PRICE TWENTY-FIVE CENTS PLAYS FOR FEMALE CHARACTERS ONLY 15 CENTS EACH p CRANFORD DAMES. 2 Scenes; 1^ hours 8 GERTRUDE MASON, M.D. 1 Act; 30 minutes 7 CHEERFUL COMPANION. 1 Act; 25 minutes 2 LESSON IN ELEGANCE. 1 Act; 30 minutes 4 MAIDENS ALL FORLORN. .3 Acts; 1>4 hours 6 MURDER WILL OUT. 1 Act; 30 minutes 6 ROMANCE OF PHYLLIS. 3 Acts; \\i nours 4 SOCIAL ASPIRATIONS. 1 Act; 45 minutes 5 OUTWITTED. 1 Act; 20 minutes 3 WHITE DOVE OF ONEIDA. 2 Acts; 45 minutes 4 SWEET FAMILY. lAct;lhour 8 BELLES OF BLACKVILLE. 1 Act; 2 hours 30 PRINCESS KIKU. (25 cents) ... 13 RAINBOW KIMONA. (35 cents.) 2 Acts; 1^ hours 9 MERP£ OLD MAIDS. (25 cents.) Motion Song 11 PLAYS FOR MALE CHARACTERS ONLY 15 CENTS EACH M APRIL FOOLS. 1 Act; 30 minutes 3 BYRD AND HURD. 1 Act; 40 minutes 6 DARKEY WOOD DEALER. 1 Act; 20 minutes 3 WANTED, A MAHATMA. 1 Act; 30 minutes 4 HOLY TERROR. 1 Act; 30 minutes 4 MANAGER'S TRIALS. 1 Act; 1 hour 9 MEDICA. 1 Act; 35 minutes 7 NIGGER NIGHT SCHOOL. 1 Act; 30 minutes , 6 SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 PICKLES AND TICKLES. 1 Act; 20 minutes 6 HARVEST STORM. 1 Act; 40 minutes 10 CASE OF HERR BAR ROOMSKI. Mock Trial; 2 hours.... 28 DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 RIDING THE GOAT. Burlesque Initiation; 1 Scene; \% hours 24 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. Prof. Jinglejaw's Exhibition Rehearsal An Eniertafnttrcnt in #m> g>t*t\* By LYLE WILSON HOLDEN Copyright 1915 by DICK & FITZGERALD NEW YORK DICK & FITZGERALD 18 Ann Street 4\ TMP92-009205 ©C1.D 41405 AUG 3 1915 Prof. Jinglejaw's Exhibition Rehearsal. JlNGLEJAW . CHARACTERS. £ Pupils Si Marindy Hiram Eliza Reuben Emily Billy Sally Jacob Lucy Enoch Hannah Sam Mandy (Darkey) Jimmy Locality. — A New England Village. Time of Playing. — About forty minutes, according to specialties introduced. COSTUMES AND CHARACTERISTICS. Prof. Jinglejaw. About 40 years. He is the schoolmaster and also the local singing teacher; wears an old-time, long- tailed coat, fancy waistcoat, spectacles, tall hat, and carries a large cotton umbrella. Male characters. Ages range from 17 to 30 ; wear cowhide boots, brown jeans, checked shirts, bright and gaudy ties, any old, out of style coats that happen to be available. Female characters. Ages range from 17 to 30 ; wear calico dresses, gingham aprons, any old cloaks and shawls taken from the attic. 3 4 Prof. Jinglejaw's Exhibition Rehearsal. INCIDENTAL PROPERTIES. Newspaper for Mandy. Glass of water for Sally. Tuning fork and baton for Professor. Fan for Lucy. Large white sheet for Hiram. STAGE DIRECTIONS. As seen by a performer on the stage facing the audience, R., means right hand ; l., left hand ; c, center of stage ; r. c, right center. Up means toward back of stage; down, toward foot- lights. NOTE. — The suggested music, both vocal and instrumental, is based upon such pieces as have been successfully used in numerous performances of this entertainment. Mandy, the colored character, is introduced to form a contrast and to break the monotony of so many Yankee characters. It is quite a well-known fact that throughout New England and the Middle States there are many towns and country places with but one or two negro families and in these places with but one or two darkey children they are admitted to the schools and neighbor- hood gatherings. In this entertainment, the attitude of the other characters towards Mandy is not so much that of equal- ity as of amused toleration. Most of the lines should be rendered in the old Yankee twang. Prof. Jinglejaw's Exhibition Rehearsal. SCENE. — The interior of an old-fashioned country schoolhouse. Door r. c. of rear flat. Windoiv, r. Professor's battered desk up c. Plain ivooden benches and chairs; a rusty box- stove. On wall l. a dingy black-board on which a few comic sketches are made with crayons or charcoal, also sketches drawn on wall. ENTER Professor all out of breath. After placing his hat and umbrella in a corner, he drops into chair, c. Professor. Wall, I'm here at last, even if the wind did well- nigh take me and my umbrellar over the dug-road, and if I did hev to dodge the snowballs them onery Scrubhill Corner's kids threw at me — drat their skins. Piketown will hev me to thank if this entertainment turns out to be the great and glori- ous affair we expect it will. With the training they hev got the last three months to my singing-skewll, and the work I've put in conducting the Piketown Symphony Orchestra, it seems ter me the affair ort ter be fust class. I dew hope they'll be on time for this last rehearsal to-night, for I must see that everything is perfection before anyone leaves to-night. Hello, there's someone now. (A step and cough are heard off stage) Sounds like Si Perkins and Marindy. (Goes to door) ENTER Si and Marindy. Professor. Howdy, Si. Evenin', Marindy. How's every- thing to-night? Yer both on time, I see. Si. Yep, we tried ter git here on time, but it's doggone awful goin'. My old mare durn near lay down in her tracks before we ariv. I hope you're in good health, Professer. 5 6 Prof. Jinglejaw's Exhibition Rehearsal. Professor. Fine, Si, fine. Except for a little touch of pneumogastric pralysis, and an attack of spasmodic contor- tions of the diaphrame, I never felt better in my life. Marindy. La sakes, Professer. I should think you'd be all ett up with pain and misery- Why don't yer put on a mustard plaster. Ma put one on Sam t'other day fer eatin' too much green sass, and in five minutes he said he fergot all about his original ailments. But he was dancin' an awful jig and later he said 267 square inches of his hide came off. Professor. No, thanks, Marindy, I don't believe I care to try that kind of remedy. Hello, here comes some one. Eliza (off stage). Well, Hiram Hawkins, ef yer think I'm goin' ter be bossed 'round by you, you're badly left, that's all. Hiram. But, Liza, I ain't bossin' ye. I jest didn't like Billy's bein' so fresh with ye, that's all. Eliza. Well, I guess I kin take care of myself. Ef I needed a guardian I might call on you. Si. Huh — it's Hiram and Liza havin' one of their spats. ENTER Hiram and Eliza. She holds her chin very high, but Hiram looks rather crestfallen. Professor. Good-evenin', Hiram. Good-evenin', Eliza; fine evenin' fer the rehearsal, ain't it? Eliza (snappishly). Yes, it's an elegant evening. Hiram. Yes, it's good enough, but it don't seem ter agree with me very good. Si (going over to Hiram and slapping him on the back, while the two girls talk to each other) Aw, cheer up, Hiram. No use lookin' glum when gals hev a tantrum. Jest leave them alone, and they'll git over it alright. Hiram. I dunno, mebbe you're right. It makes a feller kindo gone in the stomick though. (Sound of singing in the distance is heard) Professor. Listen ! What's that singin' ? Si. I reckon it's the rest of the folks from the hill road. Everybody is goin' ter be out ternight. (The singing gradually draws nearer. Then with the exception of Reuben and Enoch, ENTER all, talking and laughing at once. There is an ex- citing time of greeting, hand shaking, etc. Each one shakes hands with the Professor and tvith every one else. The girls kiss and hug each other, and a general merrymaking ensues. After a short time the Professor raps for order tvith the in- tention of starting the rehearsal. Suddenly a great noise is Prof. Jinglejaw's Exhibition RehearsaL 7 heard, off stage, and Reuben ENTERS in great haste. His hair is disheveled ; his eyes are bulging; his teeth are chatter- ing, and he is so out of breath that he can scarcely talk > Reuben (puffing and bloicing). Oh, Lord, oh. Lord: Some- body help me ! Oh, I'm dead, I'm dead . groans mmi Emily. Oh. Reuben, what is it? Is somebody murdered? Is the house afire, or hev you got a fit? ( Mandy takes a news- paper and fans him. Saixy yets a ghiss of water which he gulps and chokes upon. He sputters, moans and groans and ap- pears about to expire. Sally smells of the glass and gasps) Sally. Oh, Good Heavens! I got that glass of ile Billy brought to light the fire with. Reuben {sputtering and choking). Oh, o — o— oh, o— -o — o — o — o — oh! Every — body's — try — ing ter kill me. Just 'seaped a terrible death — and — now you folks — want ter finish me. Hibam. Well, Land o ? Goshen, Reuben, can't yer tell us what's the matter? Don't lay there like a dead loonatic. Brace up and satisfy our curiosity. Belly. Yaas. Reuben, looks ter me's if you'd made fool enough of yerself. It's time yer gave an account of yerself. Reuben. Well, I guess if yer fellows hed been through what I hev, you'd be some shooken up. I shouldn't be surpr> my hair hed all turned gray, i Puts up hand and smooths down his hair\ I tell yer what, folks, I wus chased three miles by the biggest panther in North America. I wus comin' t; Hoognn's when I heared the awfulest. blood curdlenest screech, worsen the cry of ten thousand lost souls. I stopped in my track fruz with terror. Then that awful screech cui~ and that mammoth panther leaped right out of the bushes at me. (The girls cry out and clutch each other > I giv one awful jump and knowed nothin' more till I landed through the door thar. {Begin* to shake again) Oh, it was awful, awful, awful. (During this time Si has been gradually getting :nd More hilarious. He can now hold himself no longer, but begins to slap his leg and to roar with laugi I Mabindy. Well, for the land of goodness. Si. what is the matter? Pbofessor. Yes. Mr. Perkins, it seems but proper that the rest of us should share the joke. Si i still laughing and shaking). Oh, hold me somebody or I shall bust. sure. I'm tickeleder than I've been fer twenty years. Oh, Reuben, you're the biggest coward er fool I ever 8 Prof. Jingle jaw's Exhibition Rehearsal. see. 'Twan't no painter you see. That warn't nothin' but Tom Hoogan's old yaller dog. He had Sally Ann's cat up a tree when I cum by, and the cat wus yawling and makin' a terrible fuss. I expect that's Reuben's ten thousand lost soul noise. I s'pose 'bout the time he cum past, the cat jumped out of the tree, and of course that old hound took atter it. Talk about a painter. Whee! Whoo ! (He goes off into another fit of laughter, and Reuben looks silly and tries to get out of sight) Emily. Well, Reuben Jones, if you get scared as easy as that, I guess I won't go to that spellin' match with you next Friday night. A hoot owl or something might scare you, and I'd be left to go home alone. You are a brave man, you be, I must say. Reuben (almost crying). Now, Emily, don't be too hard on me. If you hed been there Emily. You needn't say no more. When I hev a feller, I want one that ain't scared out of his skin at every frog that peeps. So there. (Slie flounces back into her seat, and Reuben goes off into a corner, stealthily imping Jiis eyes. Everyone looks at him, smiling and laughing) Professor. Wall, I guess if that excitement is over we will begin our rehearsal. We will start with the grand openin' chorus. All take yer places, and remember the repertation of Piketown rests on yer shoulders. I'll give yer the key. (Busi- ness of getting key from pitchpipe) Are yer all ready? ( Chorus of " Yep," " Let er go," " Strike up the band" etc. There is much confusion in getting to their places. Hiram goes next to Eliza but Billy crowds between, and during the sing- ing first one and then the other crowds the other from his place) NOTE. — Any good song that is adapted to a chorus may be used for this number. The fun lies in the manner in which it is produced. The Professor swings his baton with exaggerated gestures, and part of the company sing in tune and the rest are off key the most of the time. All taking part act as though they thought they were producing the grandest effect possi- ble. Suggested: "We'll Raise the Roof To-night." Price 50 cents. Professor. That's fine, fine. I tell yer ye hev did yerselves brown. When any one kin outdo Piketown they'll hev ter get up in the mornin'. Now what's the matter of our havin' that oration of yours, Billy? Prof. Jinglejaw's Exhibition Rehearsal. 9 Billy. I dunno but I'd jest as soon orate now as anytime. (Comes forward very importantly) Ladies and gentlemen as- sembled, I am goin' ter orate fer you tins evening Jacob. Aw, come off from yer high horse, Billy. Billy (glaring at him) Shut yer mouth and mind yer busi- ness. Ladies and gentleman, I stand before yer this evening for the purpose of orating Hiram. Does it hurt much? Billy. Does what hurt much? Hiram. Why, to orate, of course. Billy (tries to kick him, but misses, and the force of the blow throws him down. All laugh. Billy picks himself up and starts savagely). Ladies and gentlemen, I propose Chorus of Voices. Who's the lucky girl? Billy. Blame it all ! Can't you people shut up fer a minute or two? Chorus. Uh huh. Billy. Ladies and gentlemen, I am goin' ter orate fer you that grand, majestic selection known as " The Gladiater." Si. I beg yer pardon, Billy, but what wuz he glad he ate her for? Billy. Say, Professor, if these folks don't keep still I ain't goin 'ter do another thing ter night, ner any other time either. Professor. Will yer all keep quiet now, until Billy gets his selection giv? (Some place their hands over their mouths, others cram their handkerchiefs into their mouths, etc.) Billy. Stillness reigned in the vast am — per — the — a — tor, and from the countless thousands that thronged that spacious inclosure, not a breath was heard. Every tongue was mute with suspense, and every eye strained with anxiety toward the fatal portal, where the gladiator was momentarily ex- pected to enter. At length the trumpet sounded and they led him forth — (During this recital all make motions in imita- tion of Billy's exaggerated gestures. At last he gets angry and stops) Well, I'm done, an' I hope yer folks air satisfied now you've spoilt the only high class number on the program. (Goes up stage and drops angrily into a seat) Professor, As Billy seems ter hev had his feelin's trodden on, mebbe we might as well hev that song of yours, Mandy. Mandy. Wall, if dat Billy tinks he is the only fust class per- formator in dis crowd, I tink I'll jes stay where I is. Chorus. Oh, come on, Mandy. Never mind Billy. He's got sore feet. 10 Prof. Jinglejaw's Exhibition Rehearsal. Mandy. Wall, seein' as yo is all so sisterent I will try to discomodiate yo. NOTE. — As Mandy is a darkey character it would be well for her to sing some good darkey song, but if it is not convenient to provide a darkey song any good song will be effective if sung with comedy negro effect. Suggested : " Auntie Skinner's Chicken Dinner." Price 50 cents. Mandy (walking very importantly to her seat, while all cheer). Wall, if that wasn't fust class, I don't know what is. NOTE. — During the progress of the play a number of the men have been trying to pay some attention to Lucy, who is dressed as an old maid. She refuses to have anything to do with any of them. She slaps one in the face, turns away from another, and fans herself vigorously. Reuben now comes edg- ing up to her and sits down beside her. She draws away in- dignantly. Reuben. Say, Miss Lucy, could I hev the pleasure of ac- companying yer home this beautiful evenin'. (Everybody laughs ) Lucy. No, you can't. I don't know what I want of an ex- cuse for a man who is afraid of a yaller dog panther. (Reuben looks crestfallen and sneaks away) And you folks needn't laugh. I expect you young giddy gals think I never had a chance to get a feller, but heaven knows I've had all I want. All men are deceivin', hateful critters, and thank heaven, I don't hev to have any of them around me. So there. (Begins to fan herself vigorously) Si. Wall, Reuben, ye did ruffle the old hen's feathers, didn't ye? I'm s'prised ter think ye had the gumption to do it, con- sidering the scare ye hed this evenin'. Reuben. Yer think ye air awful smart, but I bet 'twouldn't take much ter make you show the white feather. I never seen you display any great bravery, except with yer mouth. Si. Say, look here, kid ; I wanter tell you that I'm not one of yer scary kind. I don't get scart out of my wits every time I see a yaller dog or a black cat. There don't nothin' scare me. (Off stage there is a terrific explosion. This may he produced by firing a pistol or a cannon cracker. All the girls shriek and the men stand trembling. Si falls to his knees in the center of the stage, his eyes rolling and mouth working convulsively. At first he can say nothing, but at length gasps) Prof. Jinglejaw's Exhibition Rehearsal. 11 Si. Oh, save me, save me, save me! I ain't done nothin'! (He makes a few terrible groans. Just then Enoch tumbles into the room. His coat is off at one sleeve, his hair dis- heveled, and his face black and dirty) Enoch (howling). Aw, pick me up and bury me, can't ye, somebody? Oh, I'm all blowed to smithereens, and pounded black and blue. What are ye all standin' there fer? Why don't ye do something? Professor. But what's the matter, Enoch? We didn't know but jedgment day had come, considerin' the racket. Enoch. Well, it putty nigh did come fer me. I wuz monkey- in' with grandther's old musket when she blew up or sunthin', and I thought I flew into a hundred pieces and landed sixty- 'leven rods away in a heap of coal. I don't know whether I'm all here or not. I feel as though sunthin' wuz lackin'. (Sees Si still on his knees) Well, what's Si Perkins doin' there? Sayin' his prayers? Get up, Si, I ain't dead yet. (Si scram- bles to his feet, looking very sheepish) Hannah. Oh, Si's just displayin' his bravery, you know. He's the fellow who never gets scared. He ain't afraid of any- thing but a popgun. He's just a little rattled in the nerves, that's all. Marindy, ye'd better be kerful goin' home to-night that ye don't make any noise or he'll be kneelin' in a snowbank, and he might get pneumonia and that would be awful fer he couldn't holler then, — no, ner brag neither. Marindy. Well, I must say, Si, that ye hev behaved nobly. Everybody behold the brave Mr. Si Perkins who ain't afraid of anything. Hev a good look, ladies and gentlemen, ye may never see his likes again. (Si Hoists and turns, and becomes so em<- barrassed that the Professor feels sorry for him) Professor. Oh, well, Si wasn't the only one that was afraid. I'll confess I wuz some startled myself. Now, Hannah, I expect we might hev your recitation. Hannah. Oh, Professor, I wish you'd excuse me ternight. I'm afraid I hev f ergot it. Professor. Oh, no, Hannah, yer can do it. Come on, there's nothin' ter be nervous about. Hannah. Well, if I've got to, I s'pose I must, but I wish I didn't hev to. (Hannah recites some selection quickly with absolutely no expression. We would suggest, " The Charge of the Light Brigade") Mandy. I purpose that Sam giv us that little jig of his'n. He's been so quiet dis ebenin' I dun beliebe he's gone ter 12 Prof. Jinglejaw's Exhibition Rehearsal. sleep. ( Chorus of " Come on, Sam," " That's the thing," " Whoop her up, Sam," etc. ) Sam. Aw, I don't wanter. I can't dance no jig ner no noth- in'. Go on with the t'other things on the program. (Two of the boys take Sam by each arm and hustle him to the front, where he stands sleepily. Chorus of " Come on, Sam." He starts two or three times and stops. Gradually he gets to dancing faster and faster, all of the crowd keeping time with their hands. At last he falls exhausted, but still keeps his hands and feet going) Sally. I knew Sam'd never stop if he got ter goin' once. Some of you fellers better help him up or he'll die. I guess he's lost his breath now. (The boys pump his arms and legs until he gets his breath, and then lead him to the rear) Professor. Hello, Jimmy's gone ter sleep. Hi, wake up there, Jimmy, and give us yer piece. (Everybody yells, " Jimmy ! " He gives a start and falls from his seat to the floor. Looks dazed but rises, stretches and yawns) Come on, Jimmy, don't sleep all night. Give us yer piece. Jimmy (yawning and stretching). Why can't yer let a feller rest? I don't want ter speak nothin'. (He starts to go back to his seat, but is pushed to the front, and prompted by the Professor he speaks some simple little thing that is short and easy. He nearly goes to sleep a number of times while speak- ing and has to be continually prompted. He falls down while getting back to his seat and goes the rest of the way on his hands and knees) Professor. Next we'll have that trio the gals hev been prac- ticin' so long. Come on, gals, we know yer hev something good fer us. NOTE. — Sally, Emily and Maria come forward and sing some popular song. One is very bashful and keeps her finger in her mouth, one giggles incessantly, and the other sings all on one tone. Great applause at the end. Suggested : " Wall, I Swan." Price 60 cents. During the song Billy has succeeded in placing himself be- side Eliza and is busily engaged in talking to her. At last he attempts to place his arm around her. This is more than Hiram can stand and he rushes to him, takes him by the collar and throws him to the floor. Hiram (wildly excited, and waving his arms). Thar, gol darn yer onnery hide! I'll teach yer ter go ter getting my gal Prof. Jinglejaw's Exhibition Kehearsal. 13 away from me. (Shaking his fists) Come on and I'll give yer one that'll let daylight in. I'll knock yer into the middle of next week. Billy (jumping up and dancing ivith anger). Yer will, will yer? I want yer to understand that I ain't afraid of a hun- dred Hiram Hawkinses nor the whole Hawkin's tribe neither. (He starts for Hiram, and the tivo engage in a combat, but both are so angry that they are unable to see each other, and the bloivs fall rather wildly. The girls hover together and scream) Eliza. Oh ! Oh ! Oh ! Fire ! Murder ! Stop them somebody, do ! They'll dig each other all to pieces ! Why don't you stop them? Why don't you stop them? (The boys are pulled apart, but keep trying to get at each other. Gradually they become cooler. When they are loosened, Eliza goes to Billy, and wipes his face with her handkerchief. When Hiram sees this he puts both hands to his face and bellows) Hiram (sobbing and choking between nearly every ivord). Now — you've all gone — and done it. I — ain't got — no — gal — no — more. Liza — wuz — the only one — I — ever had — and — I'll never — git — another. I'll go out — in the — cold — world — and die — all alone. (Goes out sobbing) Professor (iciping his face icitJi his handkerchief). Wall, after that scene I ruther guess we had better hev some music. The Piketown Symphony Orchestra will now rehearse. NOTE. — The orchestra may consist of all sorts of simple in- struments, such as jewsharps, mouth-organs, ocarinas, bones, etc. However, it will be just as effective if every one uses a comb covered with tissue paper. The members of the orchestra pro- duce their instruments or combs with a great show of pride and then come to the front of the stage. They have a dismal time tuning up and make two or three false starts. The Pro- fessor hammers with his baton and calls several to order. At last they get started and go through the tune, ending with a grand flourish. Any good stirring tune may be used. Particu- larly suggested : " Haydn's Children's Symphony " consisting of piano score, with score for toy parts, as follows: 1st and 2nd Violin and Bass, Rattle, Cuckoo, Drum, Kazoo, Trumpet, and Triangle. Price 60 cents. This should not be omitted if it is possible to include it, and it should be given, not in a gro- tesque off-hand manner, but as artistically as the performers can render it. But if it is found impossible to give " The Children's Symphony " the " Kerry Dance " may replace it. 14 Prof. Jinglejaw's Exhibition Rehearsal. Price, with piano accompaniment, 40 cents, with 10-part orches- tration, $1.40. Processor. I jest believe while we are about it, we will hev that other chorus accompanied by the orchestra. NOTE. — Another tune is started; those who are not in the orchestra sing this time. In the midst of the grand finale Hiram appears dressed up as a ghost. The music ends with an awful squeak and the members tumble over each other in a wild exit. Hiram (peeping out of the sheet, laughing and slapping him- self ivith glee). I'll teach them ter go back on me. I guess they'll all remember Professor Jinglejaw's Exhibition Re- hearsal. CURTAIN. NEW PLAYS ROYAL CINCH, A, 25 cents. A farce comedy in 3 acts, by Frank H. Bernard. 2 male, 3 female characters. 1 interior, 1 exterior scene. Time, 1% ^ours. A fantastic comedy, simple in plot, but cunningly contrived and cumulative in its development. The darkey waiter and the pert housemaid are surpassingly comical parts. HOOSIER SCHOOL, The. 15 cents. A farcical sketch in i act, by William and Josephine Giles. 5 males, 5 females, 4 of whom can be boys and 4 girls. 1 interior scene. Time, about 30 minutes. A realistic picture of a district school in a small Western village. The rough and ready teacher and his tricky scholars keep the audience in a roar. The teacher is finally squelched by the irate mother of one of'his pupils. The piece is cleverly worked out and full of funny incidents. SCRUBTOWN SEWING CIRCLE'S THANKSGIVING, The. 15 cents. An old ladies' sociable, by Maude L. Hall. 6 female characters. 1 in- terior scene. Time, 35 minutes. A characteristic entertainment in which, among other interesting incidents, each of the old ladies gives her reasons for thankfulness. An all star study of character with an unusual send off. DOLLY'S DOUBLE. 15 cents. A musical vaudeville sketch in i act, jy Charles Stuart, i male and i female character assuming two parts. i interior scene. Time, 20 minutes. An exceedingly humorous conception, bright, catchy and original, eading through several stages to a clever climax. JOHN'S EMMY. 1 5 cents. m A vaudeville sketch in one act, by Charles Stuart, i male, i female character, i interior scene. Time, about 20 minutes. A methodical old bookworm awaits a young girl who is to be his ward. An entirely different girl arrives, who summarily subjugates him. The action is rapid, crisp, and full of comicalities. A capital character study for both performers. TOM COBB; or Fortune's Toy. 15 cents. Farcical comedy in 3 acts, by W. S. Gilbert. 6 male, 4_ female characters. Time, i% hours. Modern costumes. Tom Cobb, at the instigation of his friend, Whipple, pretends to be dead in order to escape his creditors. He makes a will and leaves everything to Matilda^ daughter of Col. O' Fipp, in whose house he has been lodging. Tom is unexpectedly left a fortune, which is taken possession of by the Colonel, and Tom has great difficulty in recovering it. DELEGATES FROM DENVER, The. 25 cents. A farcical comedy in 2 acts, by Samuel N. Clark. 3 male, 10 female characters. 2 interior scenes. Time, 45 minutes. Margaret is a candidate for president of the Eta Pi Sorority which meets at Boston. John has proposed to her, but she defers her answer, as she purposes if elected to devote her whole time to the Sorority. Two delegates from Denver decline to attend ; John and Edward plan to represent them and vote against Margaret, and also to prevent her from going to Boston. Their plan partially succeeds, but it ends in discovery, explanations, and Margaret's engagement to John, including some other pleasant denouements. The action is absurdly farcical, and very much alive from start to finish. RAINBOW KIMONA, The. 25 cents. A csmedy for girl* in 2 acts, by Eleanor Maud Crane. 9 female characters. 1 interior scene. Time, an hour and a half. The Rainbow Kimona is a club composed of seven of the Senior Class of Miss Penelope Wright's Collegiate School, each member wearing a Kimona representing one of the seven colors of the Rainbow. In a small apartment an entertainment is arranged in which each girl assumes a leading character in one of Shakespeare's plays, burlesqued in outrageously comical style. Incidentally, articles have been mysteriously missing from time to time. The purloiner is supposed to be a ghost, but eventually proves to be one of the girls walking in her sleep. The whole thing is a medley of the most attractive and amusing kind in its absurdities and originality of conception. Entertainments and Novelties YE VILLAGE SKEWL OF LONG AGO. 25 cents. An original, very humorous entertainment in one scene. By Eleanor Maud Crane. Arranged for 4 male characters, consisting of the Schoolmaster and 3 members of the School Committee ; 5 lady visitors, one of them having designs on the Schoolmaster, and 18 scholars, 9 being boys and 9 girls, more or less as circumstances demand, and exceedingly ludicrous if acted by grown-up persons dressed as children. The scene is an old-fashioned country schoolroom. The proceedings occupy two sessions ; the morning session being.devoted to examination of the classes, general exercises and a spelling bee. In the afternoon session are recitations, reading of essays and songs, distribution of prizes, and presentation of a testimonial to the Schoolmaster by the scholars. IN THE FERRY HOUSE. 25 cents. A characteristic entertain- ment in i act and i scene, by Eleanor Maud Crane. Introducing 15 male, n female characters, 4 or more youths and misses, a small band of musicians (real or fictitious) and 10 or 12 children. The number of characters may be made more or less to suit circumstances. The arrangement of the scene is quite simple. The action is thor- oughly realistic and located in the waiting room of a Ferry, passengers arriving and departing, some of them being typical and eccentric characters in droll and perfectly natural combinations. Time of playing 1% hours or mo.e, there being ample scope for all sorts of specialties. Particularly recommended for Church and other Enter- tainments. THE BACHELOR MAIDS' REUNION. 25 cents, a complete entertainment in i scene, by Eleanor Maud Crane. 30 (more or less) female, and a male characters (performed by females if preferred). An original and by far the most amusing conception of the kind, eminently suitable for Church, School and other En- tertainments. It affords exceptional opportunities for incidental specialties, and elicits roars of laughter every minute. Can be presented on any platform with acces- sories of the simplest kind. MATRIMONIAL EXCHANGE, The. 25 cents. An eccentric entertainment in two acts, by N. H. Pelham. 6 male, 9 female characters, also 6 children, 4 of them boys and 2 girls. Two interior scenes. Costumes, characteristic. Time, 2 hours. A widow lady and two daughters become suddenly destitute. A rich old man proposes to marry the elder daughter and support them all. The daughters run away and start a Matrimonial Exchange. Applicants arrive, consisting of a bank- rupt nobleman, two wealthy females in search of a titled husband, a song and dance actor, an animal trainer, two actresses, a policeman, a wash-lady with four performing children, and an Irish widow. In addition to the comical situations, the introduction of specialties affords ample opportunity for the display of the capabilities of each ap- plicant. Matters are finally arranged to the satisfaction of all concerned. OLD PLANTATION NIGHT, An. 25 cents, a musical and dramatic entertainment for 4 male and 4 female characters, forming a double quartet. This is not a negro minstrel show, contains no boisterous jokes nor conundrums, and is without a vestige of " Tambo " or " Bones," or the conventional stage darkey. It is a simple but vivid representation of life " in de quarters," embellished with song and story illustrating some of the quaint superstitions and frolicsome merry-makings of the mellow-voiced race. Thoroughly bright throughout,_ the text is uncommonly well written, and the succession of incidents skilfully contrived, while its transitions from grave to gay are wonderfully effective. The scene, a simple interior, can be arranged on any platform ; some old garments and a little discarded finery will suffice for the costumes ; the " properties are few and simple, and the music within the capacity of fairly good voices, such as any ordinary church choir contains. WHILE MORTALS SLEEP. 25 cents. An original fairy operetta in 2 acts and t scene, by Rosamond Taylor, the music composed by Carolyn Taylor. 14 boys, 20 girls, or as many more as circumstances permit. The scene in both acts is in the woods, where the fairies gather at twilight. It includes a drill waltz with graceful figures and poses arranged for 4, 6, or 8 girls, and 10 appropriate and catchy songs with music and accompaniment complete, and introduces in an original way some of Mother Goose's characters, Santa Claus, etc., as invited guests MILITARY PLAYS 25 CENTS EACH M. F. BY THE ENEMY'S HAND. 4Acts;2hours ?0 4 EDWARDS, THE SPY. 5 Acts; 2^ hours 10 4 PRISONER OF ANDERSON VILLE. 4 Acts; 2# hours.. 10 4 CAPTAIN DICK. 3 Acts; 1\4 hours 9 6 ISABEL, THE PEARL OF~ CUBA. 4 Acts; 2 hours 9 3 LITTLE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2^ hours 9 3 BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 RURAL PLAYS 25 CENTS EACH MAN FROM MAINE. 5 Acts; 2^4 hours 9 3 AMONG THE BERKSHIRES. 3 Acts; 214 hours 8 4 OAK FARM. 3 Acts; 2^ hours; 1 Stage Setting 7 4 GREAT WINTERSON MINE. 3 Acts; 2 hours 6 4 SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2«^ hours 5 2 WHEN A MAN'S SINGLE. 3Acts;2hours 4 4 FROM PUNKLN RIDGE. (15 cents.) 1 Act; lhour... 6 3 LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 1 ENTERTAINMENTS 25 CENTS EACH AUNT DINAH'S QUILTING PARTY. 1 Scene 5 11 BACHELOR MAIDS' REUNION. 1 Scene 2 30 IN THE FERRY HOUSE. 1 Scene; 1% hours 19 15 JAPANESE WEDDING. 1 Scene; lhour, 3 10 MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 OLD PLANTATION NIGHT. 1 Scene; V/ A hours 4 4 YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 FAMILIAR FACES OF A FUNNY FAMILY 8 11 JOLLY BACHELORS. Motion Song or Recitation 11 CHRISTMAS MEDLEY. 30 minutes... 15 14 EASTER TIDINGS. 20 minutes 8 BUNCH OF ROSES. (15 cents.) 1 Act; 1% hours 1 13 OVER THE GARDEN WALL. (15 cents) 11 8 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. — „ mm 25 CENTS EACH. ° 103 481 2 4 M. F. (ft BREAKING HIS BONDS. 4Acts;2hours 6 3 y| BUTTERNUT'S BRIDE. 3 Acts; 2^ hours 11 6 j| COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting. 9 3 j| COUNT OP NO ACCOUNT. 3 Acts; 2^ hours 9 4 $ DEACON. 5 Acts; 2^ hours... 8 6$ DELEGATES FROM DENVER. 2 Acts; 45 minutes 3 10 | DOCTOR BY CO URTEST. 3Acts;2hours 6 5 |> EASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 <| ESCAPED PROM THE LAW. 5 Acts; 2 hours 7 4 $| GIRL PROM PORTO RICO. 3 Acts; 2^ hours 5 3 £| GYPSY QUEEN. 4 Acts; 2% hours 5 3 |> IN THE ABSENCE OP SUSAN. 3 Acts; 1^ hours 4 6$ JAILBIRD. 5 Acts; 2% hours 6 3 j| JOSIAH'S COURTSHIP. 4 Acts; 2 hours 7 4 j| MY LADY DARRELL. 4 Acts; 2)4 hours 9 6® MY UNCLE FROM INDIA. 4 Acts; 2% hours 13 4 j| NEXT DOOR. 3 Acts; 2 hours 5 4 y| PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 >| REGULAR FLIRT. 3Acts;2hours 4 4 gS ROGUE'S LUCK. 3Acts;2hours 5 3 |> SQUIRE'S STRATAGEM. 5 Acts; 2% hours 6 4 j| STEEL KING. 4 Acts; 2V6 hours 5 3 j| WHAT'S NEXT? 3 Acts; 2% hours 7 4 J| WHITE LIE. 4 Acts; 2% hours 4 3 & WESTERN PLAYS 25 CENTS EACH ROCKY FORD. 4Acts; 2hours 8 3 <| GOLDEN GULCH. 3 Acts; 2% hours..., 11 3 j| RED ROSETTE. 3Acts:2bours 6 3 |> MISS MOSHER OF COLORADO. 4 Acts; 2^ hours... 5 3 » STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 4 j| CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 2\i hours. 9 3$ DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y.