P s 'c 3 f IMG 2P/qy5 Qxchangedjh^^^ MUSIC LAND Price, 25 Cents '/). ALTER H. BAKER COMPANY ^ < i ?3n 4 3 Eng iijcd by V/cdnesday 5 ' ' Tb-? Chuzrier/ltts, tr Tom Pinch 15 6 For Ono Night Only 5 4 Hamilton 1 1 5 Coastantlne Pueblo Joae6 10 4 Excuse Me 4 6 The Hoodoo 612 The Hurdy Qurdy Qlr? 9 9 Katy Did 4 8 Let's Get Married 3 5 London Assurance ic 3 Lost a Chaperon 6 9 A Foul Tip 7 3 The Man Who Went 7 3 The Man Without a Couatr; 46 5 Master Pierre PutellJ 4 i How .!iin A\ade Good 7 3 Just Plain A'ary 7 13 Line 3usy 5 19 Mr. Bob 3 4 Mrs. Brings of the Poultry Verc 4 7 Nathan iiale 15 4 Patty Makes Things Hum 4 6 Professor Pepp 8 8 A Regiment of Two 6 4 The Private Tutor S 3 The Rivals 9 5 Silas Marner 19 4 When a Feller Needs a Friend 5 5 Sally Lunn 3 4 Th J School for Scandal 12 4 She Stoops to Conquer 15 4 Step Lively 4 »o The Submarine Shell 7 4 The Thirteenth Star 9 The Time of His Life 6 3 Tommy's Wife 3 5 The Twig of Thorn 6 7 The Amazons 7 5 The Conjurer 8 4 2>i 2 1% 2 2 2 2 2 2 »;^ 2 2 2 2 2 ' 2 2/2 ^/z ^/z 2 2 2 2 2 2 2X 2>^ 2 2 I^ 2>^ '^ ^Yz 2% Prlcn 35c 35c 3SC 3S<^ 35<2 3SC 35c 35c 35c 35c 35c 25c 60c 35c 3SC 35c 35c 35c 60c 25c 3SC 3SC 35c 2SC 60c 2se 35c 35c 25 c 35c 60c 35c 3SC 35c 35c 25c 25c 3SC 25c 250 25c 3SC 35c 35c 35c 35c 75c 60c 35c Rtfaltf $10.00 S5.OO Free 125.00 Free Jio.oe Free lio.oo Free $10.00 Free JSio.oc Free fro.oc free Jio.oc $10.00 BAKER, Hamilton Place, Boston, Mass. ^ "-^ — ' — "2 I In Music Land A Short Sketch for Children By ALICE WHITNEY BROCKETT NOTE The professional and moving picture rights in this play are strictly reserved and application for the right to produce it should be made to the author in care of the publishers. Amateurs may produce it without payment of royalty on condition that the name of the author appears on all pro- grammes and advertising matter issued in connection with such performances. BOSTON WALTER H. BAKER COMPANY I 9 2 I In Music Land Copyright, 1921, by Alice Whitney Brockett As author and proprietor Professional stage and moving picture rights reserved. SEP 15 1921 •CLD 5 8(5^8 *w\.? { Rests Notes Syllables Rhythms CHARACTERS In the order of their appearance G. Clef, guardian of the treble staff. F. Clef, guardian of the bass staff. Two Quarters. One Half. Whole Note. Half Note. Quarter Notes (2). Eighth Notes (2). Sixteenth Notes {4). Thirty-Second Note. Crow, who cannot sing. Bluebird, who can sing. DoH : Re : Mi : Fa : Sol : La : Ti : Doh. Two- Four. Three-Four. Members of the Orchestra Frog. Bee. Grasshopper. Katydids (2). Cricket. Hummingbird. Chromatics Sharps (5). Flats (5). Marks of Expression Crescendo, always growing louder. Diminuendo, always growing softer^ RiTARD, always growing slower. Forte. Piano. Accent. Hold. Tie. Three Girls. The Round, a form of part music. Apollo, Greek god of music. Time of Playing. —About forty minutes Time. — The present. Place.— Out-of-doors in Music Land, FOREWORD The author acknowledges her indebtedness to a child- hood friend, " The Musical Journey of Dorothy and Delia," by Bradley Oilman. (Published by Thomas Y. Crowell.) In Music Land is an effort on the part of the writer to present in dramatic form some of the problems and musical characters met by children in the primary grades. It may, however, be so extended as to cover work for the more advanced child, and boys and girls of the grammar grades could be assigned the more difficult parts. This " revue " of musical characters is suitable not only for school presentation, but also for recital programs of studio teachers. For producers interested in musical his- tory the historical side may be stressed. The musical program has been carefully planned and is of great importance. Children selected for the sing- ing parts should have good voices. Two endings have been arranged in case it should be desired to follow the play with a concert of songs or a recital of instrumental music. COSTUMES COSTUMES G. Clef. A tall girl. White dress of cambric or silk- aline in shepherdess style. The drop skirt decorated with black notes and rests of different values, black buckled slippers, white stockings, powdered hair topped by a black bow. Carries large clef staff of black. F. Clef. A boy, not as tall as G Clef. Costume of gray cambric, colonial style ; large black hat with buckle, white wig, white frilled shirt, black buckled slippers. Wears a large black clef over shoulder and back; leans on cane. Rests. Boys or girls (small). Loose tunic of black cambric from shoulders sewed to under arm; pattern of rests in white on front. Notes. Whole; a boy; of very slow action; well padded. Half ; a boy ; of deliberate action. Quarters ; boys or girls'; one has bandaged finger. Eighths; boy and girl. Sixteenths; two boys and two girls (quite small). Thirty-second; smallest boy or girl. Cos- tumes of notes vary only in size and decoration, made of white cambric, round neck and points cut for sleeves and bottom of blouse. Five or six inches of short knee trousers show below blouse. Low sash of black cam- bric, notes of different values placed on each point of blouse and hang from points on sleeves. Large note forms feather for the small white cap. White socks and black pointed shoes like brownies. Notes must be gradu- ated in size. Syllables. Four girls and four boys. Boys in pri- mary and girls in secondary colors, as follows : DoH, red Re, orange Mi, yellow Fa, light green Sol, light blue La, medium blue Don, red Ti, dark violet Costumes of cambric in one piece with pointed neck. COSTUMES 7 sleeves, and bottom, knee length. Small tarn to match. Pointed shoes of same colors ; white or black stockings ; names in five-inch letters in black or white on front. Rhythms. Two boys, one in blue and white, other in orange and white. High-waisted, long trousers buttoned on white shirts; colored collars and caps, baseball style; black slippers. Chromatics. Ten girls. Sharps in blue cheese- cloth with silver tinsel. Flats in yellow with gold tinsel. Full dress gathered in a round neck; tinsel crossed in front of waist in Grecian style, triangulai pieces from shoulder with one end tied to wrist ; skirts and sleeves decorated with silver and gold sharps or flats; tinsel bands for forehead with two wired sharps or flats up- standing in front. Crescendo. A boy, quite large. Shaded orange cape, wide and full, light at bottom and dark at top. Large hat and feather give pompous effect, made of crepe paper or dyed material. Doublet of brown with orange cres- cent moons pasted on. Brown stockings and sandals with large pompoms. Diminuendo. A boy, quite thin. Shaded lavender cape with no fullness; dark at bottom, light at top. Floppy hat and drooping feather. Doublet of gray with purple marks of the shape of crescent moons ; gray stockings and pointed shoes. Ritard. a boy. Brown tunic under a green cape which trails from one shoulder; green hat upturned from face trails a hanging feather down the back; brown shoes and stockings. Gives the effect of dragging. The Round. Three girls of the same size. Plain white dresses with colored sashes and hair bows. Al- ways keep hold of hands. Crow. A boy with deep voice. Black cambric cov- ered with black crepe paper feathers cut and sewed on ; short trouse.rs and coat, pa jama style ; tail piece wired and attached at the waist ; two wings wired and taped to wrists ; cap, helmet style ; beak of wired cambric stuffed. Very little face shows. Bluebird. A girl who dances well. Costume same 8 COSTUMES Style as Crow but of blue feathers ; may have short cir- cular skirt and bloomers. Apollo. A tall boy. Conventional white robe; car- ries gold lyre and wears wreath of gold leaves. Forte. A boy with loud voice. Wears Raleigh cape of red; blue coatee over white blouse; bright knee trou- sers and red sash; white stockings, red sandals, red pointed cap. Piano. A girl with soft voice. Wears dress of pale gray, short blue cape, blue pointed hat, gray stockings, blue sandals. Accent. A boy, who steps and speaks with accent. Wears long orange trousers, white blouse, Raleigh cape of orange with purple marks in accent shapes on it, pointed purple cap, and purple sandals. Ties. Two boys, or two girls together. King blue tunics, black tie loops from outside shoulders of each, back and front, black stockings and slippers, blue tams with long black ribbons on side. Hold. Boy or girl. Wears soft brown robe covered at bottom with hold signs in gold; long orange scarf from shoulders, brown stockings and sandals. Carries staff or wand with hold sign at top. Frog. A large boy. Green cambric or crepe paper with black dots makes head and back, white front, black shiny eyes pasted on large head, wired claws and jaws; crouching posture. Grasshopper. A tall boy. Brown and green paper muslin make the body and wings, large goggles for eyes, legs and arms covered, wired feelers. Cricket. A small boy. Black cambric wired into flat casing forms the body, wired feelers, boy's arms and legs covered with stockings. Crawls on the ground with snapper in mouth. Hummingbird. A small girl. Feathers of shiny paper sewed on cambric foundation in style of Crow. Red at throat and chest, yellow-green on back, beak at- tached to feathered head. Bee. a small girl. Tight bodice of orange and black stripes, black cambric trousers and stockings, black hel- PROPERTIES 9 met, wired gauze wings. Carries small bagpipes under wings, long black gloves. Katydids. Two girls, one marked " Did " and one " Didn't." Pale green gauze wings wired, quite long. White or gray front, head of green with black eyes, helmet style. Carry music. Note. — Any part or characters marked with an asterisk may be omitted if desired. In case the orchestra part is omitted the entrance of Flat 7, and Sharp 4 follows the ring dance with the Rhythms. If the extra expres- sion marks are omitted Crescendo says, " Come on, Ritard — ," etc., directly after Ritard's speech to La. For a larger cast, Rests, Notes and Syllables may be doubled with good effect. PROPERTIES This play is suitable for outdoor or indoor presenta- tion, and the giving of it is not dependent upon elaborate setting or costumes. These can vary as the situation de- mands. The following suggestions for the setting may be of some help : Lattice work decorated with leaves and flowers make a good background with ferns and palms at right and left. A green archway at center back makes a desirable exit, other exits at right and left. Two garden benches at either side. Allow as much space as possible for free action of children in dances and spontaneous ring games. If outdoor setting is used and no curtain possible, two book covers made of green paper tacked to a wooden frame four feet wide and six feet high may be held by four children inside the frame. These should be let- tered as follows : " Child's First Music Reader," and should be opened gradually to disclose staff. A large scroll made of fifteen yards of white cambric is tacked to two large poles. Black lines twelve inches apart are painted on this scroll. There is one sharp on the fifth line, followed by five notes — D, B, G, A, and G. 10 DIRECTIONS FOR MUSIC Holes are cut in these to allow heads of children to show. Before the curtain opens the white staff should be in position with G Clef holding her clef pole posed against it. Curtain opens only enough to show staff and notes. The clef pole for G Clef is cut from heavy cardboard blackened with crayola and tacked to light pole. The F Clef is made of heavy cardboard, blackened with crayola, hanging over one shoulder and curving be- low the knee. For the balance game a teeter board ten feet long and a low horse are needed. A lettered sign is needed for Chromatic Tones to carry. DIRECTIONS FOR MUSIC For Crow Entrance. Music may be transposed to D major from page 13 of Robin Hood Score. It offers good rhythm for hops. For Orchestra Class. The Cricket's snapper be- gins on first and third beats of measures i, 2, 4, etc., alter- nating with Frog's " Chug-a-rum-rum " of one measure beginning on fourth beat of second measure. Real 'cello and violins play while class is playing imitation instru- ments. Grasshopper plays on 'cello, Cricket uses snapper in mouth, Bee blows bagpipe with much puffing, Hummingbird circles in place, plays the violin with bill, Katydids carry music under wings, Frog rolls his R's in Chug-a-rum-rum and may have a drum and tap sticks against his own fat chest. Cuckoo, unseen, calls at close of first verse and again at end of second. For Balance Game. The first sixteen measures of music are played ni. /., the change to other players must be quick, and pause in music only enough to allow short speeches to be heard. The eight measures when notes are balancing wrong must be very soft, the last sixteen loud and joyous. Cues and entrances are lettered in red ink in prompters' copies. DANCES II DANCES Balance Game. Music, Waltz ; ** Robin Hood." Entrance. Allegretto, page 7. Measures. 1-16, gaily, Half Note and two Quarters balance. Measures. 17-24, gaily, Half Note, Half Rest, and Whole Note balance. Measures. 25-32, softly, two Eighth Notes, one Six- teenth, and three Sixteenth Notes balance. G and F Clefs change this to final group. Measures. 33-48, gaily, two Eighth Notes and four Sixteenth Notes balance. This may be repeated with other notes balancing equal values. Bluebird and Crow Dance. Music ; " Birdling," Opus 4S, Grieg. Bluebird enters from right back stage; sings three short trills to " Ah " in key of dance. 1. Five or six tiny steps diagonally r. Poise on right foot and wave wings. Five or six tiny steps diagonally l. Poise on left foot and wave wings. Turn around r. with two step-hops ; arms in 3rd position. Five or six tiny steps diagonally r. Poise and wave wings. Repeat all, starting left. 2. Bluebird stands still and watches Crow, who takes two steps forward, then stands still and flaps wings; two steps forward again, stands still and flaps wings ; turns around once right with two clumsy step-hops, toes turning up; steps for- ward, flaps wings. 3. Crow then turns to his place with twelve little hops on both feet, while Bluebird works in semi- circle to center back stage with six slide-hops, arms in 3rd position. As she slides on one foot, other foot is raised in back. Bluebird pirou- 12 DANCES ettes ; Crow jumps half-way around on both feet, flapping wings. Bluebird pirouettes again. Crow jumps around. Bluebird darts first R. then L. with four or five tiny steps, arms in 3rd position, first the R. then the l. hand leading. 4. Bluebird repeats step l., substituting a pirouette in each place where she poised and waves wings in step L., except in the last measure, where she holds wings poised up. Possible addition. Crow repeats 2 with four step-hops with toes up and a large flap of wings. Then watches Bluebird carefully. Bluebird has four slide-hops, a short run forward, then poises on one foot. Crow flaps wings on last two chords. March of the Syllables. Music ; " When the Regiment Goes By," from Lilts and Lyrics. 1. DoH and Mi enter left; Don and Sol enter right; the DoHs are nearest the front of stage. Seven steps; feet together facing front. DoHS step forward one step; Mi steps forward one step; Sol steps forward one step; the four form a windmill and step once around with eight skip-steps. Four steps forward in line, feet together on fifth count. Leave space for other syllables. 2. Re and Fa skip to places, by weaving about others and make bob curtsey. La skips to place and makes bob curtsey. Ti does the same. Chorus. — Don and Re face and join hands, stretched out. Ml and Fa face and join hands, stretched out. Sol and La face and join hands, stretched out. Take four slides toward back of stage, beginning with forward foot ; three steps and bend, changing places with partner. Then repeat slide steps and bends to front of stage. All curtsey to partners (4 counts), face front, take one step forward (4 counts). All stand and sing final syllables of chorus. DANCES 13 Chromatic Tones Dance. Music ; " Habanera Carmen," Schirmer edition, " Selections from Favorite Operas for Piano." Entrance, page 6, Key of F. (four chords to prepare). 1. Five Flats enter from one side and form circle, while five Sharps enter from other side, form- ing another circle. All join hands high, small steps in correct place, one measure. Entrance step, foot nearest audience in fifth position, make shoulder high with hands, one measure; step and bend toward audience, one measure; step and bend away from audience, one measure. Repeat entrance step three times. 2. Eight skip-steps to right, 4 measures. Four skips to center and back, 4 measures. Eight skips to left, 4 measures. Four skips to center and back, 4 measures. 3. Leaders of two circles face and lead their groups into one big round group by grand right and left (16 skip-steps) for 8 measures. 4. All hands joined, balance r., balance l., three steps forward and point, 4 measures. Balance l., bal- ance R., three steps backward and point, 4 meas- ures. Balance r. and balance l., three steps turning to right and point, 4 measures. Same to left. 5. Exit ; four running steps, point and bend toward audience. Repeat three times. 14 MUSIC MUSIC OVERTURE— '' Shepherd Dance," Henry VIII. Ed. German " Morris Dance," P. 26 Score " Robin Hood." R. De Koven {Curtain opens on last six measures.) 1. Entrance of Notes and Balance Game. Introduction and Waltz Overture," Robin Hood." R. De Koven 2. Crow Entrance. P. 13— Allegretto in D, " Robin Hood " Score. R. De Koven 3. Bluebird and Crow Dance. " Birdlincj." Op. 43. Ed. Grieg 4. Syllables March and Song. " When the Regiment Goes By," Lilts and Lyrics. Gaynor 5. Orchestra Class, sung and played. " The Orchestra," Prog. Series, Bk. II. Fox. Lutkin 6. Exit of Orchestra Members. " The Bee." Schubert 7. Chromatics Dance. " Habanera" Carmen. Selection from Favorite Operas, G. Schirmer Edition. Bizet 8. Round. Tune—" Gaily Brays the Donkey." Old Folk Tune 9. Final March of all Characters. "Dorothy." Old English. Seymour Smith In Music Land SCENE. — A garden. {Curtain opens and discloses G Clef posed against staff; Note Heads showing at given places.) G. Clef {looks about, the Notes nod and smile). My children are all promised a holiday to-day, so I may as well step down and see what is going on. {Steps dozmt and walks forward. ) The Notes have been working hard and need a good chance to play. I've lived in Music Land almost ever since there was such a place, and when a holiday comes along I like to play too, though my busi- ness is to keep the Notes in their places on the staff. {Smiles.) That is hard work sometimes, too. {Turns to Notes.) D, you and the other Notes may run away from your places now. Have a good time ! ( Notes sing in given pitches as Sol-Mi-Doh-Re-Doh. " Thank you, Mother G. Clef." G smiles and waves hand.) Run along and play, take the staff with you. {Curtain opens wide as Notes run off lightly and staff is taken quickly off. Notes are not seen by audi- ence. G walks about until she sees F Clef com- ing in.) {Enter F Clef slowly, leaning on cane.) G. Clef. Greetings, Brother Bass Clef ! How are you to-day? F. Clef. Nicely, thank you. It does me good to stretch my legs a little. I get very cramped sitting so long on the staff. I'm bent over anyway and very glad of this holiday to relax a bit. IS l6 IN MUSIC LAND G. Clef. I suppose our note children are having a gay time. Did you see any of them as you came along? F. Clef. Yes, some are playing in the meadow. The Eighth Notes, little rascals, were chasing poor old Whole Note till he was quite out of breath. They were playing Fugue, I guess. (Laughs and nods head.) G. Clef. Poor Whole Note! He wasn't built for running, but those Eighth Notes are always ready for some mischief. They know that our musical family is so large that you and I cannot watch them all the time, and I greatly fear they take many advantages. {Goes to bench and seats herself.) F. Clef. But they are lovable rascals, in spite of their mischief, aren't they? You were speaking of our large family. I was just thinking how the music family had grown since those early days when we lived in Italy. {Sits beside her on bench.) G. Clef. Indeed it has, F, and how we have traveled since then, through Europe first, and then to America, How many people have come to know about us and learn our rules and customs. F. Clef. Yes, even the children in schools learn a great deal about us now. G. Clef. Many of them learn to love us too, and yet I can remember little boys of long ago who loved us when it was not so easy or pleasant to study about us. F. Clef. You mean little Handel and Mozart? (Music: Mcmrt "Minuet," softly.) G. Clef. Yes, and Mendelssohn and Bach and, oh? so many others ! What a hard time they had to learn mu- sic. Bach had to copy his music on the roof in the moonlight because his brother did not want him to study it. I can see him now ! F. Clef (nodding). I remember, and / can see little Handel tiptoeing to the attic at night to practice on the old spinet when his father was asleep. (Laughs gently.) He persevered, bless him ! IN MUSIC LAND I7 G. Clef. In spite of their struggles and hard work, what beautiful and glorious music they all made when they grew older. F. Clef. YeS; and now the children of to-day love to study that very music. (Sound of crying is heard.) G. & F. Clefs. Dear me, what is that, I wonder ! (Rising in concern.) (Enter 32ND Note, l., crying. Whole Note, r.) Whole Note (kneeling to comfort her). Why, you poor little 32nd Note, don't cry! (Turns and curtsies to G. and F.) She has lost her way, but I'll take care of her. She can play balance with us. [Exit with 32ND Note G. Clef. Oh, that will be nice. Why not play here? We will fix the board for you over this bar. (As they walk l., F peers at sleeping Rests.) F. Clef. Who are these tots here ? Oh, I see. Rests, and sound asleep as usual, I do believe. G. Clef (walks toward them and leans over to waken Rests). They are always quiet and sleepy, aren't they? Wake up. Rests, and move over there. (Gently moves them to the right, back, then arranges see-saw in center.) F. Clef. The Notes never seem to get tired of play- ing this balance game, do they? Isn't it fun to watch them when Whole Note sits on one end and needs four Quarter Notes on the other end to balance him? (Both F and G smile, move to bench at r. as before.) (Joyous voices heard off stage. " Come on, let's go, we'll plav," etc.) (Enter 8th Note, running.) 8th Note. Come, Whole Note, don't be so slow. Whole Note (puffing breathlessly). I'm coming, only there's a lot of me to move. l8 IN MUSIC LAND (Enter all Notes, They run and circle about the see-saw. ) Half. Let's wake the Rests to play with us. They need a Httle exercise. (Crosses stage with a i6th Note and pulls up Rests. Half gets on board.) I'll balance you ! Who's ready ? (Two Quarter Notes get on other end.) (Music: Walts, from "Robin Hood.") Notes. We are ! Whole. My turn now. Careful of me! Whoop! (Sits heavily. Half Note and Half Rest balance.) (Walts continued.) Sixteenth. Let me do it too ! Eighth. You can stand in the middle. (Helping her.) Eighths. We'll take you, i6th I (One Sixteenth gets on end with two Eighths, three Sixteenths on the other. They balance that way, during which F and G discover mistake. G smiles and comes forward.) (Walts continued.) G. Clef. Here, you can't balance that way. You be- long down here. (Lifts Sixteenth i^ 3 .tf4/«i Ftmalt / Tlm^ Prict \ Sally Luna 3 4 ^% irs. 25c •I Mr. Bob 3 4 ^% 25c J The Maa from Brandos 3 4 y^ 25c ► »> J A Box of Monkeys 2 3 'X 25c ^ A Rice Pudding 2 3 IX 25c M Class Day 4 3 ^ 25c > J Chums 3 2 j^ 25c i An Easy Mark 5 2 >4 25c J Pa's New Housekeeper 3 2 I 25c & 2 N«t On the Program 3 3 % 250 F 4 The Cool Collegians 3 4 ^'A 25 c V i The Elopement of Ellen 4 3 2 <« 3SC ^ 1 Tommy's Wife 3 5 »>^ 35c r K Johnny's New Suit 2 5 H 25c ^ jj Thirty Minutes for Refresbffleili<» 4 3 % 25c !> J West of Omaha 4 3 % 25c < The Flying Wedge 3 5 H 25'' 1 M My Brother's Keeper 5 3 ^'A 25 P i> J The Private Tutor 5 3 2 35'- r ^ Me an' Otis 5 4 2 25c \ i Up to Freddie 5 6 'X 25c ^ * J My Cousin Timmy 2 8 I 25c i Aunt Abigail and the Boy** 9 2 I 25c ^ i Caught Out 9 2 ^Vi 25c i. Constantine Pueblo Joucs 10 4 2 35c r < The Cricket On the Hearth 6 7 '>^ 2.SC ^ J The Deacon's Second Wife 6 6 2 3SC 4 Five Fe^it of Love 5 6 I>^ 25c f ^ The Hurdy Gurdy Girl 9 9 2 3SC F 4 Camp Fidelity Girls I II 2 35c 9' Carroty Nell 15 I 25c ? * A Case for Sherlock Holmef 10 i;^ 35c jr 1 The Clancey Kids 14 I 25c W) JJ The Happy Day 9 1 Grant You Three Wlshe» 7 % 2SC w 14 A 25c f A Just a Little Mistake I 5 U 25c ^ j The Land of Night 18 'X 25c r ^ Local and Long Distance X 6 A 25c The Original Two Bits 7 A 25c Z An Outsider 7 % 25c * Oysters 6 A 25c i A Pan of Fudge 6 A 25c A Peck of Trouble 5 'A 25c j A Precious Pickle 7 A 25c ii The First National Boot 7 2 I 250 . His Father's Son 14 iX 3SC " The Turn la the Road 9 I>3 25c ; A Half Back's Interference lO X 25c The Revolving Wedge S 3 I 25c Mose II 10 ^Vz I'-c BAKKK, Hamilton Place, Boston, Masso i ^ ■^'■^•■■^'■^^^•r-Ar-Ar-^tf^^lt^-Ai-iCtf^t:! I Plays and Novelties That Have Been " Winners ' Mslti Camp Fidelity Qlrls Anita's Trial Tlie Farmerette Behind the Scenes The Camp Fire Girls A Case for Sherlock Holmes 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 Mf 88 Fearless & Co. A Modern Cinderella Theodore, Jr. Rebecca's Triumph Aboard a Slow Train In MIzzoory Twelve Old Maids An Awkward Squad The DIowUp of Algeraoo Blow The Doy Scouts A Close Shave Tbc First National Boot A nalf°Dack's Intet^creoce His Father's Son The Man With the Nose On the Quiet The People's Money A Ref^ular Rah ! Rah I Boy A Regular Scream Schmcrccase in School The Scoutmaster The Tramps' Convontioa The Turn in the Road Wanted— a Pitcher What They Did for Jenkios Aunt Jcrusha's Quilting Party The District School at Blueberry Corners The Emigrants' Party Miss Print's Kindergarten A Pageant of History The Rcvc! cf the Year Scenes in the Union Depot Taking the Census in BlagvUle The Village Post-OHlce O'Keefe's Circuit II II 7 1:2 12 24 10 17 10 II Any number 14 22 12 8 20 8 2% lirs. 2 " 2 " 1% " IS 2 10 »X 6 I>^ 10 I 14 H 4 % 4 Yz 7 % lO % II ^Yz 7 Yz 10 2 16 ^Yz 7 Yz 16 8 14 "^Yz IS I 8 X 8 Yz 20 2 6 Yz 1 a I IG ¥ H »¥ 8 Ya 12 lYz II ^H 14 iH II iH 9 I to 2 r; ^Yz 9 lYz II Yz 14 2 4 12 'X I I ^Yz 2 I ^Yz 2 lYz Prif 35c 35c 35c 35c 25 c 25c 25c 3SC 25c 25c 25c 35c 25c 35c 35c 25c 35c 35c 25c 25c 25c 3SC 25 c 25c 25c 35c 25c 35c 25c 3SC 3SC 25 c 3SC 25c 25 c 25c 25c 25c 25c 25c 25c 35c 25 c 25c 25c 35c 35c BAKER, Hamilton Place, Boston, Mass. Nont 55.00 None 181717 LIBRARY OF CONGRESS 017 400 468 7