The Three Bears (Les Trois Ours) Caroline W. Thomason The Penn Publishing Company Successful Rural Plays A Strong List From Which to Select Your Next Play TARM FOI«KS. A Rwral Play in Four Acts, by Arthur Lewis Tubbs. For five male and six female characters. Time of playing, two hmirs 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 Nev; 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 Tubbs. 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 OI.D 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 Townsend. 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 THE THREE BEARS LES TROIS OURS A Play for Children in One Scene arranged to be given in English or French By CAROLINE WASSON THOMASON author of "Red Riding Hood," "Cinderella," "Bluebeard," "Beauty and the Beast" THE PENN PUBLISHING COMPANY PHILADELPHIA 1921 ^ COPYRIGHT 19 21 B Y THE PENN PUBLISHING COMPANY The Three Bears Let Trots Ours _ ,©G1.0 57136 •n^, ft THE THREE BEARS LES TROIS OURS CHARACTERS Personnages BIG BEAR MIDDLE-SIZED BEAR LITTLE BEAR GOLDILOCKS Gros Ours Ourse Moyenne Petit Ours Cheveux d/Or TIME OF PLAYING Twenty-five Minutes Told in One Scene — In the Bears* House 3 COSTUMES, ETC. THE BEARS. Brown clenim coveralls (one-piece suit.) Brown shoes, brown gloves on hands. Bear masks. Middle-sized Bear should wear an apron of checked gingham when she is bring- ing in the soup. All should have short brown denim tails. GOLDILOCKS. White, well-starched dress, par- tially covered by dainty, figured, sleeveless apron. English socks, slippers. PROPERTIES Three bowls, three spoons, three chairs, three beds, table, jumping rope. Pillows on all the beds. Quilt rolled on foot of the Middle-sized Bear's bed. MUSIC All of the songs may be found in '' Chansons, Poesies et Jeux^' (Songs, Poems, and Plays), by Agnes Godfrey Gay, published by Brentano's, New York City. Also music for the return march of the bears may be found in this collection (Les Deux Gen- darmes.) 4 SCENE PLOT The story is told in one scene — In the Bears' House. BACKGflCUND OF TR£es ETC eNTfiANca TO /-to us a c^ /^ ~\table Gfi££N£RY Xjy^ oU^ :c®>, THE THREE BEARS LES TROIS OURS SCENE I (Enter middle-sized bear in a funny little trot. She is carrying a hig bowl of soup.) middle-sized bear [placing soup on the table). There is the soup of Big Bear. Foila la soupe de Gros Ours. ( Trots out, and returns with a smaller bowl,) There is my soup. Voila ma soupe. {After placing her soup on the table she again trots out, and brings in a small bowl which she sets in its place.) And there is the soup of Little Bear. Et voila la soupe de Petit Ours. {From a shelf she gets three spoons which she lays beside the bowls.) ,7 THE THREE BEARS There is the spoon of Big Bear, there is my spoon, and there is the spoon of Little Bear. Voila la cuillere de Gros Ours; viola ma cuil- lere; et voila la cuillere de Petit Ours. {Enter BIG BEAR and little bear, the latter jumping rope.) BIG BEAR. I am hungry. Fat fatm. LITTLE bear. I am hungry, Mother. J^ai faim, ma mere. MIDDLE-SIZED B. The soup is stili hot. La soupe est encore chaude. BIG BEAR {tasting his soup). Yes, it is very hot. Out, elle est tres chaude. LITTLE BEAR {tasting his soup). Mine also is very hot. La mienne est tres chaude aussi. MIDDLE-SIZED B. Let US take a walk in the woods while our soup cools. Prornenons-nous dans les hois tandis que notre soupe se refroidit. BIG BEAR. Yes, let US walk while our soup cools. Oui^ promenons-nous tandis que notre soupe se refroidit. LES TROIS OURS LITTLE BEAR (skipping with delight). Good! Tres bienf THE THREE BEARS {sing) . On THE BRIDGE. SuR Le Pont. On the bridge how they dance, Dancing gaily, dancing gaily. On the bridge, how they dance. Dancing gaily while they sing. The gentlemen do this way, Ladies they do that way. On the bridge how they dance. Dancing gaily, dancing gaily. On the bridge how they dance, Dancing gaily while they sing. Sur le pont d' Avignon, Uon y danse, I' on y danse, Sur le pont d' Avignon, Uon y danse tout en rond, Les messieurs font conime qa, Les belles dames font comme qa. Sur le pont d' Avignon , Uon y danse, Fon y danse, Sur le pont d' Avignon, Uon y danse tout en ronde. {The music is repeated several times while the THREE BEARS dance a freak dance. 9 THE THREE BEARS Then they sing the song once more.) {Exit the THREE BEARS.) {In a short time there is a loud knocking at the door. Then GOLDILOCKS looks through the window.) GOLDILOCKS {clapping her hands). How pretty this house is ! How good the soup smells ! I am so hungry! I am going in! Que cette maison est jolief Que la soupe sent bonf J*ai hien faimf Je vais entrerl {Enter goldilocks by way of the door.) GOLDILOCKS. How good the soup smells I Que la soupe sent bonf {Picks up the spoon of the big bear, and tastes the soup.) Oh ! The soup in the big bowl is too hot for me! Oh! La soupe dans le grand bol est trap chaude pour moil {Leaves spoon in bowl. Goes to the sec- ond bowl, and tastes the soup.) Ugh! The soup in the middle-sized bowl is too cold for me ! ID LES TROIS OURS Ugh! La soupe dans le bol moyen est trop froide pour moil {Leaves spoon in howl. Goes to the little bowl, and tastes the soup.) Yum! Yum! Lovely! The soup in the lit- tle bov/1 is just right ! Hum! Hum! Charmant! La soupe dans le petit hoi est tres hien! {Greedily drinks all the soup in the little bowl.) Now I am not hungry — I am satisfied. Maintenant, ]e n'ai plus faim — je suis bien satisfaite. {Her eyes fall upon the three chairs.) See the nice chairs! Voyez les bonnes chaises! {Sits down in the big chair — gets up at once.) The big chair is too hard for me. La grande chaise est trop dure pour tnoi. {Sits down in the middle-sized chair — gets up at once.) II THE THREE BEARS The middle-sized chair is too soft for me. La chaise moyenne est Prop mollette pour moi. {Sits in the little chair which smashes under her, ) Good gracious ! It was just right, and it has smashed to pieces 1 Mon Dieu! Elle etait tres bien, et elle s'est hrisee en morceaux! {Weeps bitterly sitting in the wreckage. After awhile rubs her eyes.) I am sleepy. I am going to look for a bed. J*ai sommeil, Je vais chercher un lit, {Passes into sleeping room, sees the beds.) Good ! Here are three beds ! Tres bien/ Void trois litsf {Climbs on the big bed — gets up at once.) The big bed is too high at the head. Le gros lit est trop haut an chevet. {Climbs on the middle-sized bed — gets up at once.) The middle-sized bed is too high at the foot. Le lit moyen est trop haut au pied- LES TROIS OURS (Lies down on little bed -—relaxes content- edly.) This little bed is just right I Ce petit lit est tres bienf {Sings to herself, telling of her fingers.) LULLABY Berceuse Go to sleep, my thumbkin strong, You must sleep the whole night long; Lie down, index, at close of the day The birdies in soft nest do sway. Fais do-do, mon pouce si fort, Pais do-do, la niiit vient, dors; Couche-toi, r index, dans son doux nid Mon hel oiseau berce ses petits. Finger tall, here is your place, Come, and let me you embrace ; Hush-a-bye, ring finger fair; Finger wee, come say your prayer. Doigt majeur, void ta place. Attends un pen que je t'embrasse; 13 THE THREE BEARS Bonsoir joli doigt annulaire; Petit doigt, viens dire ta priere. May sweet sleep now come to you, As you sleep the still night through; All fair dreams that float in the air Will visit now my fingers dear. ' Dormez mes doigts d'un doux sommeil^ Dormez mes doigts jtisqu'au reveil; Et les beaux reves qui flottent en I' air Feront visite a mes doigts chers. (goldilocks goes to sleep.) {Pause. Curtain if desired.) March music. " Les Deux Gendarmes/' in '' Chansons, Poesies et Jeux '' may be used. (Enter BIG BEAR and middle-sized bear in a kind of fox-trot.) {Enter LITTLE bear turning somersaults.) LITTLE BEAR. Mother, is our soup cool ? Ma mere, notre soupe, est-elle froidef MIDDLE-SIZED B. Yes, I think so. Qui, je le crois. BIG BEAR {looking closely at his spoon, and then sniffing at his soup). Some one has been tasting my soup ! LES TROIS OURS Quelqii^un a goute ma sou pel MIDDLE-SIZED B. (sniffing at her bowl). And some one has been tasting my soup ! Et quelqu'un a goute ma soupel LITTLE BEAR {waiUng, turning his bowl upside down). Some one has been tasting my soup, and has tasted it all up ! Quelqu'un a goute ma soupe, et il Va goutee toute! (big bear and middle-sized b. rush to lit- tle BEAR. They examine the bowl, sniff the air, howl.) BIG BEAR (sinking into his chair). This is out- rageous I Oest vraiment terrible! MIDDLE-SIZED B. (sinking into her chair). Who can the thief be? Qui est le voleur? BIG BEAR (springing to his feet, and turning over his chair) . Some one has been sitting in my chair I Quelqu^un s^est assis dans ma chaise! MIDDLE-SIZED B. (springing to her feet, and ex- amining her chair) . Some one has been sitting in my chair! Quelqu^un s^est assis dans ma chaise! 15 THE THREE BEARS LITTLE BEAR {dropping his bozvl, and running to his chair). Some one has been sitting in my chair, and has smashed it to pieces! Quelqu^un s*est assis dans ma chaise et il Va hrisee en morceaux! {The BEARS dance f and howl about the broken chair,) BIG BEAR. Let us hunt for the scoundrel. Cherchons le coquin. MIDDLE-SIZED B. Yes, let US hunt for him. Ouij cherchonS'le. Strongly accented march music. ( The BEARS march about the room in lock- step, looking here and there.) LITTLE BEAR. Let US look in the bedroom. Cherchons dans la chambre. BIG BEAR. Certainly, let us look in the bed- room. Certainement, cherchons dans la chambre. MIDDLE-SIZED B. The scoundrel may be in the bedroom. Le coquin doit etre dans la chambre. { They go into the bedroom.) BIG BEAR {shaking his pillow). Some one ha» been lying on my bed. i6 LES TROIS OURS Quelqu'un s^est couche sur mon lit! MIDDLE-SIZED B. {lifting quilt from foot of her bed). Some one has been lying on my bed! Quelqii^un s^est couche sur mon lit! LITTLE BEAR {looking in amazement at GOLDI- LOCKS). Some one has been lying on my bed, and here she Is ! Quelqu'un s'est couche sur mon lit — et la void! {And GOLDILOCKS, poor sleepy-head^ waked by noises round her bed, looks to see what [. is the matter, and sees three Bears all looking at her,) GOLDILOCKS. Bears! What shall I do? Ours I Que ferai-je f { The march music which has continued softly now swells out loudly, goldilocks springs from the bed. The bears chase her about the bedroom several times. Finally she succeeds in gaining the living room. Here again the BEARS chase her. She escapes through the window. The BEARS Stand at the window looking after her.) BIG BEAR. She has gone ! Elle est par tie! MIDDI,E-SIZED B. The wicked thief ! 17 THE THREE BEARS La vilaine voleuse! LITTLE BEAR. I am hungry. Let us eat sup- per. J^ai faim. Soupons. MIDDLE-SIZED B. Before I get some more soup let us sing, for we are glad that the naughty girl has gone. Avant que fapporte plus de soupe chantons, puree que nous sommes heureux que la mauvaise pile est par tie, THREE BEARS {sing) . ThIS IS HOW We Plant the Bean. Savez-vous Planter les Choux? (Translation not literal) This is how we plant the bean, In our garden, in our garden, This is how we plant the bean, In our pretty garden green. SaveZ'Vous planter les choux, A la mode J a la mode, SaveZ'Vous planter les choux A la mode de chez-nousf Now we plant it with the foot, In our garden, in our garden, i8 LES TROIS OURS Now we plant it with the foot, In our pretty garden green. On les plante avec le pied, A la mode, a la mode, On les plante avec le pied, A la mode de chez-nous. Now we plant It with the hand, In our garden, in our garden, Now we plant it with the hand, In our pretty garden green. On les plante avec la main, A la mode, a la mode. On les plante avec la main, A la mode de chez-nous. Now we plant it with the head, In our garden, in our garden, Now we plant it with the head, In our pretty garden green. On les plante avec la tete A la mode, a la mode. On les plante avec la tete A la mode de chez-nous, CURTAIN 19 Unusually 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 HillJ ySchool," "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 Comedj 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 two men to run the machine. A Jew, a farmer, a fat lady and 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 any number of good parts. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteea females and one male. The male part may be played by a fexnale, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very 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 Edw^ard 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-fire i£un from start to finish. THE PENN PUBLISHING COMPANY Oiiiisiially Good EDtertainments Read On© or More ©f These Before Deciding on Your N®xt Program GRADUATION DAY AT WOOD HILI, 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-i bination 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 school trustee. EXAMINATION DAY AT WOOD HILL SCHOOL, 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 feasy. 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 FENN PUBLISHING COMPANY FHEABEIPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook Thia 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 plying, 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 suit 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 sk Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. A COBIMANDING POSITIOtT. 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. She 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 '"tht? 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 out the secret in a few minutes to another friend and so the secret travels. THE OXFORD ATFAIR. 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 thr play is located at a summer resort. Alice Graham, in order tu 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, fuitiisb an evening of rare enjoyment. THE PENN PUBUSHING COMPANY PHILADELPHIA The Power of Expressiott Expression and efficiency go hand in hand. The power of clear and forceful expression brings confi* dence and poise at all times — in private gatherings, in public discussion, in society, in business. Ifc is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. hk learning to express thought, we learn to command thought itself, and thought is power. You can have thit power if you will. Whoever has the power of clear expression is always suig (of himself. ffee power of expression leads to: The ability to think "on your fe Successful public speaking Effective recitals The mastery over other mindj Social prominence Business success Efficiency in any undertaking Arc these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on reque»t. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY 40 1 2 Chestnut Street Philadelphia