old cat up a tree! Suppose I can take it down when I decide to finish my language. (Laughs.) I'm going to practise my music now. (Calls.) Mother, may I practise my music now? — No, Mother, not quite. I've my arithmetic and my language. I have my reading to do yet, but I'll finish it after I practise. (Goes to piano, sits down, runs a scale or two, then whirls about on stool.) Now I'm going to play I'm big sister and that I am to play the piano like she did at her recital last week. (Rises, smooths hair and dress, goes to table and finds a powder-puff, shakes some powder over face, gets it in nose and eyes. Coughs and blows and makes a face.) Whew! That stuff's awful. (Calls.) Yes, Mother, I am practising. — You don't hear me? Why, I — I — I'm studying the notes. (Runs back to piano, smooths out dress, smiles and bows af- fectedly to audience, then plays a little piece, putting on many airs as she does so.) That's the way my sister does it. (Goes back to table and picks up a book.) Now I will study my reading-lesson and then I will be through. — Here it is. (Stands in a careless, slouchy attitude, and reads in a sing-song voice and very rapidly.) " The Mountain and the Squirrel By Ralph Waldo Emerson The mountain and the squirrel Had a quarrel, And the former called the latter " Little Prig." Bun replied: " You are doubtless very big, But all sorts of things and weather Must be taken in together To make up a year And a sphere. And I think it no — no " (Calls.) Mother, what does d-i-s-g-r-a-c-e spell? MONOLOGUES 29 Disgrace? Oh, yes, that's it. What's that?— Why, Mother, I am not reading hke that. I'm reading like we do at school. — Why, Mother, I am standing straight. {Straightens up.) Yes, Mother, I do know better and I will try again. And if I get it right, may I go out and play? — Thanks. {Finishes the reading as well as she can read.) " And I think it no disgrace To occupy my place. If I'm not so large as you. You are not so small as I, And not half so spry. I'll not deny you make A very pretty squirrel track. Talents differ, all is well and wisely put. If I cannot carry forests on my back. Neither can you crack a nut." (Calls.) Wasn't that better, Mother?— May I go now? — Thanks. (Looking about.) Where's my skates? (Picks them up from a corner.) Here they are. Now for some fun. (Blows a kiss at books.) Good-bye, old books. I'm very glad to leave you. (Swings skates over shoulder and skips off.) 30 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN GETTING EVEN (Three minutes) (A monologue for a small girl) (Enters wearing a play-suit and pushing a doll buggy.) My mother says I am a very bad little girl for run- ning away. But I cannot see why. Every day she says that she must take our baby out for an airing. But goodness, she thinks I must not take my dolly out, oh no! (Picks up doll.) You're just as beautiful as our baby and you need the air just as much as she does. But every time I start out to take you for a tiny little stroll just by myself, Mother rares, that's what she does. My father says " rares/' so I guess I can ! (Puts doll back in buggy. ) Sometimes Mother sends Maggie after me. Maggie's our maid, and when Mother isn't looking, sometimes she just jerks my arm something fierce. (Sits down on floor and pushes buggy back and forth.) And when I tell Maggie that I am going to tell Mother on her, she says she will slap me if I do. But I'm going to get even with her, I am. I know how I can. I'm going to tell my mother and my father about that man I saw eating his supper in our kitchen one night. He ate an awful lot. I stood behind the door and watched him. He put a great big piece of potato on his knife and put it in his mouth, he did. I was so afraid that he would cut himself that I forgot I did not want them to know I was there and I ran out. " Oh, be careful, you'll cut yourself. Why don't you use your fork? And besides it is not polite to eat with your knife that way. I know." That man just threw his head back and slapped his knees and laughed and laughed, like this — (Imitates.) But Maggie was awful cross. Said she would slap me MONOLOGUES 3 1 good for sneaking round watching. But then she gave me two cookies for not telling that man was there. I didn't tell, 'cause I wanted the cookies. I didn't tell then, that is. I'm going to tell some time though if she gets smart. (Jumps up.) Oh, dolly, it is time we were running home. (Listens.) That's Maggie, sure enough. (Calls.) Yes, I'm coming. I 'tended to come all along. (Reaches entrance, then jerks hack.) You just quit that jerking me, Maggie. — No, you won't slap me either. For if you do I'll tell Mother about that man. — Yes, I will, too. — Well, then, you let me be. No, you go first and I will come. (Goes off, making a face, evidently at Maggie. ) 32 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN GETTING READY FOR THANKSGIVING {Two minutes) (A monologue for a small girl) {A small girl in a playroom, two dolls lying on a chair. The child begins to speak as she enters. She moves about the stage dusting and moving chairs.) To-morrow's Thanksgiving! We are going to have the family dinner here this year, and so we are very busy people. That's what Mother says. And I have to dust and straighten up my playroom. Mother says I must clean it so it will be as " neat as a pin." And that when Helen and Fred and Fay and the rest of my little cousins come, I must be an unselfish little girl and let them play in here with my things. That's all right. (Goes to chair upon which the dolls are.) Of course I do not intend to be selfish. But if Fred should be rough with you, my darling Angelina, and try to swing you by your lovely hair, like I saw him swing Helen's dolly once, I'll show him! (Stamps foot.) I won't have it, I can tell you. — Why, Angelina, did I frighten you? (Sits and rocks dolly in her arms.) There now, darling, I didn't mean anything dreadful. (Sings any little song.) Oh, you have for- gotten it, now, haven't you? Why, you are sound asleep. I'll lay you over here in your little bed. (Puts doll down car ef idly.) There, you are all right. (Lis- tens, then runs to door.) Yes, Mother? I'm coming. My playroom is all dusted now. (Kisses dolls.) Be good children until to-morrow. And be sure you are properly thankful that you have such a nice home as this. To-morrow is Thanksgiving, remember, and you must be very good. — Yes, I'm coming. Mother! (Runs to door, then turns and throws kisses at dolls.) Good-bye, dollies, dear. MONOLOGUES 33 FRIENDS {Three minutes) : (Monologue for boy) My dog's named Jack! And he's the best dog I ever knew. Dad says that's not saying so much, for Jack's the only dog I ever had. But I don't care how he teases, I think Jack's a ^reat dog anyway. And so would you if he's your dog, and if he had done as much for you as he has for me. — What'd he do? Why, just lots of things! He follows me almost everywhere I go, and he — — To school ? Well, no, he isn't allowed to go to school with me now. He went one time too many. Dad says, anyway I — Tell you about it ? All right, I will. You see, I go to a Centralized School, and we go in a school van. Jack used to follow along behind. Our house isn't so far from school, and Jack used to like the run. Then when we got there, he'd play with us kids till school opened, and then when we went in he seemed to know that he had to stay outdoors. That is, he would if the weather's good, but if it'd rain, he'd sneak into the hall. But he would be real still. One day there was a rabbit ran across the yard and Jack saw it. Of course he started to run it. And that rabbit didn't do a thing but run through the hall and clear around our schoolroom. And when the kids saw it a-hopping in they just stood up and yelled! But that wasn't all. I guess Jack would have caught that rabbit all right if it hadn't been for teacher. She was writing our lesson on the blackboard, and so she had her back to the door. Of course she couldn't see the rabbit. That is, she didn't, even if Tommy Graham does say she has "eyes in the back of her head." But she heard the noise all right, and she whirled around and said : " Chil- dren, down in your seats this minute ! What is the mat- 34 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN ter with you anyway ? Down, I say ! " Then down she went! Jack came along just then and he just knocked her over flat. And then he got all tangled up in the sash she was a-wearing, and he tore it. And then he lost track of the rabbit. For when he got loose it was gone. But he didn't care half as much about the rabbit as the teacher cared about him. Mad! That teacher was madder'n a wet hen! " William Frazer Jones, you and your dog are excused ! And you need not come back until you can apologize, and until you learn that school is no place for dogs I " And she just " rose up in her dignity," as Sis says Auntie does sometimes, and she shut her mouth up tight. And so I whistled to Jack and just scooted 1 I had to walk home, but I didn't mind that. I hated to explain to Mother and Dad though, I can tell you ! But Dad didn't lick me though. He just said that I had to apologize to teacher for Jack, and that I must see that Jack did not go to school with me again. — What's that ? Oh, yes, of course he wants to go a lot of times, but I just say, " No, Jack, just go back, you cannot go." And he minds ! Oh, he stands by me, he does, and I stand by him. We are both good, and both bad, by spells. But we always stand by each other. I tell you Jack and I are friends ! MONOLOGUES J% MY UNCLE JOHN! {Five minutes) (Monologue for boy) (The boy enters carrying his cap, he waves cap in air, and begins to speak.) Hurrah ! I say, hurrah for my Uncle John ! He's the kind of an uncle to have. He came out to our house to-day, and he asked my mother: "Where's James?" And Mother told him I was playing out in the back yard with Billy Bailey, Then he told her to call me. But of course I didn't know he was there, and so when Mother called : " James, oh, James, come here, I want you," I was just mad all over. I said to Billy, ** Oh, I just bet you she wants me to take my bath or something like that. Gee! mothers make me tired. I wish I didn't have to go ! " Then I decided to pretend that I did not hear. But she called again, " James, come here this minute or you'll be sorry ! " just like she meant it that time. I answered, " Yes'm, I'm coming as fast 's I can." Then I went just as slow and as slow as I could to the house. But when I saw my Uncle John I hurried up, I can tell you. Uncle said, " I am looking for a little boy about your size to go to the Zoo with me." Then I just shouted, and I didn't even complain when Mother made me wash my neck and ears. Well, we went ! My Uncle John is surely great ? We saw all that Zoo, I just know we did ! The lions roared something fierce to-day. And the tigers seemed on a rampage too. Uncle said. Then when we reached the snakes, and the alligators and the hippopotamuses that were there. Uncle stopped and told me 'bout how they 3$ RECITATIONS, DRILLS AND PLAYS FOR CHILDREN live in their native state, and I enjoyed it heaps more than I ever did before. Then, of course we fed peanuts to the elephants. But , the best of all, Uncle got the man to let me ride on one of them. I had begged and begged Mother to let me ride on one when she took me, but she said, " Oh, no, James, dear, you might get hurt. Come on away, now, that's a good boy." Humph! Women make me tired. What fun is it to go any place with a woman anyway? I told Uncle about it, and about how Mother would not let me ride. And I said it wasn't any fun anyway when a woman was around, and asked him if he thought it was. He just laughed and said, " Well, James, sometimes it depends on the woman. But more often it depends on the age of the man. Now, you see, I am older than you, and there are times when I rather like to have one woman around ! " Now, what do you suppose he meant by that? Do you really suppose he is going to marry that Miss Mabel Morris, I've seen him with so many times lately ? I hope he is not. Maybe then she wouldn't let him take me to the Zoo again. Most women don't let you do anything you like. So I've noticed! At least Mother doesn't. But of course I have to stand it from her, because she is my mother. But on the whole, I guess I don't care much for women! And I'm just a lot disappointed that fny uncle does. Last of all we went to see the monkeys, and oh, such fun as we had. Uncle John laughed as much as I did. They hold their heads so funny, when they look at you. Sort of sideways it is, like this — (Imitates.) We surely did have a grand time. Uncle said we would go again sometime. Gee, he's great, he is ! Don't you wish you had an uncle like my Uncle John? ( Goes off whistling. ) MONOLOGUES " J7' THE FINISHING TOUCHES {Four minutes) {Monologue in child dialect) {Character: A small boy, getting ready for school.) Where's my cap, anyway? Mamma, Mamma, do yoii know where my cap is ? — I did put it where it belonged — ■ yes'm ? I'm sure I did. But it isn't here. (Looks about, stoops and picks up cap from floor. Calls.) I've foilnd it. Under the stand. I don't see how it got there, for 1 know I put it where it belonged. — Ma'am? — Yes'm, it^s clean. I am sure of it. I washed it yesterday. What more do you want? — No'm, I didn't aim to be rude. — Can't I go now? — Oh, I haven't time. (Goes to r., pouting.) Oh, well look then. (Holds head first to one side and then to the other.) Oh, it don't need washing. Please, Mom, let me go. I'll be late if you don't. Here's for it then. (Splashes water on face and neck with hands.) No, I don't need any old wash-cloth and soap. It isn't that dirty, I know. All soap's good for anyway is to get into your eyes and make you cry. — Oh, but I'm in a hurry. — Well, hand it here then. (Imitates hurried washing with soap.) Where's that towel? (Eyes shut, holds hands in front of him as if feeling for towel.) Jolly ! that old soap did get in my eyes. What did I tell you? (Dries face.) Now, I just bet I'm clean. Where did I put that cap ? Oh, here it is. I'm off now. Good- bye! (Starts, comes back.) Ma'am? Come back? What for? I'll be late to school if I do not go right this minute. — Well, look ! — Not clean ! Oh, Mom, you're not going to try and wash it again, are you ? My neck don't show so awful much anyhow. But I have my collar on. (Turns head as if holding it to be washed. Fidgets, and draws away. ) Ouch ! Goodness, Mom, don't take all jS RECITATIONS, DRILLS AND PLAYS FOR CHILDREN the skin off. Look out, now you did get that old soap all in my eyes. (Cries.) That's too hot! Look out! I'll just bet you did take the skin off, too. (Stands on one foot then on other, and fidgets more than ever.) Well, you had better hurry up, that's what ! If you do not want me to get a tardy mark. — It's clean, now, is it ? Well, then hand me that towel and I'll get it done in a jiffy! (Uses towel, then once more picks up his cap.) I'm off now for sure. My neck won't have to be scrubbed again for a week, will it ? Oh, it won't either. I never could see what difference it makes anyway. Grood-bye, Mom. (Goes to entrance, then calls as he leaves stage.) Tommy. Tom! It's school time. Come on. Ain't you ready yet? Tom-my! MONOLOGUES 39 THE SKATING CONTEST The ice on Crystal Lake lay clear and sparkling in the sunlight. It was on an afternoon in late February, and all the boys and girls of Old North High School were on the ice. At least it seemed like they were all there. There were so many of them. The lake was just gay with red, yellow, green, blue, and oh, all colors of tobog- gans and sweaters. And the air was full of happy laughter as the skaters glided swiftly by. Then I noticed a merry group of boys and girls coming up from the other side of the park. And then this yell broke out upon the air : "Rah! Rah! Rah! For Clifton Heights! What's the best school of them all? Clifton Heights, Hurrah ! " But this yell had scarcely died away, when from the ice I heard the answering call of Old North High : "Hip! High! Hullabaloo! Old North High's the school, that's true ! It's the best school of them all ! Old North High ! " Two of the Clifton Heights boys and girls now put on their skates and approached the lake. A tall youth from the same school stepped up with them, and called forth this challenge to the skaters already on the ice : " Clifton Heights challenges Old North to a skating contest. Choose your four best skaters, and the race is on. We are ready, are you ? " There was a short, quick conference on the ice. Then all but five of the North students came ashore. One skated close to the challenger from Clifton Heights. "Ready? Yes, Old North's ready! Bring on your skaters. You may be the starter." 40 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Then the four skaters from Clifton Heights joined hands and lined up beside the ones f rotn Old North. " One, two, three ! Ready ! Go ! " called the starter, and away they flew. Gracefully they swayed together. Their bodies moving in perfect rhythm. Both teams were made up of excellent skaters, used to team work. Faster and faster they went. They became almost specks in the distance as they rounded the other side of the lake. The yell: "Rah! Rah! Rah! For Clifton Heights I Rah ! " was answered by : "Hip! Hip! Hurrah! Old North School! Hurrah! HUrtah!" Then the yells were forgotten as they became more excited over the finish. The cries were now from in- dividuals, and each team received its share of encourage- ment. "Old North's ahead!" " No, Clifton is. See there! Rah for Clifton!" " Old North is gaining ! Hurry, Dolly, Fred, Bill, Jane, hurry! Catch *em. Race *em! That's it! That's it! They're up with them." *'No, Clifton's still ahead! They're turning the last curve. They are almost here. Oh, look out, Clifton, don't lose out ! Hurry ! " " Old North's ahead ! Old North is gaining right along ! Did you ever see such rhythm as that ? They're almost here! they're still ahead! Yes — no, — yes, yes, they are ! Old North has won ! Hurrah ! Now, all to- gether, ready, go ! " And as I left the park, I heard once more the yell of the victorious North High : "Hip! Hip! Hullabaloo! Old North High's the school, that*s true ! Old North High!" MONOLOGUES 4i tHE GARDENS (Eleven hundred words) Once upon a time, there lived in the "Garden of Tears " a wee, httle bit of a girl. She was almost as tiny as a fairy. In fact, seeing her sometimes dressed in a dear, little, fluffy, white dress, one might really take her for a fairy. She was so pretty, too. She had golden curls, and they fell around her dainty little face. On, she was as pretty as a little fairy. But she was not one. She was just a little girl about the same as other little girls. Oh, no, she was not quite the same as other little girls either. She cried too much. Sometimes her mother would say to her : "Why, Anabelle, you cry so much. I think you are not my little girl at all." " Why, Mother, you know I am your little girl even if I do cry. Don't I live in your house? " But her mother said : " Sometimes you do, and then you are my little girl. But when you are naughty and cry, why, then you are not my little girl, for you live in the * Garden of Tears.' " Now, Anabelle did not understand what her mother meant. She went out into her mother's pretty garden, and tried to think what she had meant. But she soon gave it up, and began to play with her dolly. She had pinned her dolly's dress the night before. So when she picked her up, the pin pricked her. It was only a tiny, little prick. It really did not hurt very much. But Anabelle did not like even a little prick. So she cried loud enough and long enough for a real hurt. Her mother did not come to comfort her. Anabelle cried so much, and her mother could not be running all the time. And this time she cried until she fell asleep. 4.2 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Then a dear little fairy came and touched her on the arm. " Oh, Anabelle," said the fairy, " aren't you ashamed of yourself? You know you did not hurt yourself very much. You just wanted to cry, that was all." " I did not ! " said Anabelle, and started to cry again. But when she looked up, and saw it was a fairy there by her, she hung her head. She was ashamed for once in her life. She had been rude to a fairy ! " Come with me, Anabelle," said the fairy. " I have something to show you." Then she waved her wand, and carried Anabelle away with her to another garden. This was a beautiful garden. But it seemed so sad in some way. The trees did not hold up their heads. They drooped until some of the branches almost touched the ground. " Why, all the trees in the garden are Weep- ing Willows," cried Anabelle. There were many flowers but they all seemed to be drooping, and ready to cry. The fairy pulled a pansy blossom and handed it to Anabelle. But instead of the dear little face she had often seen on the pansies in her mother's garden, this one had a wry, little, puckery face. " Why," said Ana- belle, " even the pansy wants to cry." And then they saw children playing among the trees. But soon they stopped playing, and some of them would burst into tears. Then, after a few moments they were all crying. " What are they crying about ? " asked Anabelle. " How foolish, when they might be playing." " Oh," answered the fairy, " I thought perhaps you could tell me why they all cry. You know them all, you see. You have lived here for some time. This is the Garden of Tears, you know." " Why, I do not live here," said Anabelle. " This is not my mother's dear garden. Oh, I know now where I am. I know what Mother meant now." " Do you think you'd like to live in this garden ? " asked the fairy. Anabelle shook her head. " No, oh, no. I do not like MONOLOGUES 43 it at all, here. Please, oh, please take me home." And before she knew it, Anabelle had begun to ci*y. " Not if you cry," said the fairy. *' This must be your home if you do. — Oh, you have stopped, have you? That's good. Now you wait a moment. We are not ready to go home just yet." Once more the fairy waved her wand. And now Anabelle clapped her hands and danced for joy. " Oh, dear fairy, how grand this is. How lovely. Look at those trees, and those flowers ! They all seem so happy. The sun must always shine here in this lovely place. Look at those children. There is no one crying here. What is this place? May I live here always? I love it so ! " " This," said the fairy, " is the Garden of Smiles. -You may live in it if you want to. Every little girl and boy may live in it. It is in your own heart you find the flowers of happiness. And your face always shows bright and happy when you live in the Garden of Smiles." Anabelle sat up, suddenly. She rubbed her eyes sleep- ily. Then she looked about for the fairy. But the dear little fairy was gone. " She must have been a Dream Fairy," said Anabelle. " I wonder whatever made her come to me, anyway ? Oh, there's my dolly ! I know now. I pricked my finger and I cried." Anabelle looked for the pin-prick. It did not even show. For just a moment Anabelle puckered up her face, ready to cry. It did not hurt. But it was the thought. Then she remembered the puckery face of the little pansy the fairy had shown her. " Why, I almost had a face like that pansy." Then Anabelle laughed. " What did I ever cry over such a little thing for? No wonder Mother said I lived in the Garden of Tears. I'm ashamed of myself." She ran into the house and called her mother. " Mother, oh, Mother, I'm moving to-day." " Moving ? What do you mean, Anabelle ? " asked her mother. " Out of the Garden of Tears, Mother, and into the 44 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Garden of Smiles. I'm happy inside, so I can smile. I like the Garden of Smiles, Mother dearie. Can you tell from my face that I am moving to-day ? " But her mother never answered. She just went to Anabelle, put her arms around her and hugged her hard, oh, so hard ! THIRD PART DRILLS FOR CHILDREN TIN SOLDIER AND FRENCH DOLL DRILL {Six boys and six girls.) (The boys are dressed as tin soldiers, and carry tin swords, in scabbards. The girls are dressed as French dolls and carry small closed parasols.) Directions (r., right of stage, l., left of stage, c., center, B., boys. G., girls.) Drill Girls are on stage when curtain rises, standing stiffly erect in this position : — 5 6 3 4 1 2 1. Enter b., single file. {All movements must be stiff and mechanical.) March around stage past dolls, then form straight line at back of stage. G. turn heads toward audience, as b. pass. 2. Boys move to front of stage in a straight line. 3. Salute audience r. hands. 4 counts or beats of music. Girls stand in position, while B. go through drill. 4. R. face, 4 counts. 5. Return to position, 4 counts. 6. L. face, 4 counts. 7. Position, 4 counts. 8. R. about face ( Turn clear around. ) , 4 counts. 9. L. about face, 4 counts. 10. Take swords in r. hands, 4 counts. 11. Touch caps with swords, 4 counts. 12. Position, 4 counts. 13. Forward thrust, as though fencing, 4 counts. 14. Position, 4 counts. 15. Same as 13 and 14, only bend knee as thrust is made. 16. R. face, 4 counts. 47 48 RECITATION^, DRILLS AND PLAYS FOR CHILDRPI 17. Place sword tip between shoulders of b. in front. First B. uses sword as in 13. 18. Position, 4 counts. 19. Same L. face, sword between shoulders of others; position. 20. Salute with swords, 4 counts. 21. Return swords to scabbards. 22. L. face and march to rear, and form straight line, facing front. 23. Girls' drill. G. face front, move to center, then to front of stage, and around to position again. 24. B. move to side of partners, girls move again to c, B. move to and remain where g. have been during their drill. 25. G. move around stage single file. 26. Around stage, in two's. 27 Down c. single file. 28. When they reach the front of stage, i starts to weave back by passing between 2 and 3 ; 2 between 3 and 4 ; and so on. t V^ ^ Movement for 2, following I. ^^ / Others move in the same Movement for I order DRILLS 4Q 29. Single file to front. 30. Around single file and form straight line at rear. 31. Down to front together, halt i 32. Touch parasol tips above heads, 4 counts, i and 3 ; 4 and 6 back of heads ; 5 and 2 in front, thus : 33. Position, 4 counts. 34. Bow to audience, 4 counts. 35. Turn head R., 4 counts. 36. Position, 4 counts. 37. Turn head l., 4 counts. 38. Position, 4 counts. 39. Open parasols, 4 counts. 40. Whirl to R., 4 counts. 41. Position, 4 counts, 42. Whirl to L., 4 counts. 43. Position, 4 counts. 44. Parasols before face, 4 counts. 45. Move parasols to R., and peep from behind them at audience, 4 counts. 46. Position, 4 counts. 47. L. face and march around stage to partners. 48. B. and G. face c. and meet in c. in four's. 49. Halt and g. bow, while B. salute, 4 counts. 50. Around stage in two's. 51. Form two straight rows at rear and march for- ward, in two straight lines. 52. Halt ! Bow and salute to audience, then file oflf single file to r. 50 RECITATIONS, DRILLS AND PLAYS FOR CHILDRIN SANTA CLAUS DRILL (For nine small boys.) (Eight of the boys are dressed in Santa Claus suits. They carry strings of sleigh-bells. A sack of toys is on the back of each one, with a horn near the top of each sack. One boy is dressed like Jack Frost, in white suit, frosted with diamond dust. ) Directions R., right, h., left, c, center, s., start. F., finish. Drill Four enter r., four enter l., single file. March to rear of stage and move forward to c. front in two's. Thus : (Halt and sing the following song, using actions sug- gested, y (Tune, "Coming Through the Rye.") 1ST Verse Have you seen my reindeer, laddie ? (Each looks at partner.) We can't find them now. (Shake heads.) We had put them in their stables. DRILLS 51 (Lines move back to form semicircle, thus:) • f But alas ! Somehow They escaped. We cannot find them, ( Wave R. hands across front. ) Look where'er we will, {Look from R. to L.) And we cannot go to earth Our mission to fulfill. {Put R. hand back to touch top of pack.) 2ND Verse Think you how the little children Will feel when morrow's here, {Look sad, shake heads mournfully.) And no presents from old Santa ! {Drop heads.) They will cry we fear. {Lift heads, rub eyes.) See, we have our sleigh-bells with us, {During the rest of verse shake bells in time to music.) Ready now to go. Soon as some one finds our reindeer. And comes to tell us so. {When song is finished music continues to play a slow march. Boys may whistle instead of having other music, if preferred. A light springy step is used.) 1. March to c, form two's, as before. 2. Lines separate at c, front and move around stage to r. and L. 3. Down c, single file. 52 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 4. Serpent movement across stage, thus : F <- c D D 5. Down c, single file. 6. Repeat 4. 7. Down c, in two's. 8. Separate to r. and l. Double serpent movement, thus : F <- 1 c D C ss g. Down c, in two's. 10. Repeat 8. 11. Down c, single file. 12. Halt in c, first six form thus : >F D DRILLS 53 (7 halts at " x " and jumps on bent knees of 5 oHd 6. 8 mounts on shoulders of 7 — pyramid fashion— and bends over in imitation of Santa descending a chim- ney.) 13. Move to two's in c. 14. Repeat 12. 15. Down c, two's, separate r. and L. 16. Form circles R. and l., thus: 17. Each boy draws a horn from pack in front of him. Move in circles three times. 18. Break circles, down c, two's. 19. Separate r. and l., around stage, turn at back — 20. And form straight lines on extreme r. and l., thus : 21. Blow horns in unison. 54 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 22. Enter Herald, who stands between lines in C. (Herald speaks.) Santa's reindeer now are found. He has sent me for you, his helpers. You are to hasten and make ready for your yearly visit to earth and her children. Herald moves to rear c. Others form semicircle, thus: H (All sing, using same tune.) Our herald now has come to us, Joyful news to bring. Now, our reindeer have been found. Let our voices ring. And we bid you now adieu Till again we meet In your homes this Christmas Eve, To bring you presents sweet. (File out single file to L.) FOURTH PART PLAYS OF VARIOUS LENGTHS FOR CHILDREN LONG AGO AND NOW {Three minutes) {For two little girls) (iST Little Girl, dressed like a child of the long ago, holds a rag-doll in her arms. 2ND Little Girl, dressed in modern dress, holds in her arms a fine new doll.) (iST Girl enters alone, sits on R. of stage, speaks, then remains seated. 2ND Girl enters, sits on l. of stage, speaks.) 1ST Girl Now go to sleep, dolly, Do not have any fear. I will protect you, If Indians prowl near. That was not a war-whoop. Now, dolly, do sleep. What, dear? Why, surely, You will not weep. I love you, dolly, Yes, indeed I do, From your dear rag hea3 To little rag shoe. Those " buttony " eyes Shine black as ink. And really, dear one, You are pretty, I think. That's right. Stop crying. Now listen to me, You be a good dolly, And then you will see — Father will bring you 57 58 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN A nice, cozy skin, To wrap you up snugly And keep you warm in. Now go to sleep, dolly. Do not have any fear. I will protect you, If Indians prowl near. 2ND Girl Now go to sleep, dolly. If you'll be good, I'll take you out riding As I said I would. We'll go in the auto. Won't that be fine? What, dolly, you crying? Now, stop, baby mine. I love you, dolly. Yes, indeed I do. From your curly, blond head To little French shoe. Those eyelids that close. This lovely new dress; You're the prettiest dolly Ever was, I guess. That's right. Stop crying, And listen to me, You be a good dolly. And then you will see — When we are out riding We'll stop at the store, And then we'll have candy And ice-cream galore. Now go to sleep, dolly, If you will be good, I'll take you out riding. As I said I would. (Both rise, meet in c, move to front, hand in hand, bow to audience. Exeunt together.) PLAYS 59 DOLLIES AND GIRLS {Four minutes) (A Christmas Dialogue for two small girls) (One girl is dressed in a dainty dress, fine slippers and socks, large hair-ribbon on curls. She is sitting on a low rocking-chair. In front of her, arranged in a sedate row on two chairs, are several nice dolls. She holds in her hand a book; she is playing school.) 1ST Girl. Now, Mabel, Isabelle and Gwendolyn, you may take your turns at the blackboard. (Waits.) Did you hear me ? — You will not do it ? Why, Isabelle, you will have to be punished for such talk ! You may _sit here on the table by me where every one of the pupils can see what a bad girl you are. (Picks doll up and places her on the table.) Oh, you needn't cry. It will not do you a single bit of good. Maybe you can remember to be good next time. Now, Mabel and Gwendolyn, you must do as I said. (Lifts them and places them on another chair.) There, now, you are at the board, you may do your sums. (2ND Girl has slipped in as ist puts doll on table. She stands at back of stage and gazes wistfully at dolls. She is dressed in ragged clothes, her hair is not combed, her shoes are ragged and there are great holes in her stockings. She carries in her arms an old rag doll.) 1ST Girl (continuing). Oh, I am tired and sleepy. {Yawns.) I guess I'll dismiss my school for to-day. Oh, I forgot to tell you, dollies, to-morrow is Christ- mas, and I'll have the most beautiful new dolly then you ever saw. (2ND Girl opens her eyes very wide and 60 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN gradually draws closer to the other girl as she talks.) She will have beautiful blue eyes and real hair and she is to be dressed like a fairy. She will be able to walk and talk and cry when you wind her up and squeeze her, and — (Jumps up.) Oh, who are you? How did you get in my playroom? 2ND Girl. My maw's doin' your maw's cleanin' for Christmas, and she let me come here with her. She told me to stay in the kitchen. Don't you tell her I came in here, or she'll skin me alive. I saw you through the door and I sneaked in to see your dolls. Say, how'd you know you are goin' to git such a fine new doll for Christmas? Who's goin' to give it to you? 1ST Girl. My father told me to write my letter to Santa, and I might have anything I wanted. So I wrote for the doll. (Goes up to other girl.) Is that all the doll you've got? Why don't you write to Santa for a new one, too ? That doll is not a bit nice. 2ND Girl. I know she's not as nice as one of yours, but she is all I have, and I love her just the same. Say, I'd like to hold one of them of yours. You hold mine and let me hold yours. 1ST Girl {drawing hack). Ugh! Not She's too dirty. Don't you ever wash her clothes ? 2ND Girl. Naw, I can't, and maw, she don't have no time. {Wistfully.) I wish I had a Santa like yours. Maw she said 'twouldn't do no good for me to want any- thing this year, 'cause these were hard times with us and my Santa Claus was poor. What'd you reckon she meant? Wish I had a doll like one of yours. {Begins to cry.) Wish I had, I do. 1ST Girl. Say, do you really suppose Santa will not bring you a doll ? Do you really suppose he will -not ? 2ND Girl I know he won't, 'cause my maw she said so. {Cries very loud.) 1ST Girl {shaking her head sadly). There, don't cry. I wish I could help you, but I do not see how I can. (2ND Girl still cries.) Oh, maybe I can help you, too. {Picks up one of her nicest dolls, studies a moment, then laughs happily. ) Look here, little girl, you can have this PLAYS 6 I dolly of mine, for your very own. You won't even have to wait till to-night for Santa to bring it to you. 2ND Girl {stops crying, starts to take doll, then draws back and shakes head). I'd like to have it, but your maw would never let you give it to me. She'd never 'low you to do that. 1ST Girl. My mother will be glad to let me; I just know she will. She's the darlingest mother ever was, I know. 2ND Girl. No — she wouldn't. Wouldn't no maw ever '^low you to do that. And then my maw, she'd whale me if I took it without your maw said I could have it. I don't want no whalin', I don't. 1ST Girl. You wait and I'll ask my mother. You just stay here. (Runs from stage, calling, "Mother, Mother! " While she is gone 2nd Girl looks about, then walks around touching things lightly and whistling softly as if she had never seen such nice things. She goes over to the dolls and looks from *hem to her own doll, but does not attempt to pick one up.) (1ST Girl enters.) 1ST Girl. Oh, little girl. Mother says you can have her, and that you are to have some candy, too, before you go home. Isn't that fun ! But you'll be good to the dolly, won't you ? Here she is, take her. 2ND Girl. Oh, how I will love her, and I'm going to learn to wash so I can keep her clean my own self. Thanks, I hope you'll get your new dolly. 1ST Girl. Oh, I will, I know. You come and see her after Christmas, won't you? 2ND Girl {nods her head, she hugs her new doll close to her, says " Good-bye,'* and kisses her new doll, then goes off carrying a doll under each arm.) 1ST Girl. Merry Christmas. Good-bye. Now I know I'll love my new dolly all the more to know that that little girl has a nice dolly, too. — ^Yes, Mother, I'm coming. 62 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN MEN AND WOMEN OF AMERICA (Five minutes) {For one boy and two girls, 12 to 14 years of age. ) {Boy, dressed as Uncle Sam, enters, salutes audience and begins to speak.) Boy. I'm Uncle Sam, as you can see. I stand for our countr>-, true, The symbol of freedom, right and trust To be found 'neath our red, white and blue. I stand for our nation's manhood, too. No finer on earth may be found ; We are ready for peace, and we long for peace. But peace only with honor, Vm bound. To the strength of our manhood's valor We pin our faith this day. Our country is safe from oppression's rule When freedom and right hold sway. We are proud of the men of America, Proud of their strength and skill. Proud of their standing for brotherhood, Of their loyalty, power and will. (Enter Girl, dressed as Columbia. She moves to center R. Uncle Sam steps a little to l. Girl ad- dresses audience first.) Columbia. I am Columbia, noble and just, I stand for our liberty, For justice and truth and valor. For peace and humility. PLAYS 63 I Stand for America's womanhood, too, So great, so pure, so true. Were the women left out of our country. Oh, whatever would it do ? (Turns to Uncle Sam.) You stand for our manhood's valor. And I for our womenkind, You're brave and courageous and loyal. And so are your women you'll find ! We now have rights of citizenship; Equal with you we stand. And we'll join in your every endeavor. We'll go with you hand in hand. Uncle Sam. Oh, it's well for the women to help us, But the men do most of it though. Why, what did you do when the war was on To crush tyranny with your blow? Columbia (indignantly). What did we do when the war was on ? Just ask the world, I pray! We helped just as much as you men-folks did, We worked with you day by day. (Uncle Sam turns his back on her.) Our women were close to the battle-front. They knew the screech of a shell. But they swerved not from their duty. And that you know full well ! (Turns her back on Uncle Sam, scornfully.) (2ND Girl enters. She is dressed in white, and wears a shield with the word Liberty printed on it. She carries a large flag. Stepping to center, she looks first at Uncle Sam and then at Columbia and then back to Uncle Sam. She looks bewildered.) 64 recitations, drills and plays for children Liberty. Dear Uncle Sam and Columbia, too, Why do you stand like this ? I am surprised at you, bold Uncle Sam, And also at you, my Miss. We stand for liberty, and peace. May peace be with us alway — But how can it, if harmony Is not among our own to-day? Uncle Sam, I know you are loyal And good and brave and true. (Uncle Sam Hirns and faces her.) We know that we owe so much we have To our country's manhood — to you. And as for you, dear Columbia, We well know what you can do. We know our country could not exist Without her womanhood, too. (Columbia smiles and turns around.) Now, Uncle Sam and Columbia, Such things we cannot stand, As discord and strife in our ranks to-day, We're bound by too strong a band. We're bound by the- ties of liberty, Of justice, right and truth, And we need all our men and our women, Our old age as well as our youth. Join hands now in mighty union. You men and women of our land, {They join hands while Liberty waves flag over them.) For when we unite our efforts, We form an invincible band. All hail now to America's strength, Her noble protectors true. For each one of us is needed. To protect the red, white and blue. CURTAIN PLAYS 6S FOR OTHERS (Four minutes) (Dialogue for two little girls. Appropriate for a Mis- sionary Society.) (Girls enter carrying dolls in arms. They sit in chairs at R. and l.) Madge. You know, Jane, I think I have the prettiest dolly in all the world. How do you like this new dress on her? (Holds up doll.) Jane. Oh, I think it is lovely. But I think I have a pretty doll, too. And I have made her a new cap. How do you like it? (Holds up her doll.) Madge. It is lovely. I wish I had one just like it. Oh, I know what I can do ! My uncle gave me one dol- lar yesterday, and told me to use it for anything I thought would make me happy. And so I am going to get my doll a cap just like yours. Jane. Yes, do! And I will help you make it. My father gave me fifty cents this morning to buy me some- thing I want. I think I'll buy candy. I never get enough of that. I'll give you some of it. Madge. That will be fine! I think we are lucky to have nice things like we have. I saw Margaret Ellis the other day, and she had her doll, and it was all ragged, and Jane. Yes, I sav/ her, too. I thought she would have been ashamed to carry around such a doll as that. I would, wouldn't you? Madge. I used to think I would. But when I told Mother about it, she said that I should not say such things. That Margaret Ellis was a very poor little girl, and that we should never make fun of others who have less than we have. 6h RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Jane. Oh, Madge, I never thought of that. All I thought of was that her doll was ragged and old. I'm sorry now. And, Madge, have you noticed her dresses? They are as old and worn as her doll's. Madge. Oh, yes, I have. And when Mother told me about why she had to dress so, I felt so ashamed and sorry I had laughed at her doll. They are very, very poor. Jane. Tell me about them, Madge. I'd like to know. Madge. Do you know where they live? Jane. Yes. In a little tumble-down cottage way out on Grace Street. Madge. Yes, that's it. And there is such a big fam- ily of them, all crowded into that little house. Their father's been sick and they haven't hardly anything at all. And Mother says that sometimes they do not even have enough to eat. Jane. Oh, Madge, really? Madge. Yes, isn't it dreadful? And Mother says there are lots and lots of little children just like that all over the world. In China and India, sometimes, they have famines, and little children starve to death. Jane. Oh, Madge, I wish I could help them some way, don't you? Madge. Indeed I do. I wonder if there is any way little girls can help ? Jane (thinking). I do wonder if there is. Can't you think of a way, Madge? Madge (jumps up and claps hands). Yes, of course there is a way. Mrs. Black told me there were some little girls in our church who belonged to a society called — oh, what kind of a society was it anyway? Jane (jumping up too). Oh, I know! It is a mis- sionary society. But I didn't know it really helped to keep poor little girls from starving. Little girls like Margaret Ellis, you know. Madge. Mrs. Black says they do. And I am going to join this society and help do my part. They tell the heathen children about the church and about Jesus, too. Let's both join, Jane. PLAYS 67 Jane. Yes, let's. And I am going to give my fifty cents. I don't need candy like they do food. Madge. And I can give my dollar. That would make me happier than to buy a doll cap. For I don't need the cap anyway. My doll can wear her old one. But come, are you and your doll ready to go? Jane. Yes, we are all ready. Madge. Well, then we will go and tell our mothers we are going to join the mis-mis-mis Jane (laughing) . Oh, Madge, you never can remem- ber that word. The missionary society. Madge. Thanks. That's it. The missionary society. Come on. Jane. All right. Let's hurry up. {Exeimt arm in arm.) ^8 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN " LAUGH AND THE WORLD LAUGHS WITB YOU " Three small girls. Time: Five minutes. Scene: A city park. (iST Girl enters r., laughing. She is dressed in a play-dress and is dragging a little toy dog after her. Goes to c, picks up dog and speaks.) 1ST Girl. You're the dearest doggie ever, Yes, you are. I love you better than any live one, Yes, by far. You cannot bark — bow-wow — I know, What care I ? If you cannot bark, my doggie, neither Can you cry. (Whines.) Oh, Fm very happy, doggie (Laughs.), Indeed I am. Come along, we must be going. Careful, Sam! (Places dog on floor and starts l., meets 2ND Girl, who is dressed much like the first, and is carrying a rag doll. ) 2ND Girl. Oh, Mabel, how are you, my dear? And how's your dog to-day? I'm very glad I met you here As you went upon your way. 69 iST Girl. Yes, Vm glad to have met you, too, Of course I am. (Picks up dog again.) Don't you bark so at that dolly, Naughty Sam! (Barks.) You aren't very nice now, are you ? You be good. (Slaps dog.) I'd hate to have to slap again, Indeed I would ! (To 2nd Girl.) You have such a nice new dolly. She's a dear. Oh, no, he won't bite your dolly, Never fear. 2ND Girl. Yes, I love her very much. She is so good to me. And I do not care one bit because She is not a raging beauty. At first I cried 'cause she was rag. When I wanted a nice one so ! But I quit crying when Mother told me It was better to laugh, you know. 1ST Girl. What did she say about laughing? I'd like to know. I can laugh. I try to. But sometimes it's Hard, you know. 2ND Girl. Why, she said that when I laughed. The other girls would laugh, too. And she said that if I cried They wouldn't like me though. For that the ones who liked to laugh Made more friends every day; But no one liked the ones who cried, So crying didn't pay. yO RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 1ST Girl. I like that kind of talk, I'm sure. Indeed I do. Come, let us walk. You are a happy girl, I like you! {They exeunt l. as 3RD Girl enters r. She is dressed in a party frock, and is pushing a doll's go-cart, with a lovely doll in it. She stubs her toe and nearly falls, begins to cry, and throws herself on floor.) 310) Girl. I hate every one of them, I do. Nurse, she's mean to me. Made me dress in my best clothes, And go to that old party. What do I care for parties? I don't want to go. And I won't. I'll show them That they can't boss me so. (Cries angrily.) 1ST Girl (entering l. with 2nd Girl). Yes, it's to be a big party, Lots of fun. Sometimes I wish that I could go, Just to one. (Wistfully.) But I'm just not a-going to cry. Not a bit ! For what good would crying do me? Not a whit! (Laughs.) 2ND Girl. No, it would not help a little, Little, tiny, tiny bit. If we'd cry they wouldn't Invite us to it. Guess we haven't got the dresses That it takes to go. But some way I don't care so much, Since I met you though. 1ST Girl (starting forward) . Why, what's the matter here? Why, my dear. Whatever could have happened to Cause that tear? 3RD Girl (jerking away). Let me alone. You cannot help. And I don't want you here with me. I'm crying because I don't want to go To that old mean party. (Cries louder.) 2ND Girl (looks at her with disgust). Come on, let's go away from her, A touch-me-not is she. It's just as Mother said about the crying. Come on, and let her be. 1ST Girl. Oh, no, that would not be right at all. So I'll stay. And see if I can't help her a little In some way. Listen, little girl, and I'll tell you a joke; Listen to me. You are crying because you must go To that party. (3RD Girl looks up hut keeps on crying.) And this little girl and I would Like to go To a party very much. But we Aren't crying though. We just laugh, and play with her doll — See, it's rag, — And my puppy — it isn't real — but we All play tag. And we forget about the party where We couldn't go. And we laugh instead of crying. It's better so. 72 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN 3RD Girl (interested). Oh, don't you ever cry ? (iST Girl makes her dog hark at 2ND Girl's doll. 3RD Girl laughs.) 2ND Girl {as she and isT Girl help 3RD Girl up and straighten her dress). My, what a pretty, pretty dress. You ought to laugh, you see. How could you ever cry like that In all this finery? 3RD Girl. I do feel better, thank you. I didn't want to go, . But they made me. I must hustle Or I will be late though. {Laughs.) That's a funny little doggie. And you're funny girlies, too. 'Cause you laugh instead of crying. Guess I'll try to be like you. {Claps her hands.) Oh, I know what we will do. I'll have a little party. You bring that doggie and that dolly, To-morrow afternoon at three. To my house and we'll all play And be happy. Come, won't you? Nurse won't care. And Mother Will be glad to help me, too. Oh, I'm so glad I met you girls. I'll laugh now instead of cry. Don't forget to come to-morrow. {Pats dog and laughs.) Dear little girls, good-bye. [Exit, L. 1ST Girl. Oh, I'm glad she is so happy, Aren't you? And we are going to a party Just we two. {Claps hands.) PLAYS 73 2ND Girl. Oh, I'm glad my mother taught me It's better to laugh than to cry. 'Cause laughing made her ask us to her house. See you to-morrow, then. Good-bye ! {One goes r., one l. At entrance they turn and throw kisses at each other, then run off.) CURTAIN 74 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN REAL AMERICANS ALL {Thirty minutes.) (A play for Eighth Grade children. Five scenes. Twenty-nine or more children.) SCENE I The Pilgrims SCENE. — An indoor cabin. Crude furniture. An old gun standing at r., another on wall. (The characters are Pilgrim Father, Pilgrim Mother, Girl, Boy, and Indian; all are in cos- tumes of this period of history. The Mother is seated on r. spinning or knitting. Girl and Boy on L. The Girl is playing with rag doll; Boy whit- tling. ) Mother. What are you doing, children? YouVe been quiet there so long. (Looks L.) Ah, you are just playing. I wish Father would come along. Run to the doorway, children, And see if he's hereabout. I'm always afraid for your father Since there are Indians close about. Boy. Why, Mother, you know the Indians Never quarrel with us, nor fuss, It does not seem right to fear them. Doesn't God take care of us? PLAYS 75 Mother. Yes, son, but Indians are cruel. And they might at any time. Come to our cabin in anger. So I fear them, children mine. Girl {at door). Oh, Mother, I see some one, Hiding behind that tree. Come here quick. For, Mother, I want you and John to see. (Mother and Boy run to door.) Mother. Yes, it must be an Indian. And he doesn't act just right. He doesn't come up hke they usually do. But sneaks like a thief in the night. Girl. Oh, Mother, he saw us, I know it. But now he's gone away. Perhaps he's gone on home again, And he won't come here to-day. Gone? No, there he is coming, I think he acts sneaking, too. Oh, Mother, if he's on the war-path, Whatever will we do? Mother. Stand there by that gun, Johnnie dear. Baby, hide behind that chair, For they are very dangerous when They their war-paint wear. {Enter Indian, war-paint on. He scowls, then stands zmth arms folded.) Mother {not betraying fright). What can I do for you? (Indian remains motionless.) Are you hungry? Here is bread to eat. {Cuts a loaf in half.) Help your- BOY. 76 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN self. You are welcome. (Indian snatches a half -loaf ^ eats ravenously. Mother brings him an old gourd filled with water.) Drink! Indian {ceases to scowl, snatches dipper and drinks. He rubs his stomach in a satisfied way, then grunts.) Heap good! More! {Snatches other half of loaf of bread, rushes out.) Mother. Oh, children, come and help me. We must fasten the door tight. He might come back with others, And it will soon be night. Girl (running up to Mother and catching her skitis). Oh, Mother, where is Father? Why doesn't he come soon? Oh, do you think they've killed him? He said he'd come at noon. (Cries.) Mother. There, dear, there. Don't cry. Mother's girl. It will be all right. Boy. Why, Sister, quit that crying. God will take care of you. Mother has much to worry her. Please be a good girl, do ! (War-whoop sounds far off. A shot, then another. Mother bends head, and clasps hands in prayer; Boy picks up gun; Mother takes down other gun. Girl hides behind chair; there is a knock on door.) Father. Open the door. It is I, Thomas. It is I, your father, children. Open the door. (They put guns down and joyfully open door. The Father enters, kisses wife, pats Boy on head, sits down with Girl on his knee.) Girl. Oh, Father, we are glad to have you back. We were so afraid of the Indians. Please don't go away again. Father. PLAYS 77 Boy. Father, what was the noise? We heard the shots and the war-whoop. Was there a real fight? (The Boy stands by his mother, who has seated her- self.) Father. We had just finished our hunting trip. And were nearing home again, We had hoped to be here much sooner, But we couldn't get here. Then, We had seen some signs of Indians, — Out on the war-path, too — Then I longed for home, and wanted Very much to get back to you. We had to come so slowly, And as we came nearer home, you know, We saw fresh signs of the Indians, It was plain to us then, though. Which way the band was headed; We knew they were headed here. Towards our own little village. And our hearts turned sick with fear. But we had the strength of many Given to us right then. And we circled around them, just as some scout Returned to report to them, That the village was without protection, That we men were all away. Just then their war-whoop sounded — But they found us in their way. We were between them and the village. And they did not try to pass. When They heard our guns belch thunder, They had enough of it then. They took to the woods and were gone. Thank God we reached home to-day. And we are all safe, my loved ones. Come, children, let us pray. {All kneel as curtain closes.) 78 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN SCENE II Colonial Days SCENE. — A candle-lighted room. Old furniture. Every- thing stiff and prim. (The characters are two small Girls, one large Boy as Father, one large girl as Mother. One negro girl as servant. The costumes are of this period.) . Mother (alone, patching). Oh, that this cruel op- pression would cease. King George is so veiy unkind. He has done so much to trample us down. But he cannot keep us there, he will find. He placed a tax on so many things. And made them far too high. He lost in that attempt to rob us. He will lose in other things by and by. (Enter Girls.) 1ST Girl. Mother, isn't it late for tea? 2ND Girl. It surely must be, Mother dearie. For I'm hungry as can be. And you have the candles, Mother. Mother. Yes, dears, it is long past time. But as your father has not come yet, we will just go ahead and have it served. Call Mary, please. 1ST Girl (running to door). Mary, oh Mary, Mother says to serve tea, now. (Enter servant, with tray. Sandwiches, cakes and so on.) 1ST Girl. Mother, why do we still say "tea" when we cannot have tea anv more ? 2ND Girl. I'll bet King George has his tea all right. I hate him, I do. PLAYS ^9 Mother. Hush, dearie. You must not speak like that. I am in hopes we will have better times again some day soon. 2ND Girl. Please tell us about that Tea Party at Boston again, Mother. Mother. All right. You may go, Mary. ( The children eat a sandwich, as Mother talks.) I want you girls to learn this story by heart. King George of England, as you know. Rules these Colonies, too. But he is not kind to his subjects here. And we are tired of it, that's true. He will not have in Parliament Men from our own shore. But he cannot tax us enough it seems. So he's always asking more. Our men have decided once and for all. That that would just slaveiy be ; That taxation, without representation. Is only tyranny. So when that ship arrived with tea They wanted that tea very much, But they wanted more to be a free people And that tea they would not touch. So as Indians they went to the shore. And climbed aboard that boat, And emptied the tea into the harbor — All of it was set afloat. 1ST Girl. Well, Mother, I cannot say I exactly un- derstand what it all means, but I don't want any of his old tea now, anyway. 2ND Girl. Neither do I. Oh, I hear Father coming. (Both run to door and take his hand as he enters.) Father. I am glad you did not wait lunch. Mother. You were so late and the girls were hungry, so I had it served. I will have sonie more brought in. 80 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Father. No, dear, there is plenty here for me. I am not hungry. Children, run out and play. I want to talk to your mother. [Girls exeunt. Martha, there have many things Been happening, as you know. Since the Boston massacre Nearly five years ago. We have been crushed and beaten down ; Our Colonies are not free ; And we have found we can no longer Stand England's tyranny. So at last the hour has sounded For us to act — ^not talk, — And we will fight to the bitter end. We will not be the mock And fun of other nations, But we will be free men. We'll stand; we'll fight till freedom Shines from the sky again. (Straps on a sword, takes it from scabbard, raises it in salute. The children enter and stand R. and L. Negro enters and stands with bowed head.) Mother. Oh, Father, how I dread it, War is so cruel to all. It means that each must suffer. But if there has come a call For men to fight for freedom, The women and children, too. Must do their part as bravely. So we will stand with you. Father (who has sheathed sword, now puts his arm around Mother. Children stand r. and l. of them), ril fight with the men in the battles, And will hear the cannon's roar. But, for you, my loved ones, I dread the war, For you, I dread it more. 8i But the God who rules above us, Will guard and keep you, I know, While I am away in the fighting, So I am willing to go. For God is with the cause of Right. Hell help us victory to win, And bring us a happy country From out the battles' din. Mother. We'll pray for you, won't we, children? {They nod.) When you are far away. And God will keep you safe and well. And bring you back some day. Negro {stepping forward). And 'deed and I'll pray, too, Marster, God'll hear eben me. Come back soon and tell we-alls Dat dese Colonies am free! CURTAIN SCENE III {Negro Scene, Civil War Period.) SCENE. — A cotton field: easily arranged by nailing small dry branches of trees to strips of board, and to the branches tying bits of cotton. These boards are placed in rows; about three or four will be enough. The characters are four negroes — two girls, two boys — picking cotton. One small negro boy, one small negro girl are playing in front. The costumes are those used before the war. {As the curtain rises the four large ones sing " Swanee River," while they work. When last verse is sung they leave their work and move to front of stage. 82 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN swinging and swaying to music. As an encore, one verse of " Dixie '* may be sung. Children in front begin to quarrel,) Boy (giving girl shove). You gwan 'way and gib me dat doll. Girl. You gib me back dat doll. Hit's mine, I tells you. You heah me! Boy (tearing doll apart). Huh! Tain't nuffin' but an ole co'n-silk doll, no-how. Girl (crying). Mammy, you come back heah ! You come heah. (Mammy catches boy, who has run to R. Others look on, and laugh.) Negro (who is watching at L. during the above), Oberseer's comin'. Come on, he's purt nigh done heah. (All rush back to work.) Voice (off stage). What do you mean, you fool niggers? (Cracks a whip.) Any more fooling round here and some nigger's going to feel this whip. (All glance fearfully off l., then fall to picking.) CURTAIN SCENE' IV (Civil War Period, continued) SCENE. — A sitting-room. Northern home at the close of the .war. The characters are a Northern girl and boy. Southern girl, negro girl. The costumes are of the Civil War period. (Two Girls are sitting in the room, sewing. Enter Boy, limping and carrying his arm in a sling.) Maude. Oh, Harold, you should not play you are a ?LAYS 83 wounded soldier. If you had been just a few years older, you might have been in this dreadful war, and really been wounded. Boy. Oh, I wish I had been big enough to have passed in. You bet I'd have gone. Clarence was only four years older and he got to go. Wish I was big as he was. Maude. Mother and I are very thankful you were not. You see we just have to have one man around the house. Take off that sling, Harold, please do. It gives me the creeps. Harold. All right then, here she comes off. I wouldn't bother you for the world, Maude. (Pulls off sling, drops limp, runs across to Girl at R.) Hello, Sarah, and how's the little rebel to-day ? Sarah. Please, do not call me such names, Harold. And, anyway, you know I would rather be a rebel than to have to mind old Abe Lincoln like you No'therners have to do, so there! (Stamps foot.) Maude (coming across room). Now don't tease Sarah any more, Harold. When Uncle Fred sent her North to us to keep her safely out of the war zone, we promised Father we'd be good to her. We have learned to love each other in spite of the fact that we do not agree about the North and the South, nor about Generals Grant and Lee. Do we not love each other, cousin? I can love her and love the Stars and Stripes at the same time. (Waves a little flag.) Sarah (pulling a small Confederate flag from her belt). And even though I am very loyal to the Stars and Bars of my dear old Southland, I can forget that you are a part of the hated North, for I love you, dear cousin. (Puts arm around Maude.) Harold. Forgive me, Sarah. I ToPSY (rushing in and throwing herself at Sarah's feet). Good land. Miss Sarah, honey, Ah's free. Ah is. Dey's a man out on de po'ch, and he jes' done tole me so. (She struts around. Harold rushes off R.) Sarah (haughtily). What are you trying to tell, Topsy ? 84 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN TopsY (paying no attention, starts to sing and dance to a negro melody). Ah's done free, Ah's done free. Sarah (excited). What do you mean, Topsy? Stop that dancing and tell me at once. Harold (enters from r.). Girls, the war is over. The news has just come and Major Harkness came to tell us. Lee has surrendered to Grant. Hurrah ! (Grabs a large flag from stand and waves it.) Topsy. Dat's jest what Ah's done tryin' fo* ter tell you all. Ah's free. Whoopee ! Sarah (sinks into chair at r., tucks flag of Stars and Bars in belt). Oh, we've lost. We've lost. Poor Father. (Cries.) Even Topsy has deserted me! Topsy. Lawdy, Miss Sarah, Ah's a free nigger, but Ah's yourn jest de same. You ain't gwine ter send me away from you, is yer? Miss Sarah, honey. Ah jest couldn^t lib widout you noway. (Bursts into loud weeping and kneels by Sarah.) Sarah. No, Topsy, you may live with me always and always. I couldn't do without you either. And when Father comes for me, you can go with us. (Topsy rises and goes to r. Maude and Harold go to Sarah.) Maude. Don't cry, dear, we love you just the same as ever. And now this old war is over and we will not have to quarrel about it again. And our fathers will come home and we will be so much happier. Harold (coming up behind the girls and holding large flag over their heads). And now we have the same flag once more. The two flags will be blended into one again. Oh, I'm glad, glad! Girls, take your flags out — both of them. Now stand up here. (Girls obey.) Now cross those flags above your heads. See how they blend into this one? Sarah (brightening). Oh, I hate to lose, but since it is all over, I will be a good loser. No daughter of the PLAYS 85 Southland is a coward. And only a coward would fail to bow to fate. I'm glad the horrible fighting is over. And I think in time we'll all learn to be happy again un- der the old banner. All. Indeed we will. TABLEAU AND CURTAIN SCENE V {World War Period) SCENE. — Junior Red Cross Headquarters. Girls about stage, sewing, or knitting. Boy Scout is packing a box. The characters are three Junior Red Cross Workers, one Boy Scout, one Soldier, one Red Cross Nurse, one Salvation Army Girl, one Y. W. C. A. Girl. Peace. 1ST Girl. Oh, I do not see why I could not have been just a few years older. I don't like to sit here sewing old bandages when I might have been in France, helping to bind up some soldier's wounds with them, instead. Td like to be a nurse, I would. 2ND Girl. Oh, I'd like to go overseas, too. I think it's too tame for anything to sit here and knit, and knit, and never get to do anything really worth while. Boy Scout {glancing up from his packing). Oh, I say, you girls shouldn't fuss. Women don't do much in war anyway. But it's downright hard to be a boy and too young to go. I'd surely like a shot at an old Hun, I surely would. 3RD Girl. Oh, you needn't talk. Women and girls are doing a lot in this war. What would the men do without all these bandages, and socks, and sweaters, and all these things, I'd like to know. And sometimes I think we help even more than we know. Salvation Army Lassie {entering). Good-morning, 86 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN all of you. How well you are all looking. And you are doing such nice work here, too. {Examines work of several.) I think the Junior Red Cross is doing a won- derful work. You are a big help to our soldier boys. All. Thanks. 1ST Girl. Yes, but you get to go across the water to help, don't you? I think you are lucky. You can help so much more than we can. Salvation Army Lassie. Yes, I expect to go to help if they send for me before the war is over. But do not think you are not helping. You are, eveiy one of you. You, too, little Boy Scout. Y. W. C. A. Girl {enters while she is speaking). Well, I think you are helping out. Do not think because you are not doing the big things that you are doing nothing. You are doing very good work here, I see. {She examines some of the work, then sits dozmi and begins to write.) Red Cross Nurse {entering). Good-morning, all. Here I find that my busy little bees are at work before me. My, what a help to Uncle Sam are his girls and boys. (She sits at a desk and sorts socks, sweaters, etc.) Soldier {enters and salutes). Busy again, all of you. Good for you. When I get to France I want to think you are here at home backing me up. 2ND Girl {rising and going over to him). Oh, Fred, it seems so good to have you home from camp. 3RD Girl {glancing up). Yes, it certainly does. How long a leave do you have ? Soldier. Only another day. We are to leave for the thick of it, soon, I think. (Bells ring; auto horns toot; great commotion outside.) All {jumping up). What is it? Y. W. C. A. Girl {looking out). There is such a crowd gathering. What can it be, do you suppose ? PLAYS 87 Peace (a tall girl, dressed in loose, floating, white robe, enters. She carries a banner with " Peace " printed upon it). I bring to you the joyful news that you are to have peace once again. The armistice has been signed, and that is what the people are celebrating. All this work is not needed now, and we hope that such things will never be needed again. Oh, that there might be no more war. That peace might reign forever upon this earth. For after all, peace is the most wonderful thing upon earth. You may all stop your work and join the whole country in celebrating this glorious event. (Peace has been standing in c. at rear. Soldier seises flag and stands beside her. Others group in semi- circle on either side of them. All sing a National Air as the curtain falls.) CURTAIN 88 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN THE UNINVITED GUEST (Twenty minutes) (A one-act play for children. Twelve or more children in cast.) CAST OF CHARACTERS Frederick the small host Madge his older sister Mrs. Burton their mother Grace a guest, who recites well Florence a guest Clara guest James guest Harry guest Victor guest Samuel small colored waiter LiLLiE small colored waitress Louise the uninvited guest (These are all the speaking parts. If you care to use more children they may fill in as guests, provided an even number of boys and girls is used. ) Costumes Frederick and Madge, best party clothes. Mrs. Burton, dressed as a middle-aged woman, nice clothes. Guests, party dresses and suits. Samuel, dark suit, flashy red tie. LiLLiE, dark dress, white cap and apron. Louise, ragged dress and shoes, large patches on front and back of dress ; she shows poverty, but is clean and her hair is neatly combed but tied with a piece of shoe-string. SCENE. — A pretty garden scene, arranged for a chil- dren's party, Japanese lanterns may be used, or flags PLAYS 89 and bunting. There are chairs arranged about the stage. Three on r. front and three opposite on l. A tree or very large palm at rear on r. Small table at rear on l. {As curtain goes up, Madge skips in, Lillie and Samuel following her.) Madge {dancing about stage, and looking all around as she does so. Straightens out a chair here and there, then speaks), Lillie and Sam, have you everything ready to serve? Lillie. Yes'm, eberthing done ready. Sam. Deed an' dey is ready, Missie. {Rolls eyes sol- emnly as he assumes a dignified attitude, hands crossed in front of body.) Deed and double dey is ready. Madge. Oh, Sam, please behave yourself. If you do not, I will get the regular help to do this, yet. This is my first time to manage a party all by myself. And I thought rd like to have you and Lillie help me. But if you can't behave, I'll just tell Mother I must have James to serve. Sam. I'll be good. We-alls can manage dis party jest as well as any ob dem grown-ups can. Madge. All right then, Sam, you and Lillie will have to try your best. I do not want to have to call on Mother for help at all if I can do without it. Sam, you are to stand right back of Frederick, and if he receives gifts you are to take them and lay them on that table over there, understand? Sam. Deed an' I does. How old am Marse Fred- erick, anyway? Madge. Why, Sam, you ought to know. How many candles on the cake? Sam. Deed an' I jest forgot to count dem candles. Lillie. Forget, nuffin', he cain't count, dat's what ails him. Dey's twelve, Sam, dey's twelve. He am twelve years old. Think you can 'member dat? Sam. Yes, 'course I can. I knew it all eriong. I jest wanted to find out if you knowed. (Laughs, and so 90 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN do Madge and Lillie.) Guesses I'll hab one ob dese here parties on my birfday, an' see if I can get some ob de gran' presents, too. {Chuckles and turns to Lillie.) What'll you gib me when I does, Lillie ? LiLLiE. A box on the ears, you rascal. I'll gib you one now if you come a-foolin' round me. (Sam has edged his way toward her, and is bowing and smiling at her.) You git away from me, I tells you! Now, you quit dat f oolin', you no-count rascal, you ! Madge (stamps her foot). Sam, you quit that. This is no time for foolishness. Run away, now, and fix the rest of the things to bring in. But wait a minute, Sam. When you have taken the presents you are to take the boys' caps, too. You may take them into the house. Sam. Yes, Miss Madge, I understands. Madge. Well, then, you may go. (Exit Sam to r.) Lillie, you are to bow to the girls like this. (Just give a little bow or bend of the head. ) Then say, " Come this way, ladies, to the dressing-room." Then go with them to my room, and assist them if they need you. I know that is the way, for it is the way they always do at Mother's parties. Now, then, Lillie, what are you to say to them? Lillie. Fse to say : " Come on in, ladies, wid yo' hats." Madge (laughing). No. You must say: " Come this way, ladies, to the dressing-room." Now, try it again. And don't forget to bow. Lillie (making a low, awkward bow). "Come dis way, ladies, to de dressin'-room." Am dat right. Miss Madge ? Madge. Oh, it will do. But be careful. If you make quite such a bow as that, you might take a tumble, you know. (Madge straightens chairs once, moving nervously about. Lillie starts off r., but steps back as Freeh ERICK enters, and stands at rear r.) Frederick. Everything ready. Sis? (Looks around, PLAYS 91 whistles, then puts hands in pockets and struts about stage. ) My, aren't things dandy fine ! Surely does look swell, Sis. I don't believe Mother could have done much better herself. Madge. Thanks, Frederick. But if you keep your hands in your pockets you will not be a very polite host, I am afraid. Now, please try and act a little gentleman for once. Frederick. Oh, don't you worry about my actions. You have plenty to do to watch yourself, you know. (Laughing heard off l.) Oh, here they come. Sam, oh, Sam, come here. Sam (entering from r.). Here I is. I'se ready, I is. How 'bout you, Lillie ? Am you ready, too ? (Edges up to Lillie who draws back.) Lillie. You let me be, I tells you. Madge. Sam, Sam, you let her be. Do you hear me ! Frederick, you stand here by me. (Moves to c.) Sam, you meet them and bow and wave them over to us, like this — (Bows and waves hand gracefully to R.) Lillie, you stand over by that tree and take the girls to my room like I told you to do, then you may come back for the others. Do you all understand ? Lillie. I does, Miss Madge, and Fll get along scrumptuous if dat Sam will let me alone. (Goes to r.) (Enter Grace and Florence. Sam bows very awk- wardly, and waves them to r. All assume grown-up manners, of course overdoing it.) Florence. How-do-you-do, Madge. And you, too, Frederick. (Shakes hands with both and hands a pack- age to Frederick.) I hope you will have a very happy birthday. Frederick. Thanks, very much. . Grace (repeating same action). A very happy birth- day, Frederick. Frederick. Thanks, awfully. I hope you will enjoy the party. 92 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN (He Steps to l. and hands the gifts to Sam, then re- turns to Madge's side.) LiLLiE ( bowing in awkward fashion ) . Dis way, ladies, to de dressin'-room. Come along, you all. (Leads Girls off r. as Harry and Victor enter L.) Harry (rushes up to Madge and Frederick, in a boy's natural way). Hello, there, Madge. How are you, old scout, Frederick. Put her there. (Holds hand out.) Victor (steps forward and draws Harry back and whispers to him as he does so). Why, Harry, that isn't the way. Don't forget that this is a party and not a ball- game. (Bows over Madge's hand, as Harry turns away, muttering " I'd rather it was a ball-game myself.") How- do-you-do, Madge? (Shakes hands with Frederick.) Hope you'll have a happy birthday, Frederick. Frederick. Thank you. Sam ! Sam. May I take yo' caps, gentlemen? Victor. Thanks, Sam. (Both boys hand caps to Sam.) Harry (pulling out a package from his pocket). This is to wish you a happy birthday, Frederick, old boy! (Aside to Victor.) Beat you to it, Vic, wasn't that better ? Victor (aside). Oh, a little. (Aloud.) I had al- most forgotten that I had brought you a trifling memento of the happy day. Many happy returns, Frederick. Frederick. Thanks, boys. Just walk over and take seats. Make yourselves at home. (Goes to l.) Sam, please place these on that table. (Sam, entering r., crosses and takes the packages. He places them on the table and as Frederick goes to R., Sam holds up a package tied with a red string and winks at audience as he places it on the table. Fred- erick goes and stands by tree at r. Victor and Harry start to chairs at l. front.) PLAYS 93 Harry (looks about, whistles and puts hands in pockets). Some gay, isn't it? Frederick's putting on airs right, isn't he ? Victor (whispering). Oh, Harry, take your hands out of your pockets. I am almost sorry I promised to look out for you. You act like a monkey all the time. Please try for once. Let's sit down. Harry. All right, bossy, I'll be good. But it's so much easier to be just plain boy. All this fooling and fussing belongs to girls and not to us boys anyway. (Starts to sit but stumbles over the chair, almost falls. Winks at audience as he straightens up and sits down.) I'm no society light, I'm afraid. Guess I'd better vamoose if I can't do better, eh ? Victor (laughs). Oh, Harry, you're a sight. (Enter from r., Grace and Florence. Madge leads them to chairs on r. The first chair on r. is kept vacant. Girls and boys call " Hello " to each other as girls are seated. Madge and Frederick return to c.) Clara (enters l. in a haughty manner. She is carry- ing a very pretty hand-bag. She ignores Sam, who shrugs his shoulders comically and returns to l. rear. All the children in front look disgusted as she enters. She is evidently not a favorite.) How-do-you-do, Madge, I think it is lovely to be invited to the party. How are you, Frederick? This package is to express to you my sincerest wishes for a happy birthday. (As Frederick receives the package, the ones in front still look disgusted. Harry mimics her manner to the delight of the others.) Frederick. Thank you very much. Here, Sam, please take this package. Sam (handling package gingerly and rolling his eyes at Clara). Yes, here I is. Madge. Lillie ! 94 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN LiLLiE (entering r., bows low to Clara and waves her hand toward R.). Dis way, lady, to de dressin'-room. (As Clara goes haughtily past her Lillie winks at the rest and then follows Clara, mimicking her walk.) James (enters in a natural way. He hands Cap to Sam, then goes up to Madge). Hello, Madge and Fred- erick. Good of you to have such a nice party. Hello, everybody. Here's to a happy birthday, Frederick. (Holds up a package and puts it on the table with the rest.) Frederick. Thanks, James, come on, let's join the others. (They move to front. James sits by Grace. Fred- erick on opposite side. Madge meets Clara as she enters from r. and leads her forward. Clara greets all with a haughty " How-do-you-do f " She is still carrying her hand-bag. She takes first chair on R.) All. Hello, Clara. Florence. Oh, Clara, what a pretty hand-bag. Clara. Thanks. It is a very fine one. I received it for one of my Christmas gifts last year. It came from England, I believe. Grace. Yes, it is lovely. You always have such nice things, Clara. (Aside to Florence.) If she wasn't so proud of them. Harry (aside to Victor). I can't stand that girl. Can you? Victor (aside to Harry). No. She puts on too many airs for me. Frederick. Oh, I say, Madge, what'll we do? Can't we play something? Madge. I might ask some riddles. " What can go round and round the house and leave but one track?" Harry. Aw! That's a chestnut. Old as the hills. A Grace. I don't care if It is. I never heard it. Let me see. (Studies.) I give it up. What is it, Madge? PLAYS 95 Victor. May I say? It's a wheelbarrow. Harry. 'Course it is. But I never saw much sense to it. Because if it went around the second time they would have to be careful not to make another track. Madge. Well, let's try again. " When is a man like a chimney ? " Harry (groans). Aw! Madge, that's worse than ever. Give us a new one or none. James. You're an old faultfinder, Harry. But I know the answer, Madge. May I tell ? Madge. Yes, go ahead. " When is a man like a chimney?" James. When he smokes. Frederick. Yes, that's right. But we can't please Harry with riddles unless we know some new ones. And I do not believe Madge knows any Harry hasn't heard. I know what let's do. Let's try that stunt of seeing who can blow out the candle while blindfolded. All. Oh, yes, let's. Frederick (calls). Sam! Sam (entering r.). Yes, here I is. (He bows so elaborately that all laugh.) Frederick. Bring a candle, a match, the piano-stool and a small towel. And be quick about it, Sam, if you please. Sam. I'll be so quick, I'se done back already. Let's see, a candle, a match, de piano-stool an', an' — (Scratches head.) What was dat other thing? I'se done forgot already. Madge. A towel, Sam. You may get Lillie to help you with the things. Sam. I'se done gone now, I is. (Exits R., scratching head and murmuring " towel, match," etc., as he goes. All laugh.) Frederick. Now we'll get ready. Madge. All move your chairs back a little bit. Then we will have more room in the center. 96 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN (All move chairs a little. Clara hangs her hand-hag on the hack of her chair. It should he in plain view of audience.) Sam {enters and places piano-stool in c, then hands a towel to Madge). Der am de stool an' de towel. Lillie hab de rest. Lillie {enters and places a match and a candlestick wiih candle, on stool). Der am de rest, Miss Madge. Madge. Thank you. You and Sam may stand back there and watch the fun if you want to. (Sam winks at Lillie, who shrugs shoulders. They hoth go to rear, and stand near r. They laugh heartily at the others.) Now, who's going to be first? You, James? James. No, it wouldn't be polite. Mother always tells me to remember " Ladies first." So I say take Florence. Florence {drawing hack). Oh, no, not first. I couldn't. You'd laugh at me. Harry. We'll laugh at you anyway. You're an old fraidy-cat, you are. Grace. Now, Harry, please do not make fun of any one. Suppose you try it yourself, Smarty! You are so very brave, it seems. Harry. All right, I'm game. Tie the towel on, Madge. (As he goes to Madge he stumhles over Vic- tor's feet. All laugh.) Madge (tying the towel around Harry's eyes). Frederick, you light the candle. Now I'll whirl you around three times so you won't know where you are. And when I say the word you are to go to the candle and blow it out. All the rest of you come back here and stand in a row, so he cannot follow your voices. (Fred- erick has the candle ready. All the rest go to rear as Madge directs.) Now, ready, Harry. One — two — three — go! (Whirls him ahout as she counts the three, then gives him a shove as she says " Go.") Harry (stumhling around, humps into chairs. He shoidd he ahle to see, hotvever). Oh, I'm nowhere near the center. (Goes a little way, and stops.) Here you PLAYS 97 are, old candle. Now, then, out you go ! (Blows hard three times. As he is not apt to be near the candle, this is funny. All laugh.) Well, did I get it? (Tears tozvel from eyes, then when he sees how far away he is he runs to R. and sinks on first chair. ) Frederick. Now, who's next? Harry's a blow, all right. But not a good blow at that. Who's next? It must be a girl. Florence. You called me a " fraidy-cat," Harry, and so I will try it. I am sure I cannot do worse than you. All right, Madge, I'm ready. Madge (takes the towel from Harry and ties it around Florence's head). Now, all ready. Harry, you come here with the rest. (Harry, in obeying, catches the chair and throws it over. The hand-bag falls off and as he puts the chair back he pushes the bag off stage. He does not notice it, however. Madge is seeing that the candle is all right, and all are watching her. No one notices the bag.) Florence (aside to Grace, who is standing next to her). I can see. Madge did not get it on tight enough. But don't let on now, and we'll have some fun. Madge. All right, Florence. ( Goes to her and whirls her around. ) One — two — three — go ! Florence. Oh, these chairs. Let me see, I'm too far over. (Goes to opposite side.) More chairs. I'm wrong again. Must be this way. Now, for the center ! (Goes to candle and blows it out.) Harry. She can see. She can see. All. Yes, she can see. Clara (with great dignity). She cheated. I thought every one played fair. I know I always do. I do not like to associate with girls who act so. Florence (jerks off tozvel). I didn't cheat. I thought it would be fun not to let on. Madge did not tie it tight enough ; and I told Grace not to " let on," and we would have some fun. But Clara acts so smarty 98 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN without giving me a chance to explain. I'm not going to stay. I'm sure she likes to associate with me as well as I do with her. (Cries.) Frederick. You must not go, Florence, we under- stand. Don't we ? All. Of course. (But Clara turns her hack.) Madge. Of course you will stay. We just did not know you were in fun. We will play something else. Sam, you and Lillie may take out the stool and things. (Sam and Lillie begin to pick up the things, they hump heads and glare at each other, hut finally get them off stage.) Clara. Now what shall we do? Please, let us play something that is not quite so silly. Madge. I think it is time Frederick opened his pack- ages. What do you all say? All. Oh, yes, do. Frederick. Sure I will. Will you boys help with the table? {They lift the table to c. The others group about. As he opens the packages he lifts them up and thanks the giver. The third package contains a small, tin horn, a joke from Madge.) I thank you, Sis, but I am no longer a baby. {But as they all laugh, he blows the horn, then he opens another package. It is from one of the guests.) Hello, what's this? All done up in red. {Begins to unwrap package Sam held up for audience to see. After taking off a lot of paper he reveals a tiny doll.) " From Sam and Lillie." The rascals. Wait till I get them after the party. Harry. Really, Frederick, I did think your baby days were over. I did not think of it or I'd have brought you a doll myself. All {laughing). Oh, Baby Frederick! Frederick. That's all I'm going to open now. Fll thank the rest of you sight unseen. All. Oh, go on, Frederick. Frederick. That's enough. Let's put it back. {The boys move table to l. rear again.) Now what'll we do? PLAYS 99 James. Can't some one think of something? Florence. Oh, I know. Grace will recite for us. Won't you, Grace? Grace. No, please don't ask me. All (^clap hands). Grace! Grace! (Grace recites anything that is considered fitting.) All (clap). Give us another, Grace. No, thank you. I know what let's do ! Clara. What? Grace. Let us play that game, Madge, you lead us in. You know it is something like the Virginia Reel and yet isn't like it. Clara. But we cannot play that without music. Madge. I'll get Mother to play for us from the house. You clear the lawn and I'll run and ask Mother to play, (Madge goes off r. All move chairs back.) Frederick. Now all choose partners, boys. {Goes to Clara and bows.) May I have the honor? (Harry and Grace, James and Florence. Victor meets Madge as she returns.) Madge. Mother will play. All to their places. (They form two columns across stage. Madge should he the girl nearest to audience). All ready? All. Yes. Madge (calls). All ready, Mother. (Music begins. Louise, the uninvited guest, comes in L., then moves over to r. and hides behind the tree. She peeps around it and watches. The others go through the following dance: Meet in c. and bow. Meet in c. and whirl around, hands clasped. Meet in c. and back around each other, back to places. Both couple one and couple two go through these movements, then Clara breaks it up by screaming.) lOO RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Clara. My hand-bag ! Where did I put it ? {Rushes to chair where she had left it.) It's gone. Who has it? Who has my beautiful bag? (Clara begins to cry. Madge goes R. Music stops. All look disgusted but join in the search. They draw up their chairs and take the positions they had at first,) Victor. This is just the way we sat. Now, Clara, what did you do with your bag? Clara. I hung it on the back of this chair, and now it's gone. Who has it? I want my bag! {Cries louder than ever.) James {catching sight of Louise, who is trying to pass off L., without being seen). Oh, look, Frederick, who is that? Frederick {runs to Louise and pulls her to c. She draws back frightened. James takes her other arm and together they hold her). Now, Miss, who are you? And what are you doing on our lawn ? Louise {much frightened) . Oh, I wasn't doing any- thing but watching you. Please let me go ; I want to go home. Clara {rushing up). Oh, I know she is the one that has stolen my bag. You give me back my bag, you thief. Harry. Wait a minute, Clara. You don't know she has your old bag. I can't see what she'd want it for anyway. Clara {forgetting dignity) . Smarty! {Makes a face at Harry.) I'll just bet she has my bag. Things don't walk off by themselves. If you don't give me back my bag I'll tear your eyes right out. Mrs. Burton {entering with Madge and going back of Louise). Why, children dear, what is the trouble? Clara {still angry). This beggar girl has stolen my bag. Mrs. Burton. Are you sure? Clara. Of course I am. I couldn't have lost it, and what's she doing here if not to steal ? PLAYS lOI Mrs. Burton (to Louise). What have you to say, my dear? Let go her arms, boys. You must not be so rough. Louise. Please, ma'am, I haven't seen any bag. I just heard them playing and laughing and I sneaked in to watch them, ma'am. I haven't been out from behind that tree. (Cries with fright.) Mrs. Burton. There, don't cry. 1 do not believe you took it. (Brings up a chair.) You just sit here, and I am going to look for that bag. The rest of you just take your chairs. I am afraid Clara was too excited to have made a thorough search. Clara. You just look in her pocket. I'm sure she has it. Louise (crying more than ever). Oh, no, I never saw it. Honestly I didn't. Mrs. Burton. There now, Clara, please let me at- tend to this. If the little girl has your bag she shall be made to return it. But, for my part, I think we will find it some place else. Now, Clara, just where did you hang that bag? Clara. Right here on the back of this chair. And you see for yourself it's gone. Mrs. Burton. Get up, Clara, please. Now move out your chair. Oh, I see! Did you look back of this small flower-bed out here? Clara. No, it couldn't have been out there, could it? I tell you that beggar has it. Mrs. Burton (steps hack of curtain, then returns, holding up the hag). Here it is. I am afraid you did not look well enough. Some one has kicked it through the flowers and not noticed it. It is not so very large, you know. Clara. Oh, thank you, Mrs. Burton, for finding my precious bag. But I was just sure she had it. Mrs. Burton. Never be too quick to judge others, my dear little girl. You only cause trouble for yourself and them. This little girl is not as well dressed as you, perhaps, but that is no sign that she is a thief. She is 102 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN neat and clean and you know she cannot help it, if she is poor. (Goes and sits beside Louise, who has not stopped crying. Mrs. Burton takes her hand. ) There, dear, don't cry. The children are sorry for having sus- pected you. And now, children, how are we going to make it up to her? How about it, Frederick, it is your party, you know ? Frederick. And may I do just as I please about it, Mother ? Mrs. Burton. Yes, Frederick. Frederick (rising and going back of chairs to l. front). Well, then I'll say — (Turns.) What is it, Lillie? LiLLiE. De lunch am ready in de dinin'-room, Marse Frederick. Mrs. Burton. All right, Lillie, in a moment we will be ready. You may go on, Frederick. Frederick. Then as the host of this party, and as my best birthday gift, I want to invite this little girl. What is your name ? Louise. My name's Louise. But I want to go home. (Tries to leave.) Mrs. Burton (putting arm around her). It's all right, dear. Please stay where you are. Frederick wants to make it up to you. All right, Frederick. Frederick. Then, as host, I want to invite Louise to be my special guest at lunch. And as a birthday gift, I want a unanimous vote for her to remain. All who want Louise to stay and eat lunch with us, please rise. (All rise quickly but Clara. The rest look at her, until she rises reluctantly.) Thank you, all of you. Mother, will you take Clara, please ? I intend to take Louise. (Sam enters l., Lillie steps over to his side as the rest file out r. in the following order: Grace and Harry, Florence and James, Madge and Victor, Mrs. Burton and Clara, Louise and Frederick. After they have gone Sam bows to Lillie.) Sam. Will you-all do me de honor ob taking my arm ? PLAYS 103 LiLLiE. Come 'long, den, you no-count rascal you. Don't you know dat we hab to serbe dat lunch ? (They cake-walk out. Just as they reach the entrance on R. both look back and laugh at audience.) CURTAIN 104 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN THE LAND OF VACATION {Twenty minutes) {A play for children for close of school) CAST OF CHARACTERS Elizabeth a tall girl, tired of hooks and study Old Man Study tall hoy Violet girl, a Fairy of Spring Imp of Mischief hoy Queen of Vacation Land tall girl Fairy of Hard Work hoy Fairy of Music girl One Flower Fairy girl Two Joy Fairies girls Two Work Fairies one hoy, one girl Four Small Girls to sing for Fairy of Music. Costumes Elizabeth, school dress. Old Man Study, dressed as un old man, long gray heard, powdered hair, wears spectacles, carries cane, and limps as he walks. Violet, white fluffy dress, violet sash, large hat of violet, white stockings crossed with violet rihhons and white slippers. She carries a wand with a violet how tied near end. Imp of Mischief, red or Mack and red clown suit. Queen of Vacation Land, long flowing white robe, large white 7vings, crown of flowers or silver paper. Fairy of Hard Work, overalls. Flower Fairy, same as Violet, ojtly in yellow. Joy Fairies, any white dresses with red sashes. Fairy of Music, same as Violet, only in pink, and carries some small musical instrument. PLAYS 105 Girl Work Fairy, gingham dress, white cap and apron, carries a small broom. Boy Work Fairy, overalls, carries hoe. Small Singers, pretty white dresses. SCENE. — A curtain near front of stage conceals the real setting. In front of it, just a small table and chair at extreme r., chair at extreme l. Behind curtain, a fairyland scene. Greenery and palms about stage. A flozver-covered throne in center back. Trees, made by nailing branches of trees to crosspieces of wood, as Christmas trees are fixed, stand one at r. and one at l. Greenery is placed around base to conceal the wood. Throne Tree Tree ------- Curtain ---_-__. Table : Chair Chair (Elizabeth is discovered sitting on chair near table. There is a pile of school books on the table. She holds one in her hand.) Elizabeth {yawning and stretching her arms). Oh dear, Vm so tired of studying. I feel like I never in this world could keep on till the end of school. Now that is foolish, for there is only one more little week. And then — (Sings.) Oh, ho, for vacation, The time I love best, For a good long vacation Of playtime and rest. I'll sing and I'll dance And shout loudly for glee, For vacation's the season, — The season for me. I06 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN ( Tosses book on table. ) I know what I am going to do. I'm going to hurry through these lessons and see if I can't meet vacation half-way. {Opens another book, finds grade-card.) Oh, I had forgotten. Here is my grade-card. Tne teacher waited till now to give them to us so as to be sure who was in and who out of exams. Then she told us not to open them until we were home. I'm in exams., I'm afraid. (Opens card, then jumps up and dances for joy. Runs to other side of stage, calls.) Mother, oh, Mocher, I'm out of exams ! Yes, honestly ! Isn't that grand! (Goes back to table.) Now, old books, I'm actually through with you. No more recita- tions this year. Hurrah! Now for good old vacation time and all play and no study nor work. (Enter Old Man Study from l. Elizabeth is sur- prised and startled.) Old Man Study. Well, my dear little lady, so we meet at last. You act as if you dc not know me. I'm Old Man Study. I'm just about the oldest thing on earth. Everybody always studies. You think you are rid of me because you are through with these (Points to books.) but you are just beginning to study when you close these up. You cannot get away from me. Elizabeth (overcoming her fright). Oh, but you are badly mistaken. I am through with you for three whole months, Old Mister Study ! Old Man Study (bowing stiffly). Sorry, my dear little lady, I am very sorry if you feel that way, but you will never be through with me. This world is made up of study and work, and in some way we must always be at it. Elizabeth. But surely not in vacation ! Old Man Study. Yes, in vacation, too. Always. You do not have to study from books, oh, no, but you must study just the same. Elizabeth. Tm sure I do not understand you. Old Man Study. And I am afraid I am not the one to make you understand. You are too afraid of me. PLAYS 107 You see, when you play, you study how to play the best you can, or you do not enjoy your play. When you work you study how to do it rignt. Vvhen you take a walk in the woods you study the birds and flowers. So, you see, you study when you do not even know you are study- ing. If you will work as well as play during vacation, you will be far happier than if you do as you are plan- ning and have all play and no work. Elizabeth. But I do not intend to work or to study either during vacation. I hate to work or to study either, so there ! Old Man Study. I cannot make you see. Oh, I know what I will do. I do not want you to be an idle little girl. I want you to grow up a fine useful lady. I want you to learn that work and study are necessary to make you happy. I'll call Violet, the Fairy of Spring. She can tell you all about it. Elizabeth (pouting). Who is Violet? I do not know as I want her to come, even if she is a fairy, if she intends to show me that I have to work. Old Man Study. Oh, you'll like her all right. Fairy of Springtime! We call her Violet, because she is al- ways around in the early Spring. Fll call her. You stand behind the table there. (Goes to l. and recites.) Fairy of Springtime, Violet bright, Come to the rescue Of my sad plight. Come help me to show To this little one, That all life's a mixture Of work and of fun ! (He steps to rear on l. Music plays a lively tune as Violet enters from l. She runs on tiptoe to c, then to front, and hows to r. and l. Then she whirls clear around and runs to L. Music stops.) Violet. I heard your call for help, dear Old Father Study. What can I do for you ? I08 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN Old Man Study. Why, this young lady (Points to Elizabeth.) is determined to discard both work and study for the next three months. I cannot convince her that it is necessary to do either during vacation time. She thinks vacation should be all play. I need your help to show her it should not. Violet. Oh, I can help you and I will. (Runs to Elizabeth, zvho is still at r.) Why, my dear little girl, even fairies do not find life all play. I am going to show you what the Fairyland of Vacation is like. I'll take you there. (Recites.) We work, we play, We laugh, we sigh, We study what is best to do. We play, we sing. We shout, we dance. And we are happy all day through. Now you can never guess whom I am going to call to help me take you to Fairyland of Vacation. Wait ar"* see. (Runs to l. and calls.) Oh, Imp, dear Imp of Mischief, Come now, I need your aid. For without 3^our happy presence I'll ne'er convince this maid. (She waves wand. Music begins a very lively tune. Imp of Mischief tumbles onto the stage, turning handsprings or jumping or hopping in any lively, unusual manner. Goes to front, sits cross-legged on stage, bobs head to r. and l., screws up his face in an exaggerated zvink, jumps up suddenly, runs to R. and pinches Elizabeth. Elizabeth, who was laughing at his antics, screams and draws back in fright. Violet runs up to them and shakes Imp. Music stops.) Violet. No more of that, you Imp! You can be a dear when you want to be, and 1 want you to be one now. PLAYS 109 So please get one of your sober moods on and help me. Are you going to ? Imp (who has been winking at the audience, suddenly turns to Violet with an exaggerated seriousness). I am ! Just tell me what to do. Violet. Oh, I intend to keep you busy for a moment, anyway. I've always found that Imps of Mischief are much better when kept busy. {The Imp has been work- ing his way to Elizabeth, who draws back.) Here, come away from her, you tease. I want you to help me to take her to our Fairy Vacation Land. You go on that side now and help me pull the curtain that conceals our Fairyland. (Imp pidls Violet's hair as he passes her. He runs to R. front, sits, winks at audience, then looks mis- chievously at Violet. She waves her wand threat- eningly. He jumps up and helps her pidl the cur- tain. Elizabeth claps her hands in delight at the scene. Imp runs to tree at l. and hides behind it, peeping at audience. Old Man Study picks up hooks from table.) Old Man Study {to Elizabeth). And now, my dear, I'll leave you to the mercy of Violet and her fairies all. I'll take these books away, but she can perhaps tell you of other studies for vacation time. Farewell to your books until next September, then, Elizabeth. (Elizabeth tosses her head as he limps off r.) Violet {drawing Elizabeth to l. front). You are to sit here, my dear, and I will summon those who dwell in this Fairyland of ours. {Runs to rear and waves wand to R. then l.) The first to enter here, you see, Is queen of all our fairy band; She rules us all with mighty power, But we love to obey her least command. no RECITATIONS, DRILLS AND PLAYS FOR CHILDREN {Steps hack as Queen enters l. Music plays softly and slowly as she enters. Imp mocks her stately walk, hut as she ascends the throne, he kneels. ' Violet goes to R. of throne and kneels. Imp is on L.) Queen. You may arise, dear Violet. Come and stand here, near my throne. And there's the Imp of Mischief, too. Well, you may arise and, if you can be- have yourself, may come here on this side of my throne. (Imp turns a handspring to position indicated hy Queen.) Imp, you may sit down on the ground, and be very still until I speak to you. You know that I do not approve of your antics at all times. I want you to be good some- times. Imp (making an awkward how). Oh, Queen, I am. Just wait until I tell you all I've done. Why, without a little spirit of mischief and clean fun what would become of the earth, I wonder? Queen. I know, dear Imp, you do a lot of good. But please be quiet, now, for I have " affairs of state " to attend to. (Imp sits down, hut gradually edges his way to tree, there he sits and plays peep with Elizabeth, who cannot keep from laughing.) Queen. Now, Violet, my dear, what have you done to-day ? So near vacation time as this, I hope all of my fairies have been faithful to their tasks. Violet (bowing low). I've tried to be faithful, O beloved Queen. This is what I've done. (Recites.) I set me forth at break of day, To see fresh dew was on the ground ; To see that new spring flowers were out ; And found them blooming all around. And then I met some little girls And boys from school set free, And taught them how to plant the seeds And help the gardens grow for me. PLAYS XII I've also set my helpers here At work in lovely fairyland, And already we have blooming now Some flowerets that are- very grand. {Waves wand to l. and a Fairy enters. It is the Flower Fairy. She bows to Queen and passes to R., stands there while Queen speaks, then hows again and exits to r.) Queen. You have done nobly, dear Violet. You may go now, Flower Fairy. Try to see how you can help to make the earth beautiful. {Exit Fairy.) Vio- let, you may sit on the edge of my throne and help me with the rest of my morning's duties. Now, Imp, where are you? (Imp jumps to position.) In mischief as usual. Come, tell me what you have done to help the children through vacation time work and play. Imp {bows again awkwardly and recites). Oh, lovely Queen of Vacation Land, Fve helped more than any in all our band ; Tve helped in, out, and all round about ; IVe made the children laugh and shout. IVe taught them how to sing and play, And to be happy all through the day. Without my mischief in their eyes, This world would be a land of sighs. So I have sent my helpers out To put all childish woes to rout. My fairies now I'll call for you. And know that you will love them, too. This is the Fairy of Laughter, {Enter ist Joy Fairy.) And every one says, " No one like her." (ist Joy Fairy bows to Queen, then goes to R.) This is the Fairy of True Joy and Gladness ; {Enter 2nd Joy Fairy, l.) Did you ever see a dearer little miss ? (2ND Joy Fairy bows and goes to r.) Now, Queen, please say I've done right well, And maybe I'll be real good, who can tell ? 112 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN {The two Joy Fairies give this little dance. Music plays a waltz.) 1. Dance to center, hand in hand, use waltz step. 2. Bow to Queen. 3. To front of stage. 4. One turns R., one l. 5. Dance around stage. 6. Meet in front of throne. 7. Repeat from 3, only turning around every sixth step. 8. Back to places at r. Queen. Oh, dear little Imp of Mischief, even you have been at work, for if you implant in children the joy of living, they share that joy with their elders. Study, and work faithfully to give clean fun and happiness to the children of earth. You may take your helpers out to play, but do not go too far away. {Exeunt Imp and Joy Fairies. He rushes up to them and taking an arm of each, struts comically out. Queen laughs: then turns to Violet.) Violet, please call the Fairy of Hard Work. (Violet runs to l., waves wand. Enter Fairy of Hard Work who kneels to Queen.) Queen. You may arise. Fairy of Hard Work. I suppose you are a little tired. Your task is not an easy one at any time, but especially hard during vacation- time. But what work have you done now? Hard Work {recites). Dear Queen, you are quite right, as always ; My work has not been light ; It is not so easy to make folks work As it is to make them gay and bright. However I have succeeded In scattering round about Some sound advice to children Who from school have been let out. I've talked with Old Man Study, PLAYS 113 Who's been with them all the year, And he told me, " Some are workers, While others shirk I fear/* So he agreed to help me, And we're teaching children all, Vacation is not all for fun, That on each some work must fall. Here's the boy who plants the garden, (Enter Boy Work Fairy.) And knows how to tend it, too, Now I call him a useful chap, And " worth his salt," don't you ? (Boy bozvs to Queen, then moves r.) Then here's the mother's helper, (Enter Girl Work Fairy.) A bright, dear little girl. Mother calls her " Precious Sunshine " And her " lovely little Pearl." (Girl bows then goes R.) Queen. You've helped the world out wonderfully. I thank you for your help. For when children realize that vacation is not all for selfish fun, it is a very real help to mothers and fathers. (The Imp has slipped in and stands at l., dodging, so as not to be seen by Queen. He mocks every one and carries on all sorts of mischief. He goes to Elizabeth and teases her by making her jump, he slips up behind her and tickles her on the neck with a feather. She thinks it a fly and slaps at it, then he doubles up, laughing silently. Violet finally sees him and puts him off stage. Others laugh. V101.ET returns to throne.) Queen (continuing). Dear Hard Work Fairies, you may take a vacation yourselves and rest the remainder of the day. Good luck to you. You have well earned your playtime. (They bow and exeunt.) Now, Violet, 114 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN please summon the Musical Fairy, for without music what would vacation-time be like? (Violet runs to l. and waves wand. Music plays very softly as a lovely Fairy OF Music enters. She moves with slow and great dignity to front of throne, bows low.) Dear Fairy of Music, what have you done to make vacation work and play for mortal children? Musical Fairy (Music, soft and low, while she speaks). Oh, Queen, when set to work by you. To teach the children what to do In vacation-time, with music sweet, I found I had a task complete. I had no time to idly waste ; No idle moments, I moved with haste. I had to work to teach them all. Vacation was the time to call Th^ir own for music practice time ; To learn the joy of music's spell. Whenever they sing or play it well. And ril have thousands soon at work, Not one of them their task will shirk. And if you really wish me to, I'll call out four of them for you. (Queen nods. Music changes to a march. Enter Four Small Girls, as Fairies of Music. They file in front of Queen and bow, then turn and march to front of stage, all four abreast. Be sure to keep a straight line in moving forward. Music changes to a song. Any school song may be used. They sing, Music plays a march again, they turn, march to rear, bozv to Queen and exeunt single file to R. Music stops.) Queen. You certainly have done well with your work, oh, Musical Fairy, if that is a fair sample of the start you've made. You may stand here on the right side of my throne. Violet, please summon all our friends at once, then you may stand on the other side of the throne PLAYS 115 when you return. I see the Imp is already here. Imp, you may stand here at my feet where I can watch you. (Violet, who is on l. for this last scene, runs to r., waves wand, then returns to position assigned by Queen on l. step of throne. Music, a marcH. The entire Cast of Characters file in and forpi a semi- circle; half on R. ; half on l. of throne. Fairy OF Hard Work on R. front, and Old Man Study on L. front. ) Queen. And now, dear little mortal girl Elizabeth, (Elizabeth rises.) that you have seen our vacation Fairyland, and know that each of us must work and study, even though we are fairies, do you care to join our ranks ? You see how a vacation should be spent, not in idle dreaming and in play, but in helpful work and study as well! You see we are always happy, for we are too busy to be discontented and unhappy. Do you think you could care for our kind of a vacation ? Elizabeth (eagerly). Yes, O Queen, I know I should love it. And I do want to join this year. I see now, so many things I could have done during vacations before. Please let me join you. I shall not be happy unless you do. Queen (to Violet). Please bring her here. (Violet goes to Elizabeth and leads her to throne. Elizabeth kneels. Queen steps from throne and helps her to rise, then steps hack on throne and lays the tip of her scepter on Elizabeth's head.) Queen. Rise, little vacation Fairy, Elizabeth. You are to be one of us from now on. I feel sure you will have the happiest, most joyous vacation you have ever had. We welcome you. Fairies, bow to greet our new member. (Fairies how.) Elizabeth. Thanks, O Queen. I already love Vaca- tion Land ! My, what a happy, happy summer I am going to have! Il6 RECITATIONS, DRILLS AND PLAYS FOR CHILDREN (Music "Marching Through Georgia/' Queen picks up a large flag that is lying on the throne at back, and Violet and Fairy of Music find smaller ones; they wave them in time to the music. Others, led by Fairy of Hard Work, march once around stage, then back to position. All sing. Tune, the same.) On this joyous summer day We'll sing another song, Sing it with a spirit That will start the world along. Sing it as we love to sing it, With childish voices strong. While we are working and playing. (Chorus.) Hurrah, hurrah, for dear Vacation Land ! Hurrah, hurrah, come join our happy band! We'll all then sing the chorus While we work and while we play, While we go marching through vacation. (Musicians play chorus once again, singers repeat words of chorus, while marking time. Those on throne wave flags in time to music. At the con- clusion of song, curtain is drawn, all remain quietly in places until curtain is quite closed except Imp, who turns a handspring to front of stage and winks at audience.) CURTAIN THE ELOFEMENT OF ELLEN • A Farce Comedy in Three Acts by Marie J.Warren, Four males, three females. Costumes, modern ; scenery, one interior and one exte- rior. Plays an hour and a half. A bright and ingenious little play, ad mirably suited for amateur acting. Written for and originally produced by Wellesley College girls. Strongly recommended. Price^ 55 cents A VIRGINIA HEROINE A Comedy in Three Acts by Susie G. McGlone. Eleven female char acters. Scenery, easy ; costumes, modern. Plays one hour and forty-five minutes. Irish and Negro comedy parts, and two character parts ; most of the characters young. A very easy and interesting play for girls, wtll suited for school performance. Romantic interest with lots of comedy. Price^ J5 cents OUR CHURCH FAIR A Farcical Entertainment in Two Acts by Jessie A. Kelley. Twelve females. Costumes, modern ; scenery, unimportant. Plays an hour and a quarter. A humorous picture of the planning of the annual church fair oy the ladies of the sewing circle. Full of local hits and general human nature, and a sure laugh- producer in any community. Can be recom- mended. Price^ 2^ cents ALL CHARLEYS FAULT A Farce in Two Acts by Anthony E. Wills. Six males, three females. Scenery, an easy interior ; costumes, modern. Plays two hours. A rery lively and laughable piece, full of action and admirably adapted for ama- teur p)erformance. Dutch and Negro comedy characters. Plays very rapidly with lots of incident and not a dull moment. Strongly recom mended. Price, 2$ cents HOW THE STORY GREW An Entertainment for Women's Clubs in One Act by O. W. Gleason. Eight female characters. Costumes, modern ; scenery, unimportant ; may be given on a platform without any. Plays forty-five minutes. A very easy and amusing little piece, full of human nature and hitting off a well known peculiarity of almost any community. Written for middle-aged women, and a sure hit with the audience. Pricey 25 cents THE COUNTRY DOCTOR A Comedy Drama in Four Acts by Arthur Lewis Tubbs. Six males, five females. Costumes, modern ; scenery, two interiors. Plays two hours Easy to ttage and full of interest. The female parts are the stronger, being exceptionally good. Negro and " hayseed " comedy parts. A very strong drajnatic piece. Can be recommended. Prxctt 35 cents THE CONJURER A Dramatic Mystery in Three Acts By Mansfield Scott Author of ** The Submarine Shell" **The Air-S^,** tie. Eight male, four female characters. Costumes, modern ; scenery, tww easy interiors. Plays a full evening. Royalty for amateur performance, $\o.oo for the first and ^5.00 each for subsequent performances by the same company. Free for school performance. George Clifford, in- capacitated for service at the front, employs his great talents as a conjurer to raise money for the soldiers. He is utilized by Inspector Steele, of the U. S. Secret Service, in a plan to discover certain foreign spies. The plan goes wrong and involves seven persons in suspicion of a serious crime. Clifford's clever unravelling of this tangled skein constitutes the thrilling plot of this play, the interest of which is curiously like that of the popular " Thirteenth Chair." This is not a " war-play " save in a very remote and indirect way, but a clever detective story of absorbing interest. Strongly recommended. Pru:e,yg cents CHARACTERS Inspector Malcome Steele. Driscoll Wells. George Clifford. Doctor Gordon Peak. Captain Frank Drummond Detective White. Gleason. Marion Anderson. Lieutenant Hamilton War- Edith Anderson. wick. Ellen Gleason. Colonel Willard Anderson. Dorothy Elmstrom. SYNOPSIS Act I. — The home of Colonel Anderson (Friday evening). Act II. — The office of Inspector Steele (Saturday afternoon). Act III. — ^The same as Act II (Saturday evening). THE OTHER VOICE A Play in One Act By S. vK. Fairbanks Throe yokes, preferably male, are employed in this little novelty which is intended to be presented upon a dark stage upon which nothing is actually visible save starlight. It was originally produced at Workshop 47, Cambridge, where its effective distillation of the essential oil of tragedy was curiously successful. An admirable item for any programme seeking variety of material and effect. Naturally no costumes nor scenery are re- quired, save a drop carrying stars and possibly a city sky-line. Plays ten minutes only; royalty, iJ^S-OO. Pricet 2S cents HITTY'S SERVICE FLAG A Comedy in Two Acts By Gladys Ruth Bridgham Eleven female characters. Costumes, modern ; scenery, an interior. Plays an hour and a quarter. Hitty, a patriotic spinster, quite alone in the world, nevertheless hangs up a service flag in her window without any right to do so, and opens a Tea Room for the benefit of the Red Cross. She gives shelter to Stella liassy under circumstances that close other doors against her, and offers refuge to Marjorie Winslow and her little daughter, whose father in France finally gives her the right to the flag. A strong dramatic presentation of a lovable character and an ideal patriotism. Strongly recommended, especially for women's clubs. Frice, 2^ cents CHARACTERS MeHITABLE JUDSON, a^ Act II. Same scene. Surrounded by the nihilists. Act \\\. Same scene. A double wedding. NOT ON THE PROGRAMME A Comedy in One Act By Gladys Ruth Bridgham Tbfyce males, three females. Costumes, modern; scenery, a single )n terior. Plays forty minutes. Mrs. Whitney, rehearsing for amateur the- atricals with Vincent Fielding, a dramatic coach, in her own home, is misunderstood by Ophelia Johnson (colored), her maid, who summons thf police to straighten out what seems to her a very criminal state of things. •Rastus Brown, a plumber and admirer of Ophelia, hel|>s Officer Hogan t« muddle matters into a very laughable state ot coniiiaioiL Bmjt mi strongly recommended. Price^ 25 cents THE AIR-SPY A War Play in Three Acts By Mansfield Scott Twelve males, four females. Costumes, modern ; scenery, a singla in- terior. Plays an hour and a half. Royalty, #10.00 for first, $5.00 for subsequent performances by same cast; free for school performance. In- spector Steele, of the Secret Service, sets his wits agamst those of German emissaries in their plot against Dr. Treadwell's air ship, a valuable wai invention, and baffles them after an exciting pursuit. An easy thriller, full of patriotic interest. Easy to get up. and very effective. Strongly recommended for school performance. Originally produced by The Newton (Mass.) High School. Priccy 55 cents CHARACTERS Dr. Henry Treadwell, inventor of the Giant Air-ship. Victor Lawrence, his pretended friend— a German spy, Harold Felton, of the United States Army. Cakleton Everton, a young Englishman. Karl Schoneman, of the German Secret Servics. Franz Muller, his assistant. Arthur Merrill, also of the United States Armv. Inspector Malcome Steele, of the United StaU^ Secret Servic*^ Henry Gootner, a German agent. Francis Drury, one of Treadweir s guests. Corporal Thayer. Private Freeman. Ruth Treadwell, Treadwell's daughter, Muriel Lawrence, Lawrence's daughter, Mrs. Treadwell. Margaret Linden, a friend of Ruth's. The Time. — America's second summer in the war. The Place. — A deserted mansion on a small island near, fiajt* port, Maine. SYNOPSIS Act I. The afternoon of June loth. Act II. The evening of September 21st. Act III. Scene i. The afternoon of the next day About 1:30. Scene 2. An hour later. ART CLUBS ARE TRUMPS A Play in One Act By Mary Moncure Parker Twelve females. Costumes of 1890 with one exception ; '«-«pe, a single easy interior. Plays thirty minutes. Describes the trials cl an ambitious woman who desired to form a club in the early days of club life for women about thirty years ago, before the days of telephones and auto- mobiles. A capital play for ladies' clubs or for older women in general. The costumes are quaint and the picture of life in the year of the Chicago World's Fair offers an amusing contrast to the present. Recommended. Price, 2S cents students at Nation Hall School. CAMP FIDELITY GIRLS A Comedy in Four Acts By Edith Lowell Dramatized by permission from the well-known story hy Annie Hatnilton Donne II One male, eleven females. Scenery, two interiors. Plays two hours. A jolly party of girls occupy an old farmhouse for the summer and there discover a secret that makes for the happiness and prosperity of a poor little cripple. A very " human " piece full of brightness and cheer and with a great variety of good parts. Price, 3S ^^*^^^ CHARACTERS Barbara Wetherell Judy Wetherell, her sister Jessica Thayer Mary Shepherd, otherwise Plain Mary Edna Hull Mrs. Tucker, a next-door neighbor. Johnnie Tucker, known as Johnnie-Son, Barnaby Campbell, a big child. Jennie Brett, a country girl. Cousin Salome. Aunt Elizabeth. Uncle Jeff. SYNOPSIS OF SCENES Act I. Room at Hatton Hall School. Act II. Scene I. Camp Fidelity. Afternoon. Scene IT. The next morning. Act III. Scene I. Same. Two weeks later. Scene II. Midnight. Act IV. Scene I. Same. Six weeks later. Scene II. A half hour later. MARRYING MONEY A Play in One Act By Alice L. Tildesley Four females. Scene, an interior. Plays half an hour. The girls seek a job with the millionaire's mother and one of them gets one for life with the millionaire. One eccentric character and three straight. Price, 23 cents THE OVER-ALLS CLUB A Farce in One Act By Helen Sherman Griffith Ten females. Scene, an interior. Plays half an hour. The " Over- Alls Club" meets for the first time in its denim costume with enthusiasm for economy that only lasts until young Dr. Ellcry is announced. Finishes (n pretty gowns. Price, 2^ cents utti^a Plays for Junior High Schools Salty Lunu Mr. Bob The Man from Brandon A Box of Monkeys A Rice Pudding Class Day Chums An Easy Mark Pa*s New Housekeeper Not On the Program The Cool Collegians The Elopement of Ellen Tommy's Wife Johnny's New Suit Thirty Minutes for ^ef reshmeoift West of Omaha The Flying Wedge My Brother's Keeper The Private Tutor Me an' Otis Up to Freddie My Cousin Timmy Aunt Abigail and the Boy# Caught Out Constantine Pueblo Jones The Cricket On the Hearth The Deacon's Second Wife Five Fe^t of Love The Hurdy Gurdy Qlrl Camp Fidelity Girls Carroty Nell A Case for Sherlock Holmet The Clancey Kids The Happy Day I Grant You Three Wishes Just a Little Mistake The Land of Night Local and Long Distance The Original Two Bits An Outsider Oysters A Pan of Fudge A Peck of Trouble A Precious Pickle The First National Boot His Father's Son The Turn In the Road A Half Back's Interference The Revolving Wedge Mose BAKER, Hamilton Place, Boston, Mass. M^U, Ftmalt : Tim* 3 4 i>^hrs 3 4 i}^^ « 3 4 K « 2 3 iX " Z 3 IX " 4 3 H " 3 2 U '* 5 2 % " 3 2 I '* 3 3 y^ " 3 4 ly^ " 4 3 2 *« 3 5 1% " 2 5 H " 4 3 % " 4 3 Ya " 3 5 % " 5 3 ly^ " 5 3 2 " 5 4 2 " 3 6 1% " 2 8 1 " 9 2 I " 9 2 IK " lo 4 2 « 6 7 iK " 6 6 2 " 5 6 I>^ •• 9 9 2 " I IX 2 " H I « lO I^ " 14 I « 7 % " 14 K " t 5 ^ " I8 IX " i 6 7 I 6 5 7 7 2 I *• 14 IX « 9 i>^ " lo ^4: " 5 3 I " II lO r^ " Plays and Novelties That Have Been Camp Fidelity Qlrls Anita's Trial The Farmerette Behind the Scenes The Camp Fire Qirls A Case for Sherlock lloImM The House in Laurel Lane Her First Assignment I Grant You Three Wishes Joint Owners in Spain Marrying Money The Original Two Bits The Over-Alls Club Leave It to Polly The Rev. Peter Brice. Bachelor Mfss Fearless & Co. A Modern Cinderella Theodore, Jr. Rebecca's Triumph Aboard a Stow Train In Mtzzoiiry Twelve Old Maids An Awkward Squad The Dlow-Up of Algerooa Blow The Doy Scouts A Close Shave Toe First National Boot A Half- Back's Inteiicreaco His Father's Son The Man With the Nose On the Quiet The People's Money A Regular Rah ! Rah I Boy A Regular Scream Schmcrccase In School The Scoutmaster The Tramps' Conventloo The Turn In the Road Wanted— a Pitcher What They Did for Jenkins Aunt Jerusha's Quilting Party The District School at Blueberry Corners The Emigrants* Party Miss Prim's Kindergarten A Pageant of History The Revel of the Year Scenes In the Union Depot Taking the Census In BlngvIUe The Village Post-Office O'Keefe's Circuit U BAKER, Hamilton Place, Boston,