Author Title ClassO\5175 Book^l Imprint I?K,IOE IS OENTSaJ. '^^^ DE WITT'S ACTING PLAYS, e^^- (Number 7.) MAUD'S PERIL. A DRAMA, IE" FOUR ACTS. By watts PHILLIPS, Esq. Author of "The Dead Heart," "No')oilij's Child," "Theodora," "Ticket of Leave," djc, <£c. AS FIKST PRODUCED AT THE ADELPHI THEATRE, LONDON, OCTOBER 23d, and AT WALLACK's NEW YORK, THEATRE, DECEMBER 6tH, 1867. TO WHICH ARE ADDE> A aeocriptiou of the Costume — Cast of the Characters — Entrances and Exits — Relative Positions of the Performers on the Stage, and the whole of the Stage Business. ^ » to - y r It : ROBERT M. DE WITT, PUBLISHER, ^ No. 33 nose Street. '»Vv?N.")vP x..^..- . DANDELION'S DODGES. A Farce. By Thomas J. Williania, A ft H I j7s,|_ pri^.,. i.-jfteen Cents. ...1 JtEAT^Y. I CASTE. An Ori^'iual Comeily. In three Acts. By T. W. Robertson, E«. Everybody's Friend, comedy, 3 acts. 6 5 200. Estranged, an operetta, 1 act 2 1 103. Faust and Marguerite, drama, 3 acts, 9 7 y. Fearful Tragedy in the Seven Dials, interlude, 1 act 4 1 128. Female Detective, drama, 3 acts 11 4 101. Fernande, drama, 3 acts 11 l6 99. Fifth Wheel, comedy, 3 acts 10 2 145. First Love, comedv, 1 act 4 1 102. Foiled, drama. 4 acts r. . 9 3 88. Founded on Facts, farce, 1 act.. . . 4 2 74. Garrick Fever, farce, 1 act 7 4 53. Gertrude's Money Box, farce, 1 act. 4 2 73. Golden Fetter (Fettered), drama, 3 114 30. Goose with the Golden Eggs, farce, 1 act 5 3 131. Go to Putney, farce, 1 act 4 3 28. Happy Pair, comedietta, 1 act 1 1 151. Hard Case (A), farce, 1 act 2 8. Henry Dunbar, drama, 4 acts 10 3 180. Henry the Fifth, historical play, 5 38 5 19. He's a Lunatic, farce, 1 act 3 2 60. Hidden Hand, drama, 4 acts 5 5 187. His Own Enemy, farce, 1 act 4 1 174. Home, comedy, 3 acts 4 3 64. Household Fairy, sketch, 1 act 1 1 190. Hunting the Slipper, farce, 1 act 4 1 191. High C, comedietta. 1 act 4 2 197. Hunchback (The), play, 5 acts 14 2 18. If I Had a Thousand a Year, farce, 1 act 4 3 116. I'm Not Mesilf at All, original Irish stew, 1 act 3 2 129. In for a Holiday, farce, 1 act )? 3 159. In the Wroni' House, farce, 1 act. . . 4 \, 122. Isabella Orsini, dram«, 4 acts 11 4 177. I Sha'l Invite the Major, comedy, 14 1 100. Jack Long, drama, 2 acts 9 2 139. Joy is Dangerous, cemedy, 2 acts. . . 3 3 17. Kind to a Fault, comedy, 2 acts 6 4 86. Lady of Lyons, play, 5 acts 12 5 73. Lame Excuse, farce, 1 act 4 2 MAUD'S PEHIL. A DEAMA IN FOUR ACTS. Br WATTS PHILLIPS, Esq., Author of " The Dead Heart,'" ^^ Nobody's Child," " Tneodora," " Ticket of Leave," etc. AS FIRST PERFORMED AT THE ADELPHI THEATEil, LONDON, OCl, 23, 1867, AND AX wallack's theaxkf, new TORK, DEC. 6, 1867. TO WHICH IS ADDED A DESCRIPTION OP THE COSTUME — CAST OF THE CHARACTERS- TRANCES AND EXITS RELATIVE POSITIONS OF THE PER- FORMERS ON THE STAGE, AND THE WHOLE OF THE STAGE BUSINESS. NEW YORK: ROBERT M. DE WITT. PUBLISHER ETD, 88 BOSS STREET. 7 2>: MAUD S PERIL. CAFiT OF CnAItACTEnS. ■*t .yy?t performed C* tte Aidphi T/iealTT. Za-i.wtjj Wallacfc'; Tliealre, New T*fk, October 23, lbU7 Dec. 6, 18G7. Bii Ralph Clialloncr . ..,.5Ir. Billihgton. Mr. J. H. Stoddakt, Gerald G wynne Mr. Ashley. Mr. B. T. Ringgold. Toby Taperloy Mr. G. Bf,lmop.3, Mr. J. \V. Wallack. Burrell Mr. C. J. Smith. Mr. G. F. Browni. Doctor Mr. V/. H. Eburne. Mr. W. H. Pope. Lady Challoner Miss Herbert. Miss Rose Eytingk, Kate Scfton Miss Amy Sheridan. Miss Maky Barrett. SiLsaa Taperloy Mrs. Billington. Mrs. John Sefxok. BVENERT. ftjfi t.-STOrSAK*S COTTAGE AND SETTON PARK. THE WITHERED FORGET-ME-NOTS. *' And when my heart is nigh distraught ■ Jt' I but say forgf.t-j;e-not, jBope burns again within me 1 " — \_Gotihi, A.TX U.-EOOM IN CHALLONEE ABBEy. MAUD'S PERIL. •Am I mad that I should cherish that which bears but hitter fruit 7 i. will pluck it from my bosum, though my heart be at the root ! " —^Tevnytm. Art ^XL-THE BAHONET'S STUDY IN THE ABH^y. CHALLONER'S REVENGE. ** Eat fevered in her sleep she seems, And pale her cheek with troubled dres.mS| .tjsd mutters she in her unrest, A aanie she dare not breathe by day." — [Burc^t, Act IV.-PARLOR IN CHALLONER'S TOWN HOITSSL THE VERDICT. M My deeds upon my head I I iwave the \s.^.'"—{Sliakcspearc, TIME OF PLAYING, TWO HOURS AND A HALF. ' BTaoe Direction. —R. means Right of Stage, facing the Audience; L. Left; 0. Centre ; R. C. Right of ceutre ; L. C. Left of centre. D. F. Door in the Flat, or Scene ruuninf? across the back of the Stage ; C. D. F. Centre Door in the Flat ; R. D. F. Right Jloor in the Flat ; L. D. F. Left Door in the Flat ; R, T-, Right Door; li. D. Left Itev, 1 E. First Entrance; 2 E. Second Entrauo*; D. il. Upper Eo« trance ; 1, 3 « S O. Fiist, Second tx Third Gtoova. Q»FT EST. OF J. H. CORNING ^UNE 20. 1940 MAUD 8 PERTt. COSTUMES. Sib Ralph Chai-lonkr.— ^d 1s<.- Fox-hunter's dress, scarlet coat, Wack velvet cap, ■wliite bieeclics, top-boots, white vest, whip. Ad ind: Lifjht overcoat ove» black coat, light vest and pants, a jjold sntiif-box set with brilliants ; a heavy overcoat ready l., to be brought in by Tonv. Act 3rd: Evening dress, the snuff-box. Aclilh: Black coat and ve.st, light pants. Flaxen hair, side ■whiskers ; he is about sixty, but hale in bearing and voice, but in Act 4th ia weak and dying. Gerald Gwynne.— .4d 1,s<: Black coat and hat, grey pants, dark gloves; a small packet as of love-letters in his breast coat pocket. Act 2nd : Evening dross, with hat to enter with. AclSrd: Evening dress, no hat; 2nd entrance, same ■with hat and dark-brown overcoat. T" Toby TAPEnLoy. — AclXsl: Countryman's flaxen ■wig over a close-crop black; face ^ sallow ; blue shirt, black breeches, with braces, heavy shoes, grey stockings, a short pipe. Act 2nd: Servant's dress, but not livery. Act 3rd: Light cut^iway ^^^ coat, white cravat, gaiters coming up to mid-thigh, buttoned up all the way, h[ but one or two buttons out, blacii, low-crowned, naiTow-rimmt^ hat ; see to *^' wigs as the flaxen one is to come olf; a clasp-knife to open. Scene ilh : 8ea- ^-j man's dress of blue p-jacket, vest and trousers, shoes, red neokelotli, low- crowned hat ; 2nd entrance, his neckcloth is loose ; in this act, his black hair is ■"«. the only one worn. Toby's voice is hoarse, and ho has a cough, noticeable but not too prominent. Q^ BuRRELL. Challonkb's Secretary.— Neat dark suit. Act 3rd: Full dress for dinner. Doctor.— Black suit. r- Tom, a Detective, in black, hat, handcvtS's in pocket of coat, r Second Detective.— Like Tom. V First Servant to Challonek.— Livery of red breeches, white stockings, blue laced f^ coat and waistcoat. ^ ■ Servants. — Same as First Servant. Ladt Challoner.— ^rt Ist : Dark blue riding-habit, white cuffs, black round * high-crowned hat, fancy whip, gloves. Act 2nd: Ball dress, dark-blue satin, turned up with white,sash, jewelry, hair dressed, and with je^wels, white gloves ; bouquet to enter with ; 2nd entrance., gloves, sash and most of the jewelry re- moved ; enters with a small hand-lamp. Act 3rd: Dark dress, with a long, white wrapper, buttoned up from the waist to the neck, but flowing ti-ee in the skirts, the sleeves flowing ; a note in her hand when she enters. Act il/i : The same wrapper over a blue dress ; pale. Note— A few shot in tlie hem, behind, of the wTapper to keep it from bagging in on the dress in Act 3d. Kate ^^vrov.— Act 2nd: Ball dress, jewelry, fan. Act 3rd; White dress, red Gari- baldi jacket with metal buttons, hair a little disaiTangcd. Act -ilh : Housa dress. BnsAN Taperlot.— .(ic< Isl: Dark blue dress, collar, white apron. Adi 2nd and iiht Dark house dress. SssvANX Maids.— As usuaL PROPERTIES (see '•Scenery.") | Act Ist.— Short pipe and skeleton key for»ToBT ; loaf of broad, cheese, onions, bot- tle, Ave gold coins and a ribbon, with a bent silver com attached, in a glove in the cupboard B. ; whip for Lady Ciialloneu; small packet as of love-letters for GwYNNE ; wedding-rings for Lady Challoneb and Mrs. Taperloy ; whip lor Challoner ; bread and bottle. Act 2nd. — Fire to burn; hat-box and travelling case ; large lamp V'th shade ; snuff- box of gold, set with brilliants ; thumler and lightning : crash and reverbera- tions R. u. E. ; fans for Lady Challoneb aod K.vtk Sefton ; bouquet with a note in it tor Lady Challoneb ; small hand-lamp, to burn, ready b. 1 e., for Lady Challoner's 2d entrance ; dark-lantem to iMim, for Toby. Act Sed. — Large lamp with shade ; lamps and candles for Servants to bring in, L. D. ; the same snutf-box for Challoneb ; coins to jingle off l. c. e. ; writing- macerials on table up l. ; papers and envelopes on r. front table ; sjiring-bi'U on same ; note for IvADY Challoneb ; Lime light (for moon) l. u. e ; knife for Toby ; matches to light, on table up l. ^Ot 4th.— Bell L. V. r.., as of the Cathedral, to strike Inro ; break&st set for one on table ii. front, bread, to eat ; decanter of ■water. maud's peeil. BGENERY ( English, modern. ) A.CT 1?T.— No ctan^e throughout. Interior and Garden in 6 grooves. Afternoon, Summer. Landscape on Bat. L. side : l. 1 e., closed in, a wall, with a picture on it ; l. 2 grooves, a set wall with practicable door, run " on " nine leet, backed by a pannelled wall witliin ; l. 2 and 3 E., closed in ; l. 4 and 5 e., transversely trom l. c. to midway in l. 4 e., a set cottage with fenced-in garden in front. R. side : b. 1 e., closed in ; e. 2 E., wall with flre-place, and a cupboard in the set, witli practicable door wilh lock to open with a snap ; trom r. 3 grooves to 4 grooves runs a line of thin pUlars, twined with creeping plants, from the beads of wliich (at the top of scene's line) springs a sloi^ing roof running- up to meet the l. side set, and covering the stage ; skylight windows in this root, with transparent panes ; b. 4 and 5 E.'s are open. The stage, 1, 2 and 3 e.'s is covered with a plain checkered carpet ; c, u. E., ilow- erbushes ; e., u. e., girden bed; b. 4 E., a gravelled path leads to practicable open- ings between the piiiars. The interior is panelled wall, dark-red brown, with deep shadings, gas being down in front ; the garden in bright colors, gas being full on r. it. e. Furniture. — Garden table and rustic seat up L. c. ; table with looking-glass on it, against flat l. 1 e. j table n. front, with two chairs. Act 2nd. — No change throughout. Interior of a room in the old-fashioned portion of a country mansion, in 4 grooves. Stormy night. A dark, vague view of country by night, to back a large window it. c. Flat in 3 grooves is a wall, with large antique window, double-sashed, to open like a French window, horizontally, the sill four feet from stage level ; on the upper side and E. side without, a mass of ivy, picturesquely trailed ; this window is in a recess, 15 to 20 inches deep. L. side : Closed in ; 1 s., practicable door ; 3 e., transverse set, with large fire- place. E. side: Closed in; \ e., practicable d.; 3 e., practicable door, masked by tapestry. Walls in dark panelling, portrait of a lady in Elizabethian costume high up on l. 1 E. set, portrait of gei^tleman, same dress, a. 1 e., set to correspond. Carpet down. Curtains to window. Furniture. — Lamp with shade, to bum ; table e. front ; table up l. c. by fire-place ; chairs it. front, and l., by fii'e ; bell-pull i,. 2 e., to come off at a pull ; settee e. c e. Act 3bd.— Large, han.lsome room in county mansion, in 5 grooves. Moonlight, midnight. Landscape, garden or trees, to back glass door, c. in f., in 5 grooves. The side sets to clos'j in at an angle, to make the room as it seen from an extreme right-hand (nj'tlie audience] point o± view; the line of l. side wall making the angle at L. c. in 4 grooves. Large practicable glass folding-door, c. in f. L.'side : I.. 1. E., wall; l. 2 e., practical door; L. 3 E., a set flat run "on" with practical door, backed by a pannelled wall. R. side : Closed in, practicable door, e. 1 E. and b. 2 E. The wall is dark, oak-grained. Furniture. — Table up l. c, line of 2 e. ; table 1 e. line, e. ; chairs to tables, and to dress stage. Tln-ee six-feet high candelabra, ornamented with gilt, each side. Act 4th. — Interior and View of Park in 6 grooves. Atternoon. On flat, garden scene, with view of a Cathedral in middle distance. Set balcony in 5 grooves. Closed in r. and l. 1, 2, 3 e.'s. Li. side : l. 1. e., set wall ; l. 2 e., practical door; i,. 3 E., set wall. E. side : Closed in ; practicable door, r. 3 e. set, and b. 1 e. set ; fire-place, with fire to burn, k. 2 e. sot; the room fancy-papered ; rich carpet down. Furniliire — Eich ; sideboard L. 1 e. with vases on it; two chairs by it; table r. front, table l. c, line of 2 e. ; two chairs to the latter ; sofa b., line of 2 e. ; two ihaii's flanking small round table l,. 3 e. comer. [For Synojysis see jjages 26, 27, and 28.] MAUD'S PEEIL. ACT I. SCENE. — Cottage and Garden — Susan Tapcrloy discovered, thzuglitfid, leaning ^ one hand on chair, r., bg table, r., front. SnsAN. The cloud has moved at last, but only to fall upon me. I dare not let a soul know that my bad liusbaiid has come homo after long years. And the other — the — alas ! worthier — companion of my poor Maud — aye, lover ! for she loves him ! I may not tell her of that. I can only give joy to lier heart by giving her grief — my poor sister — for she is my foster-sister, and loves none beyond me — none — none. Voice OF Toby, o^L. 2 E. Hallo! {8vs\y starts) Where are you 1 Hal- lo ! here ! waiter, waiter ! {enters d. in l., 2 g, set fiat, u-ith his lacc-up boots in his hand) Here's my boots — the ))olish 1 has on my manners I likes to see h'on my leithers ! Come, a little elber-grease, nn'ssus ! {crosses to r. along front — Susan goes to c, thoiightfidhj and distressed.) AVlien a man's been to the Antipodes {pronounce the last ttco syllables as one, silent c) he don't like to see things topsy-turvy, {throtcs b ots down r. by ftre) But, arn't you tliinking of breakfast 1 {takes seat by fire) I know it's rather latish, but self-preservation is the first law of nature, and I'm hungry as a hun- ter. So, then, something of the natur' of a revivifier — say a noggin of rum ! Sl'san (c. sorrowfully). You know, Toby, spirits never touch my lips. Toby. Never 1 Susan. Never ! Toby. No! AVhat, don't they 1 Then I'll drink for you. It's llie least one could do for anotiier — and that prrson your wife. So cut along to the Red Lion for some real Jamaica, and, 1 say. Sue — hide the bottle under your apron — for, above all things, I likes to see a wife of mine look respectable. Only to think of a husband come home so many miles across tlie ocean, and not a toothful of good liquor to give biui ! (y>«/s vn his shoes.) SusAX. Toby, it's dreadful ! ToB\' {quirkly). Dreadful I I .should think it was dreadful! It's horri- ble. Sue! I — I'm ashamed on you ! Susax. Oil. why did you come back, Toby! Toby. Because, '= all work and no play makes Jack a dull boy." A Qovermnent ajipointment is all very well this side of the water, but oa t'other — {itJirug of the s ouUlers in disgust.) S MA0D 3 PElilL. SnsAN (c ) But if you are discovered — Toby. Ifl " If ifs and ans were pots and pans," we'd be very well off for kitchen furnituie. {rises) AVhy, woman, wlio'd think of looking for To- by Taperloy undert his disguise 1 Unless — {suspiciouslij) you should take it into your head to betray me Susan {indigiuintly'). I, your wife 1 For shame, Toby! Toby {to c, takes her hand) My wife 1 Yes ! there's the marriage ring I put upon your finger years ago — {Susan sighs) In your place I would have slipped it otf as I slipped off the iron one supplied me, as an h'order of merit, by a h'over grateful country. Susan {sobs). Oh, Toby ! Toby. No tears — no tears ! we don't want no tears ! When a man's been six months aboard ship, he's had enough salt water for the remain- der of his nateral existence. Hem ! what can't be cured, must be h'en- dured ! Dry your eyes, and get something for me to eat, along with the lush, {crosses to fire, R., again) I aren't proud and I'll look arter my boots myself. {Susan goes off v.. to E. he crosses to l. cautiously, listem, watches her some time, returns along front to R. 1 E.) I can't bear to look at her, poor gal. I see her put some'at in this cupboard half a' hour ago — {tries cupboard door) Locked ! locked ! She's suspicious, ah ! No matter ! it's the task of ge- nius to overcome difficulties! {takef out skeleton keg) This is the liitle twirl that has h'opened a stronger case in its time, (puts key in hole) Here it comes, easy as a wink, {opens door) An old glove — gold ! oh, here's the nest-egg. {takes out glove, comes to c.) One — two — three — four — five sov- ereigns, and a six what's this 1 a — a — a crooked sixpence at the end of a little bit of dirty ribbon a — a sixpence — and a bit of {laug/is prlongedly) Why, if it ain't the crooked sixpence as I gave Sue when I was a-courtin' of her. It makes a chap feel uncomfortable like ! {pause) What rum creatures women are ! She keeps the sixpence, and /sticks to the substantial, {replaces glove and ribbon with coin in the cupboard.) I'll leave her the sixpence ! {sits down bg Jire, sings; " Down by the green meadow," etc.) Enter Sasan, b. 2 e., with bread, a bottle, onions, and cheese, puts them on table, R., gets a glass. ToBT. Ah, drink ! Now, this is something as I likes. Bread, cheese, rum and a' inion ! {drinks and eats) Such is delicate attentions ! Now, then, for a quiet and confidential chat between man and wife. How has the world been going on 1 Susan {standing l. side of table). Going on 7 Toby. It has not been standing still, has it 1 How is Colonel Sefton 1 Susan. Dead ! Toby. Defunct 1 (Susan nods) And Miss Maud 1 Susan. Maud Sefton exists no longer — Toby. She defunct, too 7 Susan. Miss- Maud Sefton is now Lady Challoner. Toby. Married 1 Susan. Yes. Toby. Married to that old skinflint ! that old starvemouse ! that old hunks ! she the prettiest flower of the country ! Damme ! it beats cock- fighting ! Why, Sue, when I left these parts — compulsory ! compulsory. Sue ! I never heard she was going to marry h'm ! Susan. It was one of those marriages, Toby, where the estates are nearer than the hearts. Toby. I see, I see. A man forgets a mort o' things as years roll on. But I haven't forgot Sir Ralph Challoner, no ! nor what I owes to him I ijrepeat4 the last six words in a low undertone.) ScsAX. Tlie Sefton estates were mortgaged, and all under bonds. Why, my old master went down on his knees to her — stay ! on the very spot where you are sitting — and my poor Maud consented to save him from ruin. Toby. AVhy do you pity her 1 he's married the richest man in the country. Susan. Because she gave her hand when she had alreadj- given her heart to Mr. Gerald Gwyiin. Toby. Oh, ay ! Mr. Gwynn of Graythorpe. I know. Why, I taught him to handle the first gun he ever had. Many's the scrape he's gotten me out of — many — like the fine-hearted young gentleman he was. Go on, go on. ScsAN. Do you remember, Toby, how Miss Maud was given to sleep- walking 1 Toby. Toby do ! Susan. And Gerald Gwynn saved her life one night when she had wan- dered to the very edge of a deep chalk-cutting. The Colonel thought they were too young to marry, and so Mr. Gwynn went away with his regiment to the Crimea. When the news of his death arrived, it nearly broke my poor Maud's heart ! {si///is.) Toby. Death 1 what do you mean by death 1 Susan {slarts, but, with an tffort, responds in her fon)i€r sad tone). He was killed there. Toby {laughs a long laugh). Well, I have had many a queer travelling- companion in my life, but I never jogged along of a ghost afore, (laugh, takes np bread to eat.) Susan. What do you mean 1 Toby. I mean I parted company last night with Mr. Gerald Gwynn, a^ turning into the Red Lion. I don't set myself u\y [eating, mouth full) for a model of voracity (;•!«« and comes slowly to r. c, r. of Susan) but- — come — •_ you ok^-Zj^ to know his handwriting. There! {holds out note.) Susan {repressing her agitation). Did he know you 1 Toby. No, he didn't know me. ( Yorkshire accent) " Ah bee a country laad joost coom oop from Yorksheer for a job," says I ; and he says : " Take this to Susan, to be given to Miss Maud Seftoai." " I wool," says I ; and he says : " And tell her I'll come myself to-morrow for the an- swer." (Susan makes a sudden attempt to snatch away the note, but ToBT drops his right hatid lidding it, and parries her arm with his left. In a hoarse voice) Now, dont j'ou let's have any o' that nonsense. I begin to see which way the wind blows, and I shall trim my sails accordingly, {to b., at the table.) Ladt Challoneb enters r., looking off n., speaking as the enters. Lady C. Take the horse round till I return, {enters, comet acrott to l. front, where she puts her whip on the table, and arranges her hair, after remov- ing her hat, coming to c.) Well, Susan, I — oh! you are not alone 1 (Susan is about to speak, when Toby comes to r. c.,louttshlg, and tays, Yorkshire accent) A'a bee Soosan's coosin, Sam'el Gregson, miss. Tiarme's bad doon oor waa, an' Soosan has promised to get a a a job o' work at gardening Lady C. Well, I will speak to the gardener, and I daresay he can find a i)lace for your cousin, to i)]ease you, Susan, {to l.) (Susan liangs her head — Toby scrapes his foot, a-d turning to Susan, shows her the mte) And this letter for Miss Maud Sefton 1 Susan (fiercely to him, taking the note). Silence ! or I will not answer for your safety one instant ! to maitd's peril. ToBT. Some money 1 Susan. I li.ave already told you I have none. Toby. Hum ! Perhaps you speak the truth ! {shows coin.) Susan (in pain). Oh! Toby {mockinglij). I'm ashamed on you, Susan, I'm ashamed on you \ {goes of, K., singing) " Say, what ails thee, my jewel !" Lady C. {to c. >. A letter for Maud Sefton 7 Give it me, Susan. Susan (r. c). My dear Maud, I — I dare not. Lady C. What is there for Maud Sefton that Lady Challoner may not see 1 Susan. Oh I must not. Lady C. Give me that letter, Susan. It is from the dead. Lady C. {growing interested). From the dead 1 Susan. Yes ! That dreadful truth which has been suppressed so long, must be unft)lded now : Gerald Gwynne lives Lady C. Lives 1 Gerald lives 1 Susan. Don't look at me so 1 I lied — we all lied — for your sake! for your fiither and yourself. We all believed he was dead, and when we were undeceived we could not bear to renew your grief. Darling, it was all done for love of you — all for love of you ! forgive me I Lady C. Forgive you 1 never ! {iearfullg) Woman, woman, woman ! you have broken my heart ! Susan. Don't speak so, Jlaud ! {clasping her hand.) Lady C. Yes, you have broken my heart. You have kept me on the rack for months, and now you revive the agony, such as few can know. I loved Gerald Gwynne I Susan. But your father thought it the best, and I knew it was. It was all done for love of you, darling, all for love of you ! Lady C. That day, when I was mourning, I was urged to destroy my- self — it was one way to escape oh ! why did I not thus rush out of my misery ! Susan. My darling ! forgive me ! Lady C. Not in this world ! never ! {turns to l.) Unler k., quietly, hut on seeing Lady C. quickening his pace, Gerald Gwynne. Gerald. What, Maud ! my darling Maud ! Susan {turns). Ah! (r. c. front.) Lady C. {turns). Oh ! (l. front.) Gerald (c). Why, Maud! did you not receive my letter ? Oh ! how I have prayed for this day, longed to meet you ! But now that I look on that sweet face, I see traces of grief. Lady C. May you never know the like ! Gerald. Ah ! But I have been through sufferings. I was down with fever in a Russian prison, but the moment we were exchanged, I hasten- ed home and to you Lady C. {leans against l. 2 e. set, ivith averted heal). Ah, Gerald Gwynne, you know not how your absence was mourned ! Susan {to Gerald). You were reported dead on the battle-field. Gerald. Tiien — then — But I am safe, more fortunate than ever, and here to redeem my troth. Lady C. {starting). Go. Gerald. Is this my welcome home ? the hour I hoped for, prayed for ! I see ! you no longer love me, Maud ! Lady C. {an/ertone). No longer love ! Gerald. Why not speak 1 {looks from Lady C. to Susa.\, fiotk of ACT II. 11 tchom avert their heads) Is tliis the love I built my hopes upon 1 But why should you speak 1 your silence tells me my mistake — my bitter mistake. Lady C. Not so ! but go ! go ! GiciiALD. Here is a bunch of flowers — a few withered forget-me-nots ! I had never knelt to mortal man, but I humbly pleaded for my savage captors to leave me these, and they, unknowing of their value, let me retain these dead flowers to rest on my heart. Lady C. {aside). My heart will break ! Flourish of hunlimj-horm, piano, sounded off K. u. E. Sdsan (?if/-horns, loudli/, r. v. E.) Maud. You have uttered it: Farewell! (Susan jjushrs Gehxld ou(,l. 2 E. D. and reitirns to assist Lady C, ivho is nearhj faintiny, ii.) Enter, R. 2 e., Sik Ralpu Cualloner, coming down c. Sir Ralph. Maud ! Maud I I am going to start for the country ! But vvhal s.this 7 Susan. Nothing ! (Lady C. looks up with an effort.) Sir Ralpu That's right ! we have had a caj)ital day's sport. (^;«i« his arm around Lady C. and they go up c. — Susan b. — HatUsmeu up B. QUICK CCBTAIN, ACT II. ■^CENE. — Interior of room in Abbey — diseovering Toby, -l., by ,fire, packiny up valise and strapping hat-box ; Sik Ralph at table, n., front, and BuR- RELL by him, R. — Susan takes wine glasses on tray, crossing to exit h. D., when Toby stops her and takes what is lift in the glatses. Toby. Stay, my pet lamb ! are you forgetting you have a husband 1 [drinking) Wilful waste makes woful want. Susan. Oh, Toby I Toby {aside to her fiercely). Take care, you fool, what you are saying of ! My name's Gregison ! {with Yorkshire accent) Take care, missus, or you'll be upsettin' o' them glass moogs. [Susan goes out l. d. Sir Ralph (to Burkkll). Then, 1 have seen all your accounts 1 Toby {aside). That woman is suspicious agen. I have my eye on you, Missis Sue ! Sir Ralph. Quite correct, then, Mr. Burrell. I suppose you know I am 2oing to stand for the county 1 Buruell. Yes. Sh- Ralph, and have no doubt of the result. Sir Ralph. Thank you. • But it is ten o clock, and 1 must be at the station in an hour. Gregson ! Toby. 'Ees, sir ! Sir Ralph {taking snuff out of his bou). See to my travelling traps. 12 maud's pebil. Toby. 'Ees, sir, I 'ull. (aside) Oh, there's a snuff-box that am ! to be sneezed at ! that would be a prize to somebody ! (thunder, (listen; ; faint Jlash of hylitning.) Toby (aside). Ti'.em diamonds hurts my eyes ! SiK Ralpu. We are going to liave a storm to-night. (Bureell watches Toby, luho goes off l. d. with a look be.'imd him. To Sir Ralph) 1 (iuestioii if that fellow is not the one we are seeking, sir. Sir Ralph. Oh, you mean in connection with the pilferings going on both in and out of tlie Abbey 1 Hum! Let me see ! (taking snaff') Ah! we'll have a ferret down — one regularly trained up to the business, I'll send to Scotland i'ard. Susan er.tcrs xvith bouquet in her apron, h. D. Sir Ralph (to Susan). There is a storm impending. Is my lady yet returned 1 Susan. Just come, sir ; she came home early to i:ee you off. (c.) Miss Sefton is with her. Sir Ralph. It s very kind of her to break \\\) her party on my account. It's just like the women — never selfish ! Wiuit's that you have there 1 Susan. A bou(iuet, sir. A compliment from Mr. Gvvynne. My lady was not ;it home to him. [Exit, l. d. Sir Ralph. Ah! Mv. Gerald Gwynne of Graythorpe. lie gives us the call, then'? Is lie down on the list, Mr. Burrell 1 Burrell. N-no, sir. Her ladyship, you hear, does not receive hinj. She has that sort of invitation to give. Sir Ralph. This must be rectified. He is a large landed proprietor now, and would be influential at our election. But time flies. Gregson ! (crosses to h., puis beil-p-ull off') Gregson! confound the fellow! All this part of the Abbey is in ruins. Burrell. The masons are at the repairs in the other portion, sir. Sir Ralph. And when do tliey come he.e 1 Burrell. The first thing to-morrow, sir. Sir Ralph. That's what the architect is always saying • Susan enters, l. d., without the bouquet. Sir Ralph. I wish you Avould ask the ladies here. Susan. I wish to speak to her ladyship about Mr. Gwynne. Susan (startled). Mr. Gwynne ! H.rit l. d., as Toby enters, and goes up l., to continue packing. Sir Ralph (Inughinghj, to Burrell). Even the servant alarmed ! Yes, Mr. Gwynne has the reputation of being a fast liver. In the last month he has been flinging himself about wildly in Paris and London race-cour- ses and gaming tables. Meanwhile, he is useful. Burrell. Useful, as you say, sir. (taking snuff icifh Sir Ralph.) Toby (aside). That's too much for my nerves — that is ! (opchs l. d.) Enter, l. d., Maud and Kate Sefton — Maud to the fire, the bouquet in her hand, Susan ivHh her, takes Iter fan and of ter wards Kate's — Toby goes out L. D , with Susan. Sir Ralph. Ah, Maud, dear, it is very kind of you to come away be- cause of my journey, just in the height of your enjoyment. Lady C. Enjoyment 1 (she shows that she has found a note in the bouquet. ACT 11- 13 Aside) A letter ! oh, he has dared to write ! {throws it into the fire tm- Opencd.) Kate {to Lady C). Do you like mis gloomy part of the Abbey, Maud 1 Lady C {rises). lt"s all oiie to me. {emsses to r. c , up to chair. To Sir Ralph) This storm that is at hand, it should detain you. \Exit BURRELL, L. D. Sir Ralph. Rau-^vays have no respect for wind and weather, {eomes down front, L. c , with Kate) ]My dear Kate, what is your feeling against r.i ; l'.)r havinj^ stop-ped you in your career of coiuiuest ? Kate {laiic/hs). Oh, I have had enough of compliments for one even- ing. You luen feed us on nothing but sugar — lake us for birds in a cage. Sir Ralph. Ah ! you will be a prisoner some day — some one will of- fer you the prettiest fetters in the world — golden ones ! Kate. And what will that be 1 Sir Ralph. A ring ! Kate. Thank you ! I value my liberty too highly. Sir Ralph. Take care, Kate, take care ! Coquettes are like weather- cocks — they never stand still until they are rusty ! (Kate laughs) And who did you meet there to-night 1 Kate. Oh, the usual gathering ; half a-dozen somebodies, and a score or two of nobodies. Among the former there was one most distingue, for though Maud treated him with coldness, I could not but think liim agree- able. Sir Ralph. And pray who is this charming individual ? Kate. Our neighbor, Mr. Gwynne of Graythorpe. (ijoes up l.) Sir Ralph. Ah! the very man I wished to speak about, {to Lady C.'s chair) Maud, what is the reason you have not given this gentleman an invitation to our house 1 Lady C. {embarrassed a trifle). His — his rej)utation is against him. SiK Ralph. Pooh ! Pooh ! his reputation ! He's a young man ; in time he will have cut down his wild oats and reform, never doubt. There ; I shall expect to see him at our first dinner party when I return from London. Graythorpe has a number of voters, and so you will invite him \ Thunder and loud crash R. 0. E. — lightning — all start — Lady C. and Kate scream. Kate. What's that 1 J Sir Ralph. Nothing, nothing ! This part of the Abbey is all in ruins. \ The architect will not attend to it till to-morrow. Kate. I should be so afraid to sleep here, so liigh from the ground. Oh, Maud, if you should have a return of your old fits, and walk about in your sloe]) ! I tremble to think of it. Lady C. {absentl;/). Do not fear on nij* accoiint. {rises.) Sir Ralph. Grogson ! that snail again ! Gregson ! {enter Tody l. d.) Get me my rough overcoat, {exit Toby l. d.) Its going to be a stormy night, (c.) Lady C. I think you had better postpone your journey, Ralph, till the morning. Sir Ralph. And so miss my London agent again 1 Just like women! Toby brings in overcoat — i;i changing coals Sir Ralph leaves lis snuff-box tn that he took off, on chair, r. — shakes hands with Kate, kisses Lady C. Toby (aside, l.). The snuff-box is in that ])ockpt ! Sir Ralph. Have you got all my luggage ! (Toby lobs hi. i head) Then follow me, fellow 1 Look sharp — if you can 1 • [luU l. b. 14 maud's tekil. Toby {taJdvg up Innpsaclc and hatbox, aside). I'll bo a deal sharper than you take me lor. Voice of Sik Ralpu (^off l.) Gregson ! Toby {aside). Tliere it is ! i^aloitd) Coomin', sir. (jjauscs, w/th box and knopsiiek, at L. D.) He s left it in the other })ocket ! [ Exit l. v> Kate {to Lady C. wlio /.as come to table u., front). Mand, dear, wliy can j-ou havQ taken such a sudden aversion to this Mr. Gwynne 1 Lady G. {(iskIi). Again! can she sus[)ect 7 Kate. I am sure, my dear child, sj)ile of all stories, lie is much too fjen- tlemanly to deserve to have the doors of the Aobey closed on him this way. Lady C. Once for all, I desire you, nay, I insist on your not speaking to me again of tli s gentleman. Kate. Oh ! my dear Maud, I do not want to offend you. AVeil — good uiglit ! {risidc) Siie resents others' praise of liini with considerable spirit ! Lady C. (iood night! Jixit Kate, l. d., Susan opening that door f.r her, and commj in as she gOiS out. SusAX. I camo to say good night to your Ladyship. Am I required 1 Lady C. No, my good iSusan. Good night! Susan. Good night ! [Exit l. i>. Lady C. Alone! Somehow I wish titat mj' husband had not lett me this night. I feel as tliough there were danger under this roof — most to be dreaded when he is away. To think that he dared to write to nie ! {thoughffiUlij leans on the table, her chin in her hand) Oh. Love, Love ! how bitterly you have made me repay for your early sweets by suffering. [thunder and lightmng, R. u. E. Lady C. This is a terrible night ! T would my husband had not left me alone. Ah ! I know, I fear what he would do if he heard but a whis- I)er of this. I cannot conlide in him! still this j)ersecution must and shall cease ! The wind shakes all this part of the Abbey 1 Oh ! {rises) Oh! I dare not sleep here to-night, {takes np lamp and goes out, r. 1 E. d.) Gas d^wn — thunder and lightning — enter R. 3 E. V).,from behind curtain, Ger- ald Gwynne, groping his tvag down c. Gerald. If my information is correct, these are the apartments that she occupies while the rest of the Abbey is under repairs. In this light, I can hardly see anything. I shall go mad! lam mad! What but madness could bring me heie, at this hour, in his absence. I found the secret i)assage which she has doubtless forgotten long ago ! and I crei)t here by it like the base villain that I am ! {attitude of listening attentively^ looking r., then goes up r.) Lady C. enters with light in her hand, R. 1 e. — Gas up, half-turn. Gerald {comes down, c). 'Sh ! Maud ! Lady C. {starts, lamp on table). Ah ! a stranger here ! (r. c, front.) Gerald (c). Maud! Lady C. Gerald ! {clasps her hands.) Gerald. I must speak to you ! Lady C. Not a word ! Every moment you linger is spent in disgrace I You here ! {s'>bl>uiij) You h.^re at this hour ! Oh, vou never loved me! Gerald. Never loved 1 Demand a proof ! ' Ladt C. {scornfuUij). A proof 1 A.CI II. 16 Gerald. Any proof! Ladv 0. Leave iiie at once ! Gerald. When I am come to see you for the last, last time 1 For the many months that I have kept faith, may I not have one moment 1 This is your love 1 You fear me ! Will you not listen 1 Lady C. I hear you with scoru ! Gerald. Scorn "? Lady C. With scorn and indignation ! Gerald. No, for you love ! I can see you are not liajipy with tlils man. I know why you so disposed of your hand. Why, ihe lines of your face trace an old story while you are yet so young. Lady C. " That man " is my luisband, sir! How can you speak to me, his wife, when you have entered his house like a thief in the night 7 Gerald. Fool that I was ! I loved you, and love you ; but you for- get ! Vain love — vain sutierings ! Lady C. Your sutterings ? Gerald. The withered flowers were the emblem of my love. Their bloom was of the past. In that time — well do 1 recall that night ! you were in one of your fits of sleep-walking. I saw you glide along, the moon-beams clinging to your white garments, like a spirit's robes. You strayed to the brink of a deep chalk-cutting — in another moment, ah ! but I was there, and you were saved ! while I — I was lost ! Lady C. (r. c. front). Lost! Gerald. I saw you for the first time ! In my arms, you drew breath again, and when your eyes re-oj)ened, their light became the sole star of my existence. I loved you, Maud ! devotedly, passionately, loved you ! only less so than at this moment. Do you believe in Destiny 1 You are my Fate ! Come I With you as my guide, I close my eyes, and dare the future! {arms extended, ftdis on one km f.) Lady C. {reeedes r.). Back, back ! To think that I ever could have loved this man ! Away ! touch me not ! touch me not ! you dare not stay — go, leave me this instant ! Gerald {up c. a little). Maud ! Lady C. {half aside). How my heart fails me in his presence. It is not love now, love cannot exist in fear ! Gerald. Y"ou fear me ! and love 1 Lady C. I will bear this no longer; I will 'go to my husband and tell him all my youthful passion : how I exchanged faith with a man who had saved my life, but who now follows me like a shadow beyond endurance. I will ask him : " Oh, save me from this man !" Gerald. Enough! I go I Oh! better that I had died on the dreary battle-field, where death at least was associaH.ed with honor, {sadlij goes tip B., t/nciider-elaj), very loud. Crash, R. tr. e. — Lamp out; gas doum — Gerald staggers back from R. 3 E. D. — Lady C goes tip b. c. a Utile. Gerald. A part of the wall has fallen against the door — impossible to open ! {coiius down c.) I cannot stay here all night. Lady C. No, no, no ! {to l. d.) Gerald {to l. d.). 11a ! Ladv C. The handle is gone ! Gerald. The .screw has fallen through on the other side ! {to c ,point- vig to n. 1 E. D.) That duo;- Lady C. Leads to my chamber, Gerald. Then there is the window, \_goes up c.) Lady C. (i« horror). At such a height from the ground 1 16 maud's PEKIL. Gerald {at tvihdmv). Do not be alarmed. The ivy mounts to the sill. I see a ledge below, (jmet-eg oulsuie the ivaidoic.) Lady C. No, Gerald, no ! Gerald. Fear nothing, my dear Maud ; there is no danger. Lady C. No danger \ ah ! Gerald. The folly is all mine— to me all the penalty ! Remember me sometimes — I loved you to the last! (gets out of window.) Thunder and lightning — Gerald disappears without, tearing down the ivy — • Lady C. screams, thrusts her hmi'U out, and Gerald s hand is se.n on the ivindow-sill — He V^en re-appears and stands without, his bust shown, as if he was p mting after a gi eat exertion. — Lady C. agitated — Both start and look at L. D., which opens to let Toby enter tvith a dark lantern, the sliat open — He goes over to c. Toby. It was a tempting of Providence to leave it here. Eh ! (startt,, recovers himself, and turn's the lantern on Lady C.) Lady Challoner ! Lady C. {tremulouslg). What is j'our business here, fellow ? {tries to mask Gerald, in recess.) Toby (starts, delighted). And yours, Mr. Gerald Gwynue — and yours 1 Ha, ha, ha ! (c. line of 2d entrance.) SLOW CURTAIN. ACT IIL SCENE. — Interior, room in the Ahbey — Discovering Su b A f{ b.. front, bg table — ■ laughter of men k. xj. e. Ha, ha, ha ! Susan. I am glad my poor Maud is not at the dinner. For she would be pained to see M ■. Gwynne. However well she may iiide it from others, I see that she still loves him — ay, loves him to the breaking of her heart, Gerald Gwynne ! {sadlg.) Enter r. 1 e. Burrell — laughter as before. BuRRELL {to c). You are crying, Susan ! I think I know the reason! Susan {starts). You know the reason, sir? Burrell. It is that cousin of yours, Sam Qregson ! a ne'er-do-well, Su- san, take my word for it, you had better have nothing to do with him. Su.san {.sighing aside). If that could be. Burrell. The fellow is in the Red Lion from morning till night, drink- ing away. For my part, where he gets all the money to spend, I can't dis- cover. Shake him oft", I say, shake him off. Susan. He's a relation, sir. Burrell. You have suffered enough already by one bad connection. So, shake him off. Susan. Shake him off i Burrell. Remember the past. Susan {aside) It is because I remember the past. There was not a neater lad in all the village thnn Toby was. Burrell. You will find it best to take my advice, {goes tip r., slowly.) Susan {aside). Shake him off! I can t shake him off". After all, he is my husband, {going l.) and it is not for me to give him up to the law. (l.) ACT III. 17 £>itfr R. Gerald, .s, sichiiv deeply as she recedes through the door. Sir Ralpu reads the note. It \va.s from Geuald, pleading that by the memory of their past love, that ]Mai"d would nicct him for the last time, that night at twelve, to take a la^^t adieu. The husbanil is terribly excited, and just as in his concentrated rage he determines to kill Gerald, Tory, into.\icated, staggers in. The instrnmem is thus brought to his hand. la brief words. Sin Ralph tells the astonished Toby, that alarmed by many larcenies at the Abbey, detectives had been employed, and they had discovered who Touy really was, and in the moruing they would arrest him ; but that if Toby v.ould slay Gerald at the rendezvous, he would not only let him escape, but give him a large sum. Toby demands some money in advance. Sir. Ralph goe- to ^:,.t it from his desk in the next room. Toby peeps, and seeing so much gold, enters after Sm Ralph ; a struggle is heard. Mal-d enters searching for her missing letter from Gerald ; a scufiling is heard in Suj Ralph's room, and his voice is heard feebly calling for help. Lady Ckalloxei: faints ; Toby cnter.>i and hides ; Gerald Gwynxe comes on and picks up Toby's knife. lie wonders wh:u it all means, and Toby takes advantage of his mystification to escape. Sounds of ap- pro.iching feet and voices are heard. .Gerald goi^s off, while all the tirrified house- hold rush on. SiSAX lifts Lady Challonei:. a* Ge!:ai.i) rclunis sr.i)portiiig Sin Rvi.pu. In a. few moments Sir Ralph momentarily recovers, and denounces Orr.ALD as his murderer. All look— the blood-stained knife is in his hand ! \•^ I ho I'o-.irth Art we find Lady CnALi.oNER seated in a h.nnd'otne rootn of a 28 maud's I'KKIL. town mansion. She appears to be asleep, Susan \vatching her an.viously. Kate Sefton <;ncl the "Doctor are also in the room. Lady Challoner wakes, but her mind wander:!. Sir. Ralpu comes in. He is evidently growing feeble day by 6?.y, and speaking to himself, lie matters : '• In aaotlser hour the jury "' Just thi ;i he is left alone, and a man is announced. It is Tosy ; ho comes for more money. CuALLONEii leaves to get him some. In his absence Toby is heljHng hims'-elf t!» bread and butter, and Lady Cualloner entering, he lets the knife fall, exclamiiriy : " r ve dropped the knife !" Maud recognizes the voice and the person— the frarl i.l scene is instantly recalled cf the stabbing of Sir Ralph, and she cries out to stop that man. lie, however, gets from the room. Sir Ralph comes on. An undei- standing is had between Maud and him. Maud tells him the truth about her love for Gerald. He is convinced, and though failing fast, sends off a paper to the court, acknowledging that Gerald is innocent. Toby, finding that he can't git from the house, re-enters the room, and is about to use violence, when ofiicers rush in and secure him. Shouts are heard ; all the parties enter joyously ; Gerald is acquitted. Sir Ralph, dying, gives hi^ blessing to Maud, and bids her wed Gerald Gwynne when he is gone, and " may he make you happy 1" Then he ex- pires in the arms of his tried and faithful wife. DE WITT'S DRAWING-ROOM OPERETTAS. S^^" TO MUSICAL AMATEURS. ^,^^ The number of Jfu-ncal Amateurs, both ladies and gpntlcmen, is not only very larje, but is conMantly increasing, and very naturally, for there is no more r B. Sedgwick. One Mole, One Fe- male Character. MOLLY MORIARTY.— An Irish Musical Sketch, in One Act. The Music composed and the Dialogue written by Alfred B. Sedgwick. One Male, one Female Character. Suitable for the Variety Stage. THE CHARGE OP THE HASH BRIGADE— A Comic Irish Musical Sketch. The Musie coiupused and the Libretto written by Joseph P- Skellt. Two Male, two Female Characters. Suitable for the Variety GAMBRINUS KING OF LAGEB BEEK.— A Musical Ethiopian Bur- lesque, in One Act. Music and Dia- logue by Frank Dimont. Eight Male, one Female Character. Suita- ble for the Ethiopian Stage. APRICANUS BLUEBEARD.-A Musical Ethiopian Burlesque. inOno Act. Music and Dialogue by Frank DuMONT. Four Mule, four Fenial« Characters Suitable for the E!hio> pioM Staee. 28 maud's i'keii,. town m;msion. She appears to be asleep. Gusan watching her au-iiously. Kate Sefton and the Uoctok are also in the room. Lady Chai-lonkr wakes, but her mind wanders. Siu Ralph comer, in. He is evidently prowing feeble day by day, and speaking to himself, he lanttcrs ; " In another hour the jury " Just tin ;i he is left alone, and a man is announced. It is Toby ; he comes for more money. CuALLON En leaves to get hiiu .■ : "I've dropped the knife !" Maud recognizes the voice and the person— the f earl i.l scene is instantly recalled of the stabbing of Sir Ralph, and she cries out to st(>p that man. He, however, gets from the room. Sir Ralph comes on. An undei- standing is had between Maud and him. Maltd tells him the truth about her love for Gerald. He is convinced, and though failing fast, sends off a paper to the court, acknowledging that Gerald is innocent. Toby, finding that he can't get from the house, re-enters the room, and is about to use violence, when oiticers rush in and secure him. Shouts are heard ; all the parties enter joyously ; Gerald is acquitted. Sir Ralph, dying, gives liij blessing to Maud, and bids her wed Gerald Gwynne when he is gone, and " may he make you happy I" Then he ex- pires in the arms of his tried and faithful wife. DE WITT'S DRAWING-ROOIVI OPERETTAS. 2^=" TO MUSICAL AMATEURS. „^: ffl The number of Musical Amateurs, both ladies and gentlemen, is not only very Jar-je, but is constanthj increasing, and very naturally, for there is no more re- fined and i^leasant mode of spending leiaure hours than in finyiny and playing the choice productiona of the host Composers. Hitherto there has been an almost 'otal i ck ofsuilable pieces adapted to an evening's enterlaln?n^nl in Parlors by Amateurs. i f course whole Operas, or even parts of Operas, require orchestral accompani- Jacnts and full chorusca to give them effect, and arc therefore clearly unfit for Amateur performance, while a succession of songs lacks the interest given by a plot and a contrast of characters. In this scries (a list of which i. given Ijelow) wc have endeavored to s>ipp!t/ this loant. The best Music of popular Composers is wed- ded to appropriate words, and the whole dovetailed into plots that are effective as mcrejyetlte plays, but are rendered doubly interesting by the appropriate and beau- tiful Music, specially arranged for them. LIST OF DE WITT'S MUSICAL PLAYS. PRICE 15 CENTS EACH. LEAP TEAR— A Musical Dual- ity. By Alfred B. Sedgwick. Mu- sic selected and :idapted from Of- fenbach's celebrated Opera, " Gene- vieve de Brabant." One Male, one Female Character. THE TWIN SISTERS-Comic Operetta, in One Act. The Music selected from the most popular num- bers in Le Cocq's celebrated Opera Bouffe, " Glrotli Gbofla" and the Libretto written by Alfked B. Sedg- wick. Two Male, Two Female Characters. SOLD AGAIIf Ain) GOT. THE MONEY.— Comic Operetta, ni One Act. The Music composed and the Libretto written by Alfred B. Sedg- wick. Three Male, One Female Character. THE QUEEREST COURTSHIP. — Coiuic Operetta, iu One Act. The Music anani;ed from Offknbacii's celebrated Opera, " La Princesse de Trebizonde" and the Libretto writ- ten by Alfred B. Sedgwick. One Male, One Female Character. ESTRANGED.— An Operetta, in One Act, The Musie arranged from Veium's celebrated Oi)era, *' II Trov- atore." and the feibretto adapted by Alfred B. Sedgwick. Tao Male, Ouc Female Character. OIROUMSTANCES ALTER CASES.— Comic Operetta, in One Act. The music composed and tlie Libretto written by Alfred B. Sedg- wick. One Male,"One Female Char- acter. MY WALKING PHOTOGRAPH. —Musical Duality, in (^ne Act. The Music arranged from Le Cocq's Opera, "La Fille de Madame Angot" and the Libretto written by A; fied B. Sedgwick. One Male, One Fs, s«<«d EistpeD-e^ilN of every style, shape and color, for Caucasian, Mongolian or Etluopian " make up." Face (•i-<'|»;j,r.-.Sioii'<, Buch as prepared Cork for Negro Minstrel?, Mongolian Paite for Mulattoes, Indians, etc. ; Prepared Whiting for C'lown.s. Statues, etc. ; Pencils to trace eyebrows and veins ; Indian Ink ; a bright harmless Lip Houge. ' 'J"a,bieii II l.is's>l'<« I'oIjuc.! Biies, and all the various articles needed to throw the eilects of sunlight, moonlight, and Irelight upon faces, groups or scenery. All prepared entirely harmless. Musical BiiMiruaieists, of every variety, plain and highly ornamented. ITIiiKiciii Inst rtictioii 65 ><»U», Manuals for the Guitar, the Banjo, the Violins, the Accordeoa, the Violincello, the t^larionet, Cornopeon, Fife and Drum. *** For full particulars, list of prices, and description, send for ffc "Witt's ITIajiiKJotU S'jitaSo.vruo. which will bo forward free and postage paid to any address iu the United States or Canada. Address, CLIMTO^I T. BE WITT, 33 Rose Street, Nctt York. PAT ROONEY'S Quaint Conundrums and Funny Gags, Intei*I-iirrtcd witli Ro!iicUina: Stories — Iriisli Wit smd Hu- mur — rliiiiese .sketclies— Shecney Soft Samvder, etc., etc. Itoiiiicl to tickle tlie ribs of iSie iea.ii, :i.ud make tSteni ^row f at :it tSic i'uii ; Avliile ilie ovci-stoiit ivill I-iig^-ii o(l~ all tbcir supci'Aeiotis fat, reading Kuoiiej '$> jokct>, ulWiiys »>o pat. This is a very neatly printed book, and has a fine Lithograph Picture of Pat Roouey on the cover. iKiJcc Hj t'essts. GITS ATILLIAMB' WORLB OF HUMOR, Containing lots of Tlio Happiest Hits, The I>iitcl»iest Drolleries^ The I»l«»si KoSlickinsr Kepartecs, 'g'lie r>a<«ii>>iest Jiasrs, and the greatest Avalanche of Anecdotes that ever Lassoed Laughers ! ! by Our German Senator, who for this occasion, leaves the affairs of the nation to find food for a whole continent of fun-lovintr constituents. i*ricc 2o t'eiits. HIS GAGS AND STUMP SPEECHES ; NIGGER AND DUTCH STORIES AND DIALOGUES ; " Brolten Chinee " Dialect Pieces ; and Queer Conundrums. Price 15 Tents. *** Sinr/'e copies of the abm^e books serif, postage/ree, to any address in the United States or Canada, on receipt of price. Address. CLINTON T. DE WITT, Publisher, 38 Rose Street, New^ York. DE WITT'S ACTING PLAYS (Continued). Lancashire Lass, melodrama, 5 acts.l2 3 Larkins' Love Letters, farce, 1 act.. 3 3 L'Article 47, drama, 3 acts 11 Liar (The), comedy, 2 acts 7 Life Chase, drama. 5 acts 14 Living Statue (The), farce, 1 act 3 Little Annie's Birthdav, farce, 1 act. 2 Little Rebel, farce, 1 act 4 Little Ruby, drama, 3 acts 6 Locked In, comedietta, 1 act 2 Locked In with a Lady, sketch, 1 act. 1 Locked Out, comic scene 1 Lodgers anU Dodgers, farce, 1 act. . 4 Leap Year, musical duality, 1 act. . . 1 Marcoretti, drama. 3 acts 10 Maria and .Magdalena, play, 4 acts . 8 Marriage at Any Price, farce, 1 act. 5 ^Master Jones' Birthdav, farce, 1 act. 4 Maud's Peril, drama, 4 acts 5 Midnight Watch, drama, 1 act 8 Milky White, drama, 2 acts 4 Miriam's Crime, drama, 3 acts 5 Model of a Wife, farce, 1 act 3 Money, comedy, 5 acts 17 Mr. 8croggins, farce, i act 3 :m r. X . , farce, 1 act 3 My Incle's .Suit, farce, 1 act 4 My Wife's Diary, farce, 1 act 3 My Wife's Out, farce, 1 act 2 My Walking Photo,^raph, musical duality, 1 act 1 Never Reckon Your Chickens, etc., farce, 1 act 3 New Men and Old Acres, comedy, 3 8 Nobody's Child, drama, 3 acts 8 Noemie, drama. 2 acts 4 No Name, drama, 5 acts 7 Not a Bit Jealous, farce, 1 act 3 Not So Bad as We Seem, play, 5 acts. 14 Not Guilty, drama, 4 acts 10 Not Such a Fool as He Looks, drama, 3 acts .5 Noihing Like Paste, farce, 1 act 3 No Thoroughfare, drama, 5 acts and prologue 13 Otf the Stage, comedietta, 1 act 3 On Bread and Water, farce, 1 act. . . 1 Only a Halfpenny, farce, 1 act 2 Only Somebody," farce, 1 act 4 One too Many for ilim, farce, 1 act. 2 £100,000. comedy, 3 acts 8 Orange Blo-soms, comedietta, 1 act. 3 Orange Girl, drama, in prologue ana 3 acts 18 Ours, comedy, 3 acts 6 Our Clerks, farce, 1 act 7 Our Domestics, comcdv farce. 2 acts 6 _ ■Our Heroes, military play. .5 acts. . .34 5 Out at Sea, drama in prologue and 4 acts 16 5 Overland Route, comedy,' 3 acts 11 5 Peace at Any Price, farce, 1 act 1 1 Peep o' Day, drama, 4 acts 12 4 Pegijy Green, fan e, 1 act 3 10 Petticoat Parliament, cttravaganza, in one act 1.") 24 Photographic Fix, farce, 1 act 3 2 A COMPLETE No. M . r. 61. Plot and Passion, drama, 3 acts 7 2 138. Poll and Partner Joe, barlesqne, 1 ac-t 10 3 110. Poppleton's Predicaments, farce, 13 6 50. Porter's Knot, drama, 2 acts 8 2 59. Post Boy, drama, 2 acts 5 3 95. Pretty Horse- Breaker, farce, 1 act.. 3 10 181 and 182. Queen Mary, drama, 4 acte.38 8 157. Quite at Home, comedietta, 1 act. . . 5 2 196. Queerest Courtship (The), comic op eretta, 1 act 1 1 1.32. Race for a Dinner, farce, 1 act 10 183. Richelieu, play, 5 acts ..16 2 38. Rightful Heir, drama, 5 acts 10 2 77. Roll of the Drum, drama, 3 acts 8 4 13. Ruy Bias, drama, 4 acts 12 4 194. Rum, drama, 3 acts 7 4 195. Rosemi Shell, travesty, 1 act, 4 scenes 6 3 158. School, comedy, 4 acis 6 6 79. Sheep in Wolf's Clothing, drama, 17 5 37. Silent Protector, farce, 1 act 3 2 35. Silent W^onian, farce, 1 act 2 1 43. Sisterly Service, comedietta. 1 act. . 7 2 6. Six Months Ago, comedietta. 1 act. 2 1 10. Snapping Turtles, duologue, 1 act.. 1 1 26. Society, comedy, 3 acts 16 5 78. Special Performances, farce, 1 act. . 7 3 31 . Taming a Tiger, farce, 1 act 3 150. Tell-Tale He.irt, comedietta, 1 act.. 1 2 120. Tempest in a Teapot, comedy, 1 act. 2 1 146. There's no Smoke Without Fire, comedietta, 1 act 1 2 83. Thrice Married, personation piece, lact 6 1 42. Time and the Hour, drama, 3 acts. . 7 3 27. Time and Tide, drama, 3 acts and prologue 7 5 133. Timothy to the Rescue, farce, 1 act. 4 2 153. 'Ti: Better to Live than to Die, farce, 1 act 2 1 134. Tompkins the Troubadour, farce, 13 2 29. Turning the Tal)les, farce, 1 ai;t. . . . 5 3 108. Tweedies Rights, comedy, 2 acts.. 4 2 126. Twice Killed, farce, 1 act 6 3 .56. Two ( iav Deceivers, farce, 1 act 3 123. Two Polts, farce, 1 act 4 4 198. Twin Sisters (The), comic operetta, 1 act 3 1 162. Uncle's Will, comedietta, 1 act 2 1 106. Up for the Cattle Show, farce, 1 act. 6 2 81. Vandyke Brown, farce, 1 act 3 3 124. Volunteer Review, farce, 1 act 6 6 91. Walpole, comedy. 3 acts 7 2 118. Wanted, a Young Lady, farce, 1 act. 3 44. War to the Knife, coiiiedy, 3 acts. .. 5 4 105. Which ofthe Two? comedietta, lact 2 10 ns. Who is Who? farce, 1 act 3 2 12. Widow Hunt, comedy. 3 acts 4 4 5. William Tell with "a Vengeance, burlesque 8 2 136. Woman in Red, drama, 3 acts and prolo^e 6 161. Woman's Vows and Mason's Oaths, 4 arts 10 4 11. Woodcock's Little Game, farce. 2 4 4 51. Young Collegian (Cantab. », farco, 1 .'I 3 DESCRIPTIVE CATALOGUE of DE WITT'S ACTING PLAYS AND DE "WITT'S ETHIO PIAN AND COMIC DRAMAS , containing Plot, Costume, Scenery, | ["ime of Represeulatiou and every other information, mailed free and post paid. | Afl Inflisnensaftle Bool for AipatBnrs, < ■♦ » » HOW TO umm AMATEtJH THEATRICALS. Being plain instructions for construction and arrangement of Stage, making Scenery, getting up Costumes, " Making Up " to represent different ages and characters, and how to produce stage lUusions and Effects. Also hints for the management of Amateur Dramatic Clubs, and a list of pieces suitable for Drawing Room Performances. Hand- somely illustrated with Colored Plates. I*rice, 25 Cents, DE WITT'S SELECTIONS FOR AMATEUR AND PABLOB THEATBICALS . Nos. 1 and 2. Being choice selections from the very best Dramas, Comedies and Farces. Specially adapted for presentation by Amateurs, and for Parlor and Drawing Room Entertainments. Price, 25 Cents, Other Numbers of th/'s Series will soon follow. LIBRARY OF CONGRESS III' llii lliliiiii liiiiliil 014 528 957 9