L675 
 iP6 
 1918 
 !Copy 1 
 
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 :ting PL^YS i 
 
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 oUce Matron 
 
 
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 Slq)raltj;^5.90 
 
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The Police Matron 
 
 A Melodrama in One Act 
 
 By 
 CARL CLICK and MARY HIGHT 
 
 PLEASE NOTICE 
 The professional slage-ri^^Hits in tliis play are strictly reserved. 
 Amateurs may obtain permission to produce it privately upon 
 payment of a fee of five dollars (^5.00) for each iierformance, in 
 advance. All payments and correspondence should be addressed 
 to Norman Lee Swartout, 24 Blackburn Road, Summit 
 New Jersey. 
 
 BOSTON 
 
 WALTER H. BAKER & CO. 
 1918 
 
"PS 3S\3 
 The Police Matron 
 
 CHARACTERS 
 
 [As originally produced by I'he M'aloloo {Iowa) Community 
 
 Drama League, October 12, igiy, at the Waterloo 
 
 Community Theatre.) 
 
 Frank Clemens, states-attorney. A nianaboui forty -five, smooth, 
 clever, and crafty. A man who barely conceals beneath the 
 coolness of his manner the coarseness of his ancestry. 
 
 Dr. Bruce Galloway. 
 
 James Gordon, police captain. A heavy-set, poiuerful man ; a 
 great believer in the power of brutal strength. He is a coarse, 
 common bully "" - Sol Harrison. 
 
 An Attendant Samuel Rubin. 
 
 Mary Casey, the police matron. An elderly woman, plainly 
 dressed, quiet, gentle, and sympathetic. There is, however, a 
 certain determination of will and strength about her that makes 
 her loved as well as feared - - Afrs. C. D. Bootnhower. 
 
 A VVell-Dressed Woman. A woman about thirty-five, dressed in 
 a smart tailored suit, .'^br ;\ handsome and rather self poised, 
 and gives us the impression of a woman, weak, yet crafty, and 
 sure of herself and her poioer in other circumstances than the one 
 we discover her in - - - - - Donna I oorhees. 
 
 Scene. — Office of police matron in a Chicago police station. 
 Time. — About ten o'clock in the morning. 
 
 Copyright, 191 5, by Carl Cannon Click and Mary Hight 
 
 [As an unpublished dramatic composition.) 
 
 Copyright, 191 8, by Carl Cannon Click and Mary Hight 
 
 As authors and proprietors. Professional stage 
 
 and moving picture rights reserved, 
 
 '.••• MAR I 1918 ©cvD -J-'"'^ 
 
 <VvO 
 
SCENE PLOT 
 
 LIGHTS. — Full on. 
 
 PROPERTIES 
 
 Desk with papers, chair by desk, desk telephone. Settee, hat- 
 rack, water-cooler, letter cabinet. Bell to ring off stage. Money 
 for woman. Letters for attendant. Telephone book on desk. 
 
 Playing Time. — Fifteen minutes. 
 
4Mr i^ts 
 
The Police Matron 
 
 SCENE. — Office of the police matron in a Chicago police 
 station. Room plain, hut well- furnished, businesslike, 
 and simple. Door at hack opening onto the corridor; 
 another door at l. leading into an inner room. Desk 
 in c, with desk 'phone, papers, and so forth. Chair at 
 hack of desk. Settee at l. Hat-rack at l. hack. 
 Water-cooler in upper right hand corner. Letter 
 cahinet at r., up stage from desk. 
 
 {Discovered, Frank Clemens at letter cahinet looking 
 through files. James Gordon at desk c, seated, 
 trying to open one of the drawers in the desk. Both 
 men are in very much of a hurry, and are extremely 
 nervous. They are searching for something in the 
 room, and do not wish to he caught.) 
 
 Clemens (r.). Nothing doing — merely old papers 
 and reports. 
 
 Gordon (c). This drawer is locked. 
 
 Clemens. Use a penknife. 
 
 Gordon. Being a captain of police I'm not clever at 
 that sort of thing. 
 
 Clemens. It's a waste of time to look through these 
 things. (Turns.) She's too clever to keep anything 
 here. 
 
 Gordon. Help me. If there is anything it would be 
 in this drawer. 
 
 (He tries to open the drawer zvith several keys that 
 he has.) 
 
 Clemens. Grant her one thing — she is a clever police 
 matron. (He crosses to desk r.) 
 
 5 
 
6 THE POLICE MATRON 
 
 Gordon (rising). Too clever. She knows too much. 
 A word from her, and }ou and me would be looking for 
 new jobs, — providing the state didn't get them for us. 
 And it would be nice, — states-attorney and captain of 
 police passing the buck on big gun puU-offs. 
 
 (He crosses doivn stage L.) 
 
 Clemens. Are you sure the letter was sent? 
 
 Gordon. Positive. Got my tip from Reardon, and 
 he has the inside dope on all that goes on in the office. 
 They sent her a letter asking her to investigate this Ben- 
 nett case. She stands well higher up. They trust her. 
 First police matron they ever have.- And she knows too 
 much about us. There are not many people that frighten 
 me, but I'm afraid of that woman. 
 
 Clemens (c). If we could catch her just once, — 
 we'd see ! 
 
 Gordon. Catch her? Huh! We have a fat chance. 
 (He crosses to left of desk, and faces Clemens, zvho is 
 standing on the other side.) Sounds well, but she's too 
 straight. 
 
 Clemens (seeing a letter underneath the telephone by 
 Gordon, looks at him a moment before speaking. Then 
 with great disgust). Some Pinkerton you are. There 
 it is beneath your nose. 
 
 Gordon ( takes up the letter, and finding it open, looks 
 at the contents). A doctor's bill. And a big one. One 
 hundred and fifty dollars. 
 
 Clemens (crossing down stage r.). Her boy has been 
 sick. Just out of the hospital, recovering from an opera- 
 tion. 
 
 Gordon (zvorried). What if the letter should come in 
 the morning's mail? 
 
 Clemens. Could we stop it ? 
 
 Gordon (hopelessly). Stop a steam engine with a 
 bean blower? Say, when the mail reaches this office 
 nothing but an earthquake could keep it from her. 
 
 Clemens (crossing c. to desk). I'm going back to my 
 office. I don't want her to see me, and she is due now. 
 Watch, and if the mail is delivered when she is not in, 
 
THE POLICE MATRON? 7 
 
 well {Goes to door; pauses a moment.) If you 
 
 want me in a hurry get me over my private wire. 
 
 [Exit, c. 
 
 (Gordon goes to the desk, and looks over the papers. 
 He takes his time and does not hurry. He tries to 
 open the drazver again.) 
 
 Gordon. Nothing doing! (He leaves the desk, and 
 goes to the letter cabinet, where he looks through the 
 files. Mary Casey enters c. quietly. Gordon does not 
 see her. She conies dozvn c. hack of the table, and stands 
 there without speaking. She is wearing her hat and coat. 
 Gordon, to himself. ) Official business. L — M — N — not 
 a thing here. 
 
 Mary {speaking very quietly, and in a monotone). 
 Good-morning, Captain. 
 
 Gordon {turning quickly. His face shows his sur- 
 prise. He says flatly). Oh, good-morning. I — I was 
 looking for your telephone directory. 
 
 Mary {picking it up from the desk, and holding it out 
 to him). Here it is. I keep it ^y the telephone. 
 
 Gordon {coming dozvn to the desk, and reaching for 
 it). Thank you. 
 
 Mary {withdrawing it quickly from him, and dropping 
 it upon the table). Oh, no — that's not what you are 
 after. I know what you are doing, and w^hat you have 
 been doing for a year. You are trying to get something 
 on me. But you never can. {Quietly and sincerely.) 
 My record is clean. And give me credit for one thing, — 
 I have been associated too long wiih you to keep any- 
 thing around that I would not care to be shown the public. 
 
 Gordon. You think you are a clever woman, don't 
 you? 
 
 Mary {almost sadly). I have to be, — to work with 
 such people as you. 
 
 Gordon {savagely). But if you ever slip? 
 
 Mary. Yes, if — I ever slip. It would mean a new 
 police matron, wouldn't it? And I rather think it would 
 mean a new police captain, too. {She goes to the hat- 
 rack and hangs up her hat and coat. Then sl:c comes 
 
8 THE POLICE MATRON 
 
 hack to the desk.) But I am rather satisfied here, thank 
 you. 
 
 Gordon {crossing down stage r.). Til get you if I 
 can. 
 
 Mary {sitting at the desk. She begins quietly to ar- 
 range the papers that he has mussed up. She speaks 
 simply and without any air of boasting). If you can. I 
 haven't a car. Nor do I own a house. Nor send my boy 
 to a private school. I can't do it on my salary. But 
 then I am not bothered about sleeping nights. {Sympa- 
 thetically. ) I understand you suffer from insomnia. 
 
 Gordon {angrily), I? 
 
 {He checks himself, and goes up stage.) 
 
 Mary {reaching for the telephone). Midway, 4326, 
 please. . . .Hello, is this Doctor Hall?. . . .If you please. 
 .... Good-morning, Doctor. I received your bill .... Yes, 
 he is feeling splendidly this morning. . . .No, I must send 
 him back to school this term. . . .I'll send you fifty dollars 
 the first of the month on account. . . .Thank you, Doctor, 
 but I would feel better to get it off my mind .... Thank 
 you, good-bye. {She hangs up the receiver.) 
 
 Gordon {while she has been talking he has come down 
 to the settee at the l., zvhere he sits listening. He says 
 quietly). If you had brains, you'd watch your chance. 
 You may have an opportunity to pick up more than that. 
 {He rises and goes to her, standing at the left of the 
 desk.) You got a letter from headquarters this morning? 
 
 Mary. No. I have not. 
 
 Gordon {craftily). Then you are going to get one. 
 Give that letter to me without opening it, — and I'll give 
 you all the money you need. It's a matter of no interest 
 to you, but I 
 
 Mary {rising as he is speaking. She is very indig- 
 nant). Why do you fear this particular instance? {She 
 takes some papers from the desk, and going to the cabinet 
 places them in it, and closes the drawer. She stands by 
 the cabinet.) I could have turned you over long ago. 
 
 Gordon (angrily). You! 
 
 Mary {speaking quickly, and coming back to the desk, 
 where she stands facing Gordon). Your wife and fam- 
 
THE POLICE MATRON 9 
 
 ily may be one of my reasons. You and many of our 
 politicians don't like me. Why? Well, as I said before, 
 I must get my proper amount of sleep. The woman of 
 the streets, the society woman that does wrong, and the 
 rotten, cheap police grafter are all the same to me. 
 There's but one justice. ^ 
 
 Gordon {desperately). Your own price on that letter ! 
 
 Mary. No. Come out of your trance. You can't 
 buy me, or I would have been bought long ago. You are 
 
 so interested in that letter that I No And I 
 
 shall be right here to take it from the attendant's hands 
 myself. And what a compliment that is to you. 
 
 Gordon. And then you wonder why every one on the 
 force hates you. 
 
 Mary {sweetly). There are some that don't. {The 
 telephone rings. Gordon goes up stage. He comes 
 down R. while Mary is speaking. Mary, at the tele- 
 phone. ) Yes, yes .... Hysterics ? Then iDring her to 
 me ... . Have you frightened her ? . . . . You didn't search 
 her?. . . .Yes, I'll attend to that. {She hangs up the re- 
 ceiver and rises.) Another society w^oman, whose home 
 is on Sheridan Road, I suppose, caught shoplifting. A 
 bit of lace from Field's. They intend to make an example 
 of her. Clarkson has frightened her, and she went into 
 hysterics and fainted. They are bringing her here. 
 
 Gordon. There's a chance for you to pick up some 
 money. Those people pay well for silence. 
 
 Mary. You should know. 
 
 {She goes to the door c. The Attendant brings in a 
 Well-Dressed Woman. She is frightened and 
 crushed. She does not weep nor wail — hut plays her 
 scene all the way through in a subdued and repressed, 
 but intense fashion. She is on the verge of hysterics, 
 and a wrongly spoken zvord woidd entirely upset 
 her. ) 
 
 . Attendant. Here is the woman. 
 
 Mary {putting her arm around her). Yes. I'll take 
 care of her. {The Attendant goes. Mary leads the 
 Woman dozvn l. to the settee. To Gordon, r.) Bring 
 her a glass of water. 
 
10 THE POLICE MATRON 
 
 Woman (sitting). You must let me go. 
 
 (Gordon gets a glass of water from the water-cooler, 
 R., and brings it to Mary.) 
 
 Mary (taking the glass and offering it to the Woman). 
 Thank you. Drink this. You will feel better. 
 
 Woman. I aidn't do it. I didn't do it. (She drinks.) 
 Mary [handing the glass back to Gordon). I know. 
 
 (She sits beside her, and takes her hand.) 
 
 Woman (rising; frightened). Who are you? 
 Mary (quietly and very sympathetically). A friend. 
 Woman (sitting). What will they do with me ? My 
 
 husband 
 
 Mary. You are with me. 
 
 Woman (cautiously) . Are we alone? 
 
 ( Gordon quietly and slowly leaves the room c. When 
 he is gone, Mary speaks.) 
 
 Mary. Yes. 
 
 Woman (regaining her self-possession, and speaking 
 quickly). Who are you? 
 
 Mary (simply). The police matron. 
 
 Woman. Then I can talk with you ? 
 
 Mary. Y>s. 
 
 Woman (shuddering). The man at the desk, he 
 
 Mary. I know. He is brutal. What did you do? 
 
 Woman. It was what he said. (Proudly.) I am not 
 a thief. 
 
 Mary. Of course not. What did you do ? 
 
 Woman (as to a friend, won by the sympathetic tone 
 in Mary's voice). I took a small piece of lace. 
 
 (Then she realizes what she has said.) 
 
 Mary (.quickly and kindlyys Why did you do it? 
 ^ou look as if you could afford to buy it. 
 
 Woman. I can. I offered tO> pay for it. Why did 
 they bring me here? 
 
 Mary. Did you tell them your name ? 
 
 Woman (rising, and crossing R., agitatedly) . Oh, no, 
 no ! If I did that ! I can't ! I can't ! I won't tell them. 
 I won't. (Turns.) Won't yon nflp me? 
 
THE POLICE MATRON II 
 
 Mary. TU try. But why did you do it ? 
 
 Woman {weakly). I don't know. I never thought 
 they would see me. {Pleading.) Will you help me? 
 
 Mary. I'll try. Tell me all about it. 
 
 Woman {hesitating a moment, then opening her purse, 
 takes out a roll of hills. She crosses l. to Mary). Here 
 is one hundred dollars. Let me go, and I'll give you this 
 and more. 
 
 (Gordon, unseen by Mary and the Woman, appears 
 in the door at the back. ) 
 
 Mary. Do you realize what you are doing ? {Quietly, 
 but very emphatically. ) Oh, no ! You carry that much 
 with you, and yet take a small bit of lace ? 
 
 Woman {proudly, and almost haughtily). If I should 
 tell you who I am, it would be to your advantage to let 
 me go. 
 
 (Gordon steps out of sight.) 
 
 Mary. No! All that we can do is to try to keep it 
 quiet. Hadn't we better call your husband? 
 
 Woman {frantically crossing r.). He would kill me. 
 He occupies a prominent position. This would ruin him. 
 
 Mary. Your attorney? 
 
 Woman {desperately). You won't let me go? 
 
 Mary {with a tone in her voice of complete finality). 
 No ! I can't. 
 
 Woman. But I'll pay you anything — anything. 
 
 {She crosses c.) 
 
 Mary. I can't. The best we can do is to get you out 
 of this with a fine. I'll do all that I can for you. It's a 
 pity. You are like a child. But you had better give me 
 your husband's telephone number, in case we want him. 
 
 {Crosses c. to desk.) 
 
 Woman. I can't ! I can't ! 
 
 Mary. It is your only chance. 
 
 Woman {after a moment's pause). Randolph 4872. 
 That is his private wire. 
 
 Mary {writing it down on a slip of paper) . Randolph 
 4872. {She crosses to door at l. up stage.) Now you 
 had better go in there. 
 
12 THE POLICE MATRON 
 
 {The Woman, zvhen Mary's hack is turned, takes out 
 the bills from her purse. She goes to the desk, and 
 quickly lays them down, then exits l. Mary closes 
 the door, and comes down. She sees the bills. She 
 picks them up, and stands holding them in her 
 hand as Gordon enters c. He comes down slowly, 
 R. A pause.) 
 
 Gordon. Where is she? 
 Mary. In there. 
 
 {She lays the bills upon the desk by the telephone, and 
 crosses down stage l.) 
 
 Gordon {slowly). Well — your bill is paid, I see. 
 
 {He goes quickly to the desk.) 
 
 Mary {thinking he is going to pick up the money). 
 What are you going to do ? 
 
 Gordon. Call Clemens. I want a witness. We have 
 the goods on you this time. {He picks up the telephone.) 
 Central .... give me Randolph 4872. 
 
 Mary {looking at the slip of paper she has in her 
 hand, upon which she wrote the number given her by the 
 woman, says slowly). What number was that? 
 
 Gordon. Randolph 4872. 
 
 Mary {the realization dawning upon her of what this 
 means, faces front slowly). Oh! 
 
 Gordon. Hello, Clemens?. . . .Come down. I got the 
 goods on her this time. . . .Yes, right away. {He hangs 
 up the receiver.) Well, caught. {He crosses l. to 
 Mary, and says slowly and with great emphasis.) And 
 I don't think that we'll have a new police captain, nor are 
 we going to have a new police matron. You'll stay right 
 where you are — and I'll stay here, too. But from now 
 on, believe me, you'll keep your mouth shut. 
 
 {He crosses c.) 
 
 Mkry {standing motionless). Yes? 
 
 Gordon {turning quickly). And when that letter 
 comes from headquarters this morning, you'll hand it 
 over to me, and nothing more will be said about it. , And 
 I'll keep still about this affair. {He crosses R.) - 
 
THE POLICE MATRON 1 3 
 
 Mary. Yes? 
 
 (Clemens enters hurriedly. He stands up stage l. 
 of table.) 
 
 Clemens. What's on ? 
 
 Gordon (r.). Some swell society dame caught shop- 
 lifting. They bring her here for her to search. She 
 talks with her. I happen in — and there she stands with 
 that roll of bills in her hand. {Laughs.) And we 
 thought her clever. 
 
 Clemens {crossing to Gordon). I congratulate you, 
 {Crosses slowly l. to Mary, and says insinuatingly.) 
 Well? 
 
 Mary {calmly and quietly). Yes, gentlemen, appear- 
 ances seem against me, don't they ? 
 
 Clemens. They certainly do. 
 
 Gordon. Correct, 
 
 Mary. I appeal to you, Mr. Clemens. This woman — 
 
 this woman is the kind of {Pauses.) For all I 
 
 know she may be a friend of yours. Her husband, I un- 
 derstand, is very influential. It was only a bit of lace. 
 I am not defending her, but 
 
 Clemens. We don't care for facts. Let the court 
 attend to that. I am more interested in that roll. 
 {Crosses oz'cr r., saying to Gordon.) That's where I 
 come in. 
 
 Mary. Doubtless. 
 
 Clemens {turning angrily). Perhaps you can ex- 
 plain it. 
 
 Mary. Perhaps. ■ 
 
 Clemens. Where's the woman? 
 
 Mary. In there. She left this 
 
 Gordon. Huh ! Tell us she left it on the table, and 
 you found it. Call her in here. 
 
 (Clemens goes up stage hack of desk.) 
 
 Mary {quickly). That is against orders. 
 
 Clemens {zvith a glance at Gordon). Between 
 friends, you know. {He starts for the door.) Let's 
 have a look at her. 
 
14 THE POLICE MATRON 
 
 Mary (stopping him). No. She can tell you noth- 
 ing. And I have here all the money she has with her. 
 
 Clemens (insinuating that it would be possible to ob- 
 tain more). AVell ! (Comes down l. of desk.) But I 
 want to know, what are you going to do ? 
 
 Gordon. I told her about that letter. 
 
 Clemens. You did? We want that letter. 
 
 Mary (szveetly). I know. 
 
 Clemens. And we'll say nothing, and you can keep 
 the money. 
 
 Mary. And the woman? Would you use your in- 
 fluence to get her free? No scandal, you understand, 
 and the matter dropped? 
 
 Clemens (quickly). Yes, for the letter. 
 
 Mary (with a meaning that he does not get). I read 
 you right. I knew you would do it. 
 
 Clemens (believing himself flattered). With friends, 
 you know. 
 
 Gordon. Do we get the letter ? 
 
 (Attendant enters c. with mail. Comes down to 
 desk. ) 
 
 Attendant. The morning's mail. 
 
 (Mary crosses to desk, and takes the mail. Clemens 
 crosses down l.) 
 
 Mary. Thank you. 
 
 (The Attendant goes.) 
 
 Clemens (l.). The one from headquarters. 
 Mary (back of desk). Yes. 
 
 * (Taking her time, she looks through the mail. Find- 
 ing the letter from headquarters, she drops all the 
 others upon the desk. She stands holding the letter 
 in question in her hand.) 
 
 Clemens. Nothing said. You keep the money. And 
 the woman gets off. 
 
 Mary (giving us the impression that her course of 
 action is not decided upon). I understand the conditions. 
 
 Gordon (crossing to desk, and holding out his hand). 
 Give it to me. 
 
THE POLICE MATRON 1 5 
 
 Mary. Just a moment. {She opens the letter and 
 reads.) I don't blame you. It would be to your ad- 
 vantage to have the matter hushed up. 
 
 Gordon ( crossing r. ) . Do you reaUze what you have 
 done? 
 
 Mary. Perfectly. My duty. 
 
 Clemens {angrily). We'll get you for this. 
 
 Gordon. We can deny the charges. But you, with 
 that money in your hands — you've a lot to talk about. 
 Why, you are as rotten as you say we are. And if we 
 go — we all go together. 
 
 Clemens. And that woman gets hers. This affair 
 won't be hushed up. I want her for a witness. 
 
 {He starts for the door l.) 
 
 Mary {stopping him by the desk). I advise you not 
 to go in. 
 
 Clemens. You do? {He goes to the door l., and 
 opens it, and without looking in says.) Come here. {He 
 comes back into the center of the room, and stands with 
 his back to the door, c, behind the table.) We want a 
 talk with you. 
 
 (Mary crosses l. The Woman enters timidly, and 
 stands l. c, back of desk.) 
 
 Woman {frightened). Yes? 
 
 Clemens {giving a start when he hears her voice). 
 Huh ! {He turns slowly, hoping that he did not hear 
 right. But zvhen he sees that it is his wife, all his 
 strength leaves him and he says weakly, his face blank.) 
 What are you doing here ? 
 
 Gordon. What's this? 
 
 Mary. She is his wife. 
 
 Clemens {regaining his composure, says angrily). 
 What do you mean ? 
 
 Mrs. Clemens. I couldn't help it. What will they 
 do with me? 
 
 Mary. Let you go probably. Your husband can 
 attend to it. And I imagine that Mr. Gordon will say 
 nothing. 
 
 Gordon. It is the only solution. 
 
l6 THE POLICE MATRON 
 
 Mrs. Clemens. Then nothing will be done? 
 
 Mary (wearily). No, I guess not. 
 
 Clemens (to Mary). But we have you silent for 
 good, and that means something. 
 
 Mary. Perhaps. 
 
 Mrs. Clemens (in complete possession of herself). 
 Then I can go ? 
 
 Mary. Yes. 
 
 Mrs. Clemens (to Mary). May I take the things 
 you took from me when you searched me? (Mary 
 makes a gesture of assent. ) Thanks. I offered her this 
 money to let me go, but she refused it. (She picks up 
 the roll of bills from the desk, and puts them into her 
 purse.) The city should well be proud of having an 
 honest police matron. (She sees the blank look on Gor- 
 don's face, and mistaking it, says.) Don't stare so, Mr. 
 Gordon. I don't believe from what I hear about you 
 that you are above taking hush money. (Quickly ■ to 
 Clemens.) Come home with me, Frank. 
 
 Clemens. Yes. 
 
 (They exeunt quickly, c. Gordon starts to follow 
 them. ) 
 
 Mary (coming to desk, and stopping him). Oh, Cap- 
 tain. About that letter? 
 
 Gordon (coming back). Ye 
 
 Mary (by desk). There must be other opportunities 
 for you. And I am rather fond of my position as police 
 matron. I am going to forget your family and think of 
 my own. I am going to the bottom of this Bennett case 
 as the chief requests me to. And if I were you, I'd see 
 that the chief has a resignation on his desk, some time 
 to-morrow. Good-morning, Captain. (She takes up 
 the telephone.) Headquarters. .. .Hello, is this you, 
 chief?. . . .Yes, I received your letter. . . . 
 
 (She stands at the telephone talking, as) 
 
 THE CURTAIN FALLS 
 
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 a full evening. 
 
 THI7 WFAinrP QI7Y Comedyin Three Acts. Eight males, 
 IflEi TT iJillVEiIV OCsA, eight females. Costumes, modern; 
 BOenery, two interiors. Plays a full evening. 
 
 A WIFE WITHOUT A SMILE F?ve*males, four female'! 
 Costumes, modern ; scene, a single interior. Plays a full evening. 
 
 Sent prepaid on receipt of price by 
 
 Walttx H. pafeer Sc Company 
 
 No. 5 Hamilton Place, Boston, Massachusetts 
 
LIBRftRY OF CONGRESS 
 
 ^l ^ 015 897 305 4 
 
 ^tittf 15 €tntt Ci 
 
 AQ TAH I IFF IT Comedj in FtT» Aeta. Tbirt«en malM, foar 
 Ma IVU MAI4 II females. Oottnmes, ploturMque ; scenery, t». 
 fled. Plays a full erenlug. 
 
 I* AUn f p Drama in Fire Acts. Nine males, fire females. Cos- 
 VAalU4l4l4 tomes, modern ; scenery, varied. Plays a full erening. 
 
 INfiAMAD ^^7 ^° ^^® -^^*"* Thirteen males, three females. 
 muvillius Scenery varied ; costumes, Greek. Plays a lull eveniug. 
 
 MADIT ^TIIADT Tragedy in nve Acts. Thirteen males, four f»> 
 OlAIll iJlUABt males, and supernumeraries. Costumes, of the 
 period ; scenery, raried and elaborate. Plays a full evening. 
 
 THE MERCHANT OF VENICE Sr'?hfef.;m1.?J:: ^JSS^ 
 
 picturesque ; scenery varied. Plays a full evening. 
 
 filCHFIJEU P^7'^^^'^<^<'^*' Fifteen males, two females. Boen- 
 
 •venlng. 
 
 ery elaborate ; costumes of the period. Plays a full 
 
 THP DIVAf C Comedy In Five Acts. Nine males, five females. 
 IIII4 IUTAI4J Scenery varied; costumes of the period. Plays a 
 full evening. 
 
 SHE STOOPS TO CONQUER S3'.S*IoS«fJ:.;i°*SiJS?r 
 
 ried ; costumes of the period. Plays a full evening. 
 
 TWELFTH NHfflT; OK, WHAT TOD WILL SS^iU^JSi*. 
 
 three females. Costumes, picturesque ; scenery, varied. Plays a 
 fall evening. 
 
 Sent prepaid on receipt of price by 
 
 W&lttv ^. l&aliet: & Compant 
 
 Ho. 5 Hamilton Place, Boston, liassachuaetta 
 
 S. J, PARKKIUL a CO.. PRINTIRS. aOSTON, U.S.*. 
 
° 015 897 305 ■' 
 
 LJ^ii: r^.