Cinderella (Cendrillon) Caroline W. Thomason The Penn Publishing Company Successful Rural Plays A Strong Li«t From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur Lewis Tubbs. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. THE OLD NEW HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Tovvnsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. THE PENN PUBLISHING COMPANY PHILADELPHIA CINDERELLA CENDRILLON A Play for Children in Four Scenes arranged to be given in English or French By CAROLINE WASSON THOMASON author of " Red Riding Hood," " The Three Bears," " Beauty and the Beast," "Bluebeard " t THE PENN PUBLISHING COMPANY PHILADELPHIA 1921 I^s?^ .-g,^ fïf^ ^^A: COPYRIGHT 1921 BY THE PENN PUBLISHING COMPANY Cinderella Cendritlon f Mpg6-C0682I OCI.O 5 7135 -"Vw* )i CINDERELLA CENDRILLON CHARACTERS Personnages CINDERELLA Cendrillon THE GODMOTHER La Marraine THE STEPMOTHER La Belle-mère JAVOTTE La Belle-soeur aînée CHARLOTTE La Belle-soeiir cadette THE PRINCE Le Prince THE KING Le Roi THE QUEEN La Reine THE PAGE Le Page LORDS, LADIES, MICE, LIZARDS, ETC. TIME OF PLAYING Forty-five Minutes Four Scenes tell the Story: I. Cinderella's Kitchen II. Same III. The Prince's Ballroom IV. Cinderella's Kitchen 3 COSTUMES, ETC. CINDERELLA. ScKiVE I, coverall, ragged, ging- ham apron. Hair unkempt, misshapen, large shoes. Scene 11, ball dress of yellow silk, brilliant trimmings, diadem of sparkling ma- terial, white silk stockings, white slippers. Scene III, same as II. Scene IV, same as I, thin blue flimsy evening gown, or same gown as in II and III. THE GODMOTHER. Close-fitting white cap tied under the chin, over this a high, peaked black hat. Black waist, full white skirt with black panniers. A large ruff of red about her neck. Her wand should be covered with tinfoil. THE STEPMOTHER. ScENES I and III, elaborate headdress, including several plumes. Glasses. Evening gown, train. Party coat, gloves. Scene IV, afternoon gown of black, with strand of beads. jAVOTTE. Scenes I and III, high coiffure, beauty spots, fan, gloves, red gown with cream lace decorations, high-heeled pumps, white stock- ings with large red spots, coat and hat. Scene IV, hair still elaborate, yellow dress in exaggerated style, same stockings. CHARLOTIE. ScENEs I and III, hair same as Javotte, black lace gown with gold spangles, and startling red stomacher, high-heeled 4 pumps, black and red striped blockings, eve- ning coat, hat. Scene IV, frilled lawn dre^rS. same stockings. THE PRINCE. Black velvet cap with plume. Frilled bosom studded with brilliants. Yellow jacket and stockings. Black velvet knicker- bockers. Patent leather pumps. THE KING. Purple robe, with white bands. Crown, THE QUEEN. Gray gown with purple touches. Jewels. Crown. THE PAGE. Red, close-fitting outfit. Gray stock- ings, black pumps, gray cap. LORDS AND LADIES. Splashes of color. Elabor- ate effects. HORSES. {Six little ^/ifls.) "Mouse-gray" crêpe paper dresses. Skirts short, wings of same colored paper. Black paper " manes " cover- ing heads and part of backs. Black slippers and stockings. Orange ribbon " shafts " with giant bows to slip over their heads. COACHMAN. Orange and black striped tight- fitting shirt. Orange and black striped tights, the stripes running opposite way from shirt. Cap half black, half orange. FOOTMEN. (Six little boys.) First with sacks painted to represent lizards over heads: Striped cover-alls, preferably dark brown and white. 5 PROPERTIES SCENE I. Stage set with fireplace, tabic, several chairs, pots, pans, mirror. Three party coats, and hats. Powder and puff at mirror. SCEKF. II. A pumpkin. Knife. Coach for Cinderella. Mouse-trap, with live mice if possible. Rat (toy if de- sired). Diadem. Slippers cov- ered with tinfoil. SCENE III. Platters of oranges and citrons. Small glasses of punch in tray. These passed by two lords. Gong for striking the hours outside. The page's trumpet or megaphone. SCENE IV. Velvet cushion for slipper. Broom for Cinderella. MUSIC The music for " The City Rat and the Coun- try Rat" {"Le Rat de Fille et le Rat des Champs"), and for " Marlbrough " {'' MaU trough ") may be found in " French Rounds and Nursery Rhymes," sold by G. Schirmer, New York City. The music for " A Resolve " ('' Ob- stination") may be obtained from the same pub- lisher. 6 SCENE PLOTS SCENES I, II, and IV. In Cinderella's kitchen. The setting shown below is very simple, and may be used on any platform. It requires no painted scenery. A fireplace up L. Mirror back C. Table R. C. SCENE IV. The Prince's ballroom. The above may be arranged anyvi'here with appropriate hangings for background. A throne should be placed back C, as indicated in the diagram. r5CâA/£3 r, ff, AA/O fV PLOT % CINDERELLA CENDRILLON SCENE I — Cinderella's Kitchen (CINDERELLA IS Sitting sudly by the fire. She is shabbily dressed.) CINDERELLA. I am SO sad ! Why did my father marry again? My mother was the best person in the world. But now I am just a kitchen drudge. No one loves me — Je suis si triste! Pourquoi mon père cpouse-t-il en secondes noces. Ma mère était la meilleur personne du monde. Mais maintenant je suis un cucendron. Personne ne m'aime — {Enter STEPMOTHER carrying party coats and hats.) STEPMOTHER. Go quickly to the room of your mistresses. You must dress their hair. Va vite à la chambre de tes maîtresses. Il faut que tu les coiffes. 9 CINDERELLA CINDERELLA. Yes, Madam. (She starts to leave the room.) Oui, Madame. STEPMOTHER. Stop ! You have not done your work well. There is dust on this table. Arrête-toi! Tu n'ai pas fait bien ton travail. Il y a de la poudre sur cette table. CINDERELLA. I am sure that I dusted it — Je suis certaine que je l'ai essuyée — STEPMOTHER. You impudent, good-for-noth- ing girl! {Shakes her.) Fille impudente, bonne à rien! JAVOTTE and CHARLOTTE (outside). Cinder- ella ! Cinderella ! Come here at once ! Cendrillon! Cendrillon! Viens ici tout de suite! STEPMOTHER. Now hurry! They want you — hurry, I say ! Presse-toi! Elles ont besoin de toi — presse- toi, je te dis! {Exit CINDERELLA, L.) {When CINDERELLA is gone the STEPMOTHER arranges the plumes in the hats, fusses •with the coats, then powders her nose at the mirror.) STEPMOTHER. By my faith ! How I wish my 10 CENDRILLON daughters had the hair and the complexion of that cinderwench ! But anyway I think that they will impress the Prince at the ball tonight. They have fine manners, and elegant gowns, even if they are not doll-like beauties. Ala foil Comme je desire que mes filles avaient des cheveux at du teint de cette cucendron! Mais enfin je pense qu'elles imprimeront le Prince au bal ce soir. Elles ont les grandes airs, et les robes elegantes quoique elles ne sont pas des beautés efféminés. {The sisters enter L, followed by CINDER- ELLA who is carrying their trains. JA- VOTTE and CHARLOTTE are in elaborate evening gowns, high coiffeurs, beauty spots, fans, etc. The original story ar- rays JAVOTTE in red velvet with lace dec- orations, zvhile charlotte's toilet in- cludes a gold-brocaded train, and a dia- mond stomacher!) stepmother. Heavens! How stunning you are, my beautiful daughters! Grand Dieu! Comme vous êtes étourdessan- tes, mes belles filles/ JAVOTTE. Thank you, dear mother. Merci, ma chère mère. II CINDERELLA CHARLOTTE. But, Mother, Cinderella has tiot arranged my hair well. Mais, ma mere, Cendrillon ne m'a pas coiffée bien. STEPMOTHER. Sit down. Let me see. Assieds-toi. Que je voie. (charlotte sits down before the mirror.) JAVOTTE. Cinderwench is so awkward! Cucendron est si maledroite! STEPMOTHER {to CINDERELLA). You wicked girl! Rearrange Charlotte's hair. Toi, fille méchante! Coiffe Charlotte encore. CINDERELLA. Yes, Madam. {Sticks in more pins. ) Oui, Madame. JAVOTTE {admiring herself in the glass). Cinderella, wouldn't you just love to go to the ball? Cendrillon, ne serais-tu bien aise d' aller an balf CINDERELLA. Alas, Miss, that is not for me! Hélas, Mademoiselle, ce n'est pas là qu'il me faut! JAVOTTE. You are right. People would laugh if they should see a cinderwench at the ball. Even if such as you went to parties you would have no gown to wear. 12 CENDRILLON Tu as raison. On rirait si on voyait un cucen- dron aller au bal. Quand même telle 'que tu irais auz bals tu n'aurais pas une robe à porter. CINDERELLA (eagerly). Miss Javotte, lend me your yellow dress that you wear every day! Mademoiselle Javotte, pretêz-moi votre habit jaune que vous mettez tous les jours! JAVOTTE. Surely, I see myself doing such a thing! To lend your dress to an ugly cinder- wench like that ! I should certainly be foolish ? Vraiment, je suis de cet avis! Prêter votre habit à un vilain cucendron comme cela! Il fau- drait que je fusse bien folle! CINDERELLA. Oh ! I beg your pardon, Miss ! Oh! Pardonnez-moi, Mademoiselle! STEPMOTHER. Keep still, you tiresome girl! Tais-toi, fille ennuyeuse! CINDERELLA. Yes, Madam. Oui, Madame. STEPMOTHER. When you have finished your work you must sit here by the fire until we come. Then you can help your mistresses to get to bed. Quand tu auras fini ton travail il faut que tu t'asseyes devant le feu jusqu'à ce que nous venions. Puis tu pourras assister tes mattresses à se mettre au lit. CINDERELLA. Yes, Madam. {She helps the three put on their coats.) 13 CINDERELLA Oui, Madame. CHARLOTTE. ' Good-night, Cinderella. Would you not love to go to the ball? Bonne nuit, Cendrillon. iWe serais-tu pas bien aise d'aller au bal? CINDERELLA. Good — night — Ladies! {Turns toward the fire weeping.) Bonne — nuit — Mesdames! {Exit the three, R.) CURTAIN (// desired) 14 SCENE II — Cinderella's Kitchen — A few minutes later (CINDERELLA is crying, her liead buried in her apron. If possible the lights should become dim. From the fire steps out the GODMOTHER. The GODMOTHER wears a close-fitting white cap tied under her chin, and over this a high, peaked, black hat. There is a ruff about her neck, and her skirt is very full. Her wand sparkles in the light.) GODMOTHER. Why are you crying, my dear little girl? What is the matter with you? Pourquoi pleures-tu, ma chère petite? Qu'as- tu? (CINDERELLA Springs to her feet. She is startled, bewildered. Her GODMOTHER gently waves the wand over her head.) CINDERELLA. Who are you? Qui êtes-vous? GODMOTHER. I am a fairy — your Godmother. Je suis une fée — ta marraine. CINDERELLA. My Godmother! Splendid! Ma Marraine! Très bien! 15 CINDERELLA GODMOTHER. Why were you crying? Pourquoi pleurais-Uif CINDERELLA. I wish very much — I very much wish — {fVeeps again.) Je voudrais — je voudrais bien — GODMOTHER. You want to go to the ball, is it not so? Tu voudrais bien aller au bal, n est-ce pas? CINDERELLA. Alas, yes ! Hélas, oui! GODMOTHER. Will you be a good girl? I shall send you there. Seras-tu bonne fillef Je t'y ferai aller. CINDERELLA. Oh! My Godmother! Oh! Ma Marraine! GODMOTHER. Go to the garden and bring me a pumpkin. Fa dans le jardin et apporte-moi une citrouille. CINDERELLA. Yes, yes, Godmother, I am go- ing. Oui, oui, ma Marraine! Je vais. {Exit CINDERELLA R. Returns R. soon, carrying a pumpkin.) CINDERELLA. I have brought to you the most beautiful pumpkin I could find, Godmother. Je t'ai apporté la plus belle citrouille que je puisse trouver, ma Marraine. i6 CENDRILLON ( The story says that the GOi).\ioriU:.R scooped Gill the pumpkin, leaviny only the rind. If there is time a little of this " Jack-o'- lantern " play can be made, and will be very avinsing.) {The GODMOTHER touches the pumpkin with her ivand — a gilded coach appears. The lights can be flashed of for an in- stant, and under the cover of darkness a large go-carl, or an invalid's chair, prop- erly camouflaged, can be rolled in, or the lighting effect may be omitted, and the coach rolled in.) CINDERELLA (enraptured) . Oh, my beloved Godmother! But where are the horses? Oh, ma Marraine adorée! Mais les chevaux, où sont-ils? GODMOTHER. Bring me the mouse-trap. Apporte-moi la souricière. {Exit CINDERELLA, running R. Returns R. carrying a mouse-trap.) CINDERELLA. Look, Godmother! Here are six mice, all alive ! Voyez, ma Marraine! Voici six souris toutes en vie! GODMOTHER. Lift the door a little. 17 CINDERELLA Levé un peu la trappe. CINDERELLA. Ugh! {Holds Up the trap. Gingerly starts to life the door.) Ugh! {The GODMOTHER Strikes the trap with her wand. Again the device of flashing of the lights. Si.x little girls costumed to represent zvinged ponies, " mouse-gray," says the story, enter. They lift the rib- bon shafts of the coach.) CINDERELLA. How wonderful ! I am going to see if there is not a rat in the rat-trap. We will make a coachman of it. Merveilleux! Je vais voir s*l n'y a point quel- que rat dans la ratière. Nous en ferons un cocher. GODMOTHER. You are right. Go and see. Tu as raison. Va voir. {Exit CINDERELLA R. Returns R. carrying big rat by the tail.) CINDERELLA. Here he is, Godmother ! Le voici, ma Marraine! {The GODMOTHER touches the rat with her zvand. Again the light device. A little i8 CENDRILLON b»y costumed like a coachman appears. He takes his place back of the coach.) (CINDERELLA r Litis from horses to coachman, admiring everything.) CINDERELLA. So lovely — so beautiful — I am so happy — Très charmant — tout beau — je suis très heureuse — GODMOTHER. Go into the garden. You will find there six lizards behind the watering pot. Bring them to me. Va dans le jardin. Tu y trouveras six lézards derrière V arrosoir. Apporte-les-moi. CINDERELLA. Yes, Godmother. Oui, ma Marraine^. {Exit CINDERELLA R. A little frightened cry is heard. She runs hack L., followed by six little boys representing lizards. They are dressed in striped coveralls^ and they wriggle in on their stomachs. CINDERELLA. Here they are — here they are — Les voici — les voici — GODMOTHER. You are a good girl. Now! {Strikes her wand on the floor.) One, two, three — 19 CINDERELLA Tu es une bonne fille. Maintenanil Un, deux, trois — ( The lizards spring up, honest-îo-goodness footmen.) CINDERELLA. Footmen ! Laquais! GODMOTHER. Well, that will do for going to the ball. Are you not delighted, Cinderella? Eh bien, voilà de quoi aller an bal. N'es-tu pas bien aise, Cendrillon? CINDERELLA {hesitatingly). Yes — but shall I go like this in my ugly garments? Oui, mais est-ce que j'irai comme cela, avec mes vilains habit s f ( The GODMOTHER Seniles, waves her zvand mystically, and " at the same time," de- clares the story, " her garments were changed to a gown of silver and gold, laced with precious stones." Lights off. CINDERELLA throws off her big apron, puts on her diadem. Lights on.) GODMOTHER. Good ! My daughter, you are wonderful! Here are your glass slippers. ( Takes from her pocket dainty slippers, and puts them on CINDERELLA.) 20 CENDRILLON Bien! Ma fille ^ tu es étonnante! Voici tes pantoufles de verre. CINDERELLA {embracing her godmother). They are the prettiest in the world. I love you, I love you, my gracious Godmother ! I adore you ! Elles sont les plus jolies du monde. Je vous aime, je vous aime, ma Marraine gracieuse! Je vous adore! GODMOTHER. Come, come, be a good girl ! Now listen, above all things do not stay past mid- night. Va, va-t'en! Sois une bonne fille. Ecoute donc, sur toute chose ne passe pas minuit. CINDERELLA. T shall not forget ! Je n'oublierai pas! GODMOTHER. If you remain at the ball one minute after that your coach will become a pump- kin, your horses mice, your footmen lizards, and your beautiful garments will take on their original appearance. Si tu demeureras au bal un moment davantage ton carrosse redeviendra citrouille, tes chevaux des souris, tes laquais des lézards, et tes beaux habits reprendront leur première forme. CINDERELLA. I shall not fail to leave the ball before midnight. Je ne manquerai pas de sortir du bal avant minuit. 21 CINDERELLA {The FOOTMEN assist Cinderella to her place. While the following song is sung there is a march about the stage. The GODMOTHER keeps time by waving her wand.) ALL {sing). The City Rat and the Coun- try Rat. Le Rat de Ville et le Rat des Champs. Once a rat who loved the city, Asked a country rat to dine, In a fashion neat and pretty. On some scraps of pigeon fine. On a Turkey carpet rare Nicely were the covers laid; I will leave you to imagine, What a jolly meal they made. Autrefois le rat de ville, Invita le rat des champs D'une façon fort avilie A des reliefs d'ortolans. Sur un tapis de Turquie Le couvert se trouva mis; Je laisse à penser la vie Que firent ces deux amis. 22 CENDRILLOh Good the roast was found on eating, Naught was wanting in the least; But at every merry meeting Something will disturb the feast. Suddenly they hear a noise As of someone at the door ; Soon the country rat was running, City rat was off before. Le régal fut fort honnête, Rien ne manquait au festin, Mais quelqu'un troubla la fête Pendant qu'ils étaient en train. A la porte de la salle Ils entendirent du bruit, Le rat de ville détale. Son commarade le suit. Quiet ail they left their cover. Country rat was dumb with fright; City rat said to the other: Come and let us finish quite ! Thank you, no, I've got enough. Royal though the feast you made ! Don't be vexed, but come tomorrow Out to me, the rustic said. Le bruit cesse, on se retire, Jiats en campagne aussitôt; 23 CINDERELL/J Et le cita-din le dire: Achevons tout notre rôt. C'est assez, dit le rustique- Demain vous viendrez chez moi, Ce n'est pas que je me pique De tous vos festins de roi. In my barn 1 eat at leisure, Nothing will disturb us there; Fare you well ! If you have pleasure, You have also fear and care. Mais rien ne vient m' interrompre, Je mange tout à loisir; Adieu donc! Fi due plaisir Que la crainte peut corrompre. CINDERELLA. Au revoir, my Godmother! Au revoir, ma Marraine! GODMOTHER. Au revoir, my child! Au revoir, mon enfant! CINDERELLA. Au revoir — au revoir ! Au revoir — an revoir! {Throws kisses to GODMOTHER and audience.) {Exit R. CINDERELLA and retinue.) CURTAIN 24 SCENE III — The Prince's Ballroom (Music. As the curtain rises the king and the QUEEN are discovered seated on the throne at the back of the stage. The PRINCE is stand- ing near them. Lords and Ladies are dancing a minuet, javotte, charlotte, and the step- mother are a part of the set. It vciU he oh- sei-ved that a knotiiedge of French is not neces- sary for all of the Lords and Ladies.) {Music ceases. Enter the page, L.) PAGE {bowing low before the royal party). My master ! Monsieur le Prince/ PRINCE. Speak. Parle. PAGE. A grand princess whom no one knows has just arrived! Une grande princesse qu'on ne connaît point vient d'arriver! KING. Hasten to meet her, my son. Cours la recevoir, mon fils. THE QUEEN. Yes — find who she is. A great princess! 25 CINDERELLA Oui, sache qui elle est. Une grande princesse! LORDS and ladies. A grand princess ! Une grande princesse! {Music — sarne air as end of Scene IL) {Enter Cinderella ushered in by PAGE L. The PRINCE hastens to give her his hand.) LORDS and ladies. Ah ! Ah ! Oh ! Oh ! Who is she? Ah! Oh! How beautiful she is! She is charming ! Ah ! Oh ! Jh! Ah! Oh! Oh! Qui est-elle? Qu- elle est belle! Quelle est charmante! Ah! Oh! KING {not taking his eyes from Cinderella). It has been a long time since I have seen so beauti- ful and so lovely a person. II y a longtemps que je n'ai vu une si belle et si aimable personne. QUEEN. Yes, yes! All the Avomen are busy looking at her head-dress, and her garments. Oui, oui! Toutes les dames sont attentives à considérer so coiffure et ses habits. {Among the group of admirers the prince leads CINDERELLA to the throne. They how to the king and the queen. The KING arises, and kisses CINDERELLA'S hand.) 26 CENDRILLON KING. You are welcome, lovely Princess. Jc vous souhaite la bienvenue, ma Princess ravissante. CINDERELLA. I thank you, Sire. Je vous remercie, Sire. PRINCE. May I lead you as my partner in the dance? Permettez-moi que je vous mène danser. CINDERELLA. With pleasure, Prince. Avec grand plaisir, Monsieur le Prince'. {Again they bow to the KING and to the QUEEN, and take their places as leaders in the grand march that follows. All who speak French will sing.) ALL {sing). Marlbrough. Malbrough. To fight, to fight in Flanders, Miroton, miroton, mirotaina, To fight, to fight in Flanders, Duke Marlbrough has gone. Malbrough s'en va t'en guerre, Mironton, mironton, mirontaine, Malbrough s'en va t'en guerre, Ne sait, quand reviendra. But he'll return at Easter, Miroton, miroton, mirotaina, 27 CINDERELLA But he'll return at Easter, When all the wars are done. // reviendra z-à Pâques, Mironton, mironton, tnirontaine, Il reviendra z-à Pâques, Ou à la Trinité. His lady wife has mounted, Miroton, miroton, mirotaina, His lad)' wife has mounted, Into her tower high. Madame a sa tour monte, Mironton, mironton, mirotitaine, Madame à sa tour monte, Si haut, qu'ell' peut monter. She sees her page approaching. Miroton, miroton, mirotaina. She sees her page approaching, In sable habit clad. Elle aperçoit son page. Mironton, mironton, mirontaine, Elle aperçoit son page. Tout de noir habillé. 28 CENDRILLON In battle fell Duke Maribrough, Miroton, miroton, mirotaina, In battle fell Duke Maribrough, He now is in the grave. Monsieur d'Malbroiigh est mort, Mironton, mironton, mirontaine, Monsieur d' Malhrough est mort, Est mort et enterré. Then each to earth fell prostrate, Miroton, miroton, mirotaina, Then each to earth fell prostrate, And then rose up again. Chacun mit ventre à terre. Mironton, mironton, mirontaine, Chacun mit ventre à terre, Et puis se releva. To sing the battles glorious, Miroton, miroton, mirotaina. To sing the battles glorious, Duke Maribrough has won. Pour chanter les victoires, Mil onton, mironton, mirontaine, Pour chanter les victoires, Que Malbrough remporta. 29 CINDERELLA {Ai the close of the grand march the PRINCE leads CINDERELLA to a place of honor near the throne. He sits beside her. The others find places. Fruit and punch are passed. The prince is too absorbed to partake. The stepmother and the sis- ters, who have been standing near openly admiring Cinderella, draw closer. The music continues very softly.) JAVOTTE, She is the most beautiful princess, the most beautiful that anyone has ever seen ! C'est la plus belle princesse, la plus belle qu'on puisse jamais voir! charlotte. Who is she? Qui est-elle? stepmother. Let us approach, and speak with her. Approchons et parlons avec lui. ( They approach with hesitation. Cinde- rella politely beckons them to come. The prince is piqued that others are join- ing them.) CINDERELLA {offering them fruit). Have some oranges, and citrons, Ladies. Perenez des oranges, et des citrons, Mesdames. THE THREE. Oh! Thank you very much! 30 CENDRILLOS Oh! Nous vous remercions! {The clock strikes!) CINDERELLA {springing to her feet) . Listen! One, two, three, four, five, six, seven, eight, nine, ten — Mercy! eleven — Écoutez! Un, deux, trois, quatre, cinq, six, sept, huit, neuf, dix — Alon Dieu! onze — (Exit R., CINDERELLA in consternation as the clock strikes twelve. She losese one of her slippers, which the PRINCE snatches up. The PRINCE rushes after her — the others follow to the door.) {Reenter the prince looking very cha- grined, R. The PAGE is with him.) prince. Did you not see the Princess go out? N'as-tu point vu sortir la Princesse? PAGE. No, Sir. The guards of the gate of the palace say that they have seen no one go out except a very badly clothed young girl who had more the appearance of a peasant than a lady. Non, Monsieur. Les gardes de la porte du palais disent qu'ils n'ont vu sortir personne qu'une jeune fille fort mal vêtue, qui avait plutôt l'air d'une paysanne que d'une demoiselle. PRINCE. Alas, alas! I would give all the world to know who she is. {Advances to the front, gazing at the slipper, and sings.) 31 CINDEREl.LA Hélas, hélas t Je donnerais toute chose au riionds pour savoir qui elle est! THE PRINCE {sings). A Resolve. f Obstination. It is all in vain to implore me Not to let her image beguile, For her face is ever before me, And her smile, and her smile. Vous aurez beau faire et beau dire, L'oubli me serait odieux, At je vois toujours son sourire Des adieux, des adieux. It is all in vain to implore me, All thoughts of her away to keep. For still, although she may ignore me, I can weep, I can weep. Vous aiirex beau faire et beau dire, Dût elle-même l'ignorer, Je veux, fidèle a mon martyre, La pleurer, la pleurer. It is all in vain to entreat me Memory's power to defy, For if she willeth to defeat me, I can die, I can die. 32 CENDRILLON Vous aurez beau dire et beau faire, Seule, elle peut mon mal guérir, Et j'aime mieux, s'il persévère, En mourir, en mourir. {The prince's song may be sung by some other member of the party in case he does not sing.) JAVOTTE. He is very much in love with the beautiful person to whom the little glass slipper belongs. // fort amoureux de la belle personne à qui ap- partient la petite pantoufle de verre. CHARLOTTE. You speak truly. Tu dis vrai. STEPMOTHER. Listen! They are making an announcement by the trumpet ! Écoutez! On fait publier à son de trompe! PAGE. Hear ye, hear ye! The son of the king makes public that he will marry her whose foot will exactly fit the slipper ! Écoutez donc! Écoutez! Le fils du roi fait publier qu'il épousera celle dont le pied sera bien juste à la pantoufle! LADIES (looking at their feet). My feet are small — see my feet — they are small — Mes pieds sont petits — voyez mes pieds — ils sont petits — Z3 CINDERELLA PAGE. Hear ye ! Tomorrow they will begin trying the slipper on the princesses, finally on the duchesses and ail the court. Écoutez! On cornmrnrera demain à essayer la pantoufle aux princesses, ensuite aux duchesses et à toute la cour. CONFUSION OF VOICES (ducliesscs, princesscs, ail the court) . My feet are small — my feet are small — my feet are small — {Duchesses, princesses, toute la cour). Mes pieds sont petits — ynes pieds sont petits — mes pieds sont petits — CURTAIN 34 SCENE IV — Cinderella's Kitchen (The SISTERS are busy taking off and putting on their slippers, comparing sizes, etc. CINDER- ELLA, a broom in her hand, is leaning against the mantel gazing pensively into the fire.) JAVOTTE. Mine is the smallest. Le mien est le plus petit. CHARLOTTE. No, see how small mine is. Non, vois comme le mien est petit. {Enter STEPMOTHER, R.) STEPMOTHER {much excited) . Girls, girls! Here is the Prince — the Page has the slipper ! ■ Filles, filles! Voici le Prince — le Page porte la pantoufle! ( JAVOTTE and CHARLOTTE push their feet into their slippers, and adjust their hair pins. Sound of a trumpet.) {Enter R. the page carrying the slipper on a velvet cushion. He is followed by the PRINCE, KING, QUEEN, LORDS and LADIES. /Ill take places at left. The STEPMOTHER, JAVOTTE, and CHARLOTTE hozv to the ground.) 35 CINDERELLA PAGE. Hear ye, hear ye ! Who wishes to try on the shpper ? Écoutez, écoutez! Qui desire essayer la pan- touflef JAVOTTE. I Moi — CHARLOTTE. I — Moi — PAGE. Sit down, Ladies, if you please. Asseyez-vous, mes demoiselles, s'il vous plait. JAVOTTE {tugging at the slipper). My feet are small, very small. Mes pieds sont petits — très petits. (Re- luctav.tly sees the page take the slipper to her sister.) CHARLOTTE {breathlessly watching the page). And my feet — my feet — oh ! They are not small ! Et mes pieds — 7nes pied — oh! Ils ne sont past petits! stepmother {sinking into a chair). Alas 1 My children ! Hélas, ines enfants! {All watch breathlessly while the sisters try to squeeze the slipper onto their feet. CINDERELLA Stands her broom in the cor- ner, and comes to look on. She is much interested.) 36 CENDRILLON CINDERELLA. May I see if it would not fit me? Que je voie si elle ne me serait pas bonne? JAVOTTE. You, a cinderwench ! Toi, un cucendron! CHARLOTTE. You — heavens ! Toi — mon Dieu! PRINCE {coming forward eagerly). Why, yes ! The girl is very beautiful. Mais y oui! La fille est fort belle. PAGE. I am commanded to try it on all girls. J'ai ordre de Vassayer à toutes les filles. KING. It is just. All girls may try on the slipper. C'est très juste. Toutes filles essayent la pan- toufle. PRINCE. Sit down, beautiful maiden. Assoie-toi, ma belle demoiselle. PAGE {kneeling and putting on the slipper). It fits like wax ! Elle y est juste comme de cire! ALL. Oh! Oh — o — O! {They cluster about CINDERELLA.) Oh. Oh — o — o! MUSIC (CINDERELLA takes the other slipper from her pocket, and slips it on her foot. The 37 CINDERELLA GODMOTHER appears, touches CINDERELLA with her wand. The beautiful clothes re- turn. If it is not possible to switch lights off on, the GODMOTHER may lead CINDER- ELLA from the room; the big apron may be thrown off, and they return.) QUEEN. Her garments are more magnificent than all the others ! Ses habits sont encore plus magnifiques que tous les autres! JAVOTTE. It was Cinderwench! C'était Cucendron! { The sisters fall at CINDERELLA'S FEET.) JAVOTTE. Forgive us! Par donnez-nous ! CHARLOTTE. Forgive us! Par donnez-nous! STEPMOTHER. Forgive us, Cinderella! Pardonuez-noHS, Cendrillon! CINDERELLA {lifting the sisters to their feet). Certainly, my sisters. I shall marry you to two great lords of the court. Certainement, mes soeurs. Je vous marierai à deux grands seigneurs de la cour. PRINCE. My Princess! You are more lovely than ever! {Takes her hand.) 3« CENDRILLON Ma Princesse/ Fous êtes plus belle que jamais! GODMOTHER. She is as good as she is beauti- ful! Elle est aussi bonne que belle! MUSIC — " Marlbrough " (The GODMOTHER Strikes with her wand. Cinderella's coach and equipment ap- pear. The PRINCE places Cinderella in her seat. The procession starts.) CURTAIN 39 Unusualiy Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, 'conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages tf » men to run the machine. A Jew, a farmer, a fat lady a». ^ other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost !iny number of good parts. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery, nor properties, and vei"y little in the way of costumes. Can easily be prepared in one or two rehearsals. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid -fir? fun from start to finish. Unusualiy Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILL SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes;, may be presented in a hall without scenery. The unusual com»; fcination of a real "entertainment," including music, recitations,/ etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions^ 'and a comical speech by a country sobool trustee. EXAMINATION DAY AT WO'JD HILL SCHOOZ^ An Entertainment in One Act, by Ward Macauley. Eight mal« and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos> tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special scenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. THE PENN PUBLISHING COMPANY PHILADZIT'HIA. Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts. by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. SISTER MASONS. ,A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia San ford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. Sne decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets ont the secret in a few minutes to another friend and so the secret travels. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. THE PENN PUBLISHING COMPANY PHILADELPHIA 1,25^"^ O»" CONGRESS The Power oT Expression and efficiency go ha q ^J'™™l^«llimMlii The power of clear and forceful expression Dnngs \,v«m« dence and poise at all times — in private gatherings, in publu discussion, in society, in business. It is an invaluable asset to any man or woman. It can of tet be turned into money, but it is always a real joy. In learning to express thought, we learn to commant thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always surf of himself. yhe power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School o: Elocution and Oratory, which during many years has Àt veloped this power in hundreds of men and women. A catalogue giving full information as to how any of thesi accomplishments may be attained will be sent free on requcsl THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY 4012 Chestnut Street Philadelphia