'^^■' • vH liiiiitiiiiiiiiiiuiiiiiiiiuniiiiiiiinuiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiuiiiiiiiMi;(MjiiMniiiii/ii:4iiiiM;1ui/ii!JiUiliiij^ The hoir Rehearsal fl PLAY IN ONE flCT By CLARE KUMMER Copyright, 1922, by Samuel French Price Fifty Cents New York SAMUEL FRENCH Publisher 28-30 West 38th Street London SAMUEL FRENCH, Ltd. 26 Southampton Street Strand, W.C. 2. stiiiiiiiiiiiiiiiiiiiiiMiiiriiiMiiiiiiiiiiiitiiiiHiiiiiiiniiiuiiiiiiiiiiiiiiiiiiiiiiniiiinMiiiitiiiiMiiiiiiiMiiiiiiiiiiiiuiiiiiiHiiiiiiiiiiiiiiniiiiiiMiiiiiiiiiiiiiiiiiiiiii^ The CHOIR REHEARSAL A PLAY IN ONE ACT BY CLARE KUMMER All Rights Reserved Copyright, 1922, by Samuel French New York SAMUEL FRENCH Publisher 28-30 West 38th Street London SAMUEL FRENCH, Ltd. 26 Southampton Street STRAND "THE CHOIR REHEARSAL" is fully protected by copy- right and is subject to royalty when produced by professionals or amateurs. Permission to act, read publicly, or to make any use of it must be obtained from SAMUEL FRENCH, 28-30 West 38th Street, New York, and no performance may take place until a written permission has been obtained. Professional and amateur rates quoted on application. Whenever this play is produced the following notice must appear on all programs, printing and advertising for the play :— Produced by special arrangement with SAMUEL FRENCH of New York. H X pi O 60 o m ,2 !n JO^ '-D rrj r re H p> 50 u> > C D r rr r»( r* ? "/ "7 THE CHOIR REHEARSAL PROPERTY PLOT Candle for Esmeralda to bring on lighted. Two candlesticks on mantle. Hymn book on organ. Beads for Esmeralda. The song, "A Wonderful Thing," is published by Jerome H. Remick & Co., New York. Pitch pipe. Cuckoo clock in wall l.u. Originally produced at the Palace Theatre, New York, Feb. 19, 1917, with the following cast: PERSONS OF THE PLAY William, who plays the organ John F. Ryan Enoch, who sings tenor Al. Stewart Amos, who sings bass John Keefe Abigail, a neighbor May Ellison Alan Wylie, the new Minister John Hogan Esmeralda, who had to be prayed for — Sallie Fisher The CHOIR REHEARSAL Scene: The living-room of Esmeralda's house in Tuckertown. Eight o'clock on a Spring evening long ago. The room indicates that the family is well-to- do, containing a parlor organ and the marble- topped table and horsehair furniture of that period. Door with two steps up stage r. Door into entry, l.2E. A windozv r., through which the moonlight is shining. Except for this there is no light in the room. On rise, cuckoo clock is striking eight. Outer door is heard to close and William's voice offL. William. Anybody home? (He enters, crosses briskly to organ and, sitting down, begins to play. After the first few chords, he sings cheerfully) "Life is the time to serve the Lord; The time to insure the great reward For while the light holds out to burn, The vilest sinner may return." 6 THE CHOIR REHEARSAL (Esmeralda opens door r.u., looks into the room. She carries a light and on perceiving William comes down steps, closing door after her.) Esmeralda. Why, William- WiLLiAM. (Stops playing) I thought that'd bring someone. Esmeralda. It's after eight o'clock and father's gone to bed. William. Well, I don't want to see him — I want to ask you somethin*, Esmeraldy. (Risi-ng, goes to her.) Esmeralda. Don't, William — it's no use. William. Oh, not that — I ain't goin' to ask you that again — so soon, anyhow. Esmeralda. Well, then, what is it? (Lights candelabra on mantel.) William. The organ over to the Hoopers' has broke down, an' they want to come over here for choir rehearsal. Esmeralda. Oh — just the very idea of it fills me with the most wicked, sinful thoughts. William. An' hearin* 'em '11 fill you with more. Oh, it's awful since you left, Esmeraldy ! Tabitha Hole's v6ice~geTs'worse every Sunday. Esmeralda. Worse ! How can it ? William. Well, it does. Esmeralda. Oh, I suppose I'll have to say 5^es. It would be too un-christian not to let them practice. I know they need it. Yes — let them come. I can go for a walk up the street. I wanted to, anyway. There's such a lovely moon to-night. William. Is there? Maybe I can go with you. Esmeralda. You couldn't — who'd play the or- gan? William. Oh, let old Miss Hooper play with one foot and sing with the other. Esmeralda. Anyway — I'd rather walk alone. THE CHOIR REHEARSAL 7 William. Just since the Rev'rend Hiram Hallo- well went away. Esmeralda. Yes — just since he went away. William. Was you sweet on him, Esmeraldy? Esmeralda. Perhaps. Everybody said I was. William. Why, he wasn't hardly any better lookin' than I am. Esmeralda. No — but you didn't notice it with him. How beautifully he could talk. Why, you couldn't understand him at all! William. The new one can talk just as good. Esmeralda. (Faintly interested) Can he ? William. An' his hair ain't red. My sister's just crazy about him. Esmeralda. (SMy) Is she? How happy they must be. William. Yes — she is. He don't know about it yet. (Tinkle of doorbell.) Esmeralda. (Starting to door r.u.J Let them in, William William. They ain't comin' till I let 'em know if you're willin' — must be someone else. fEsMERALDA pauses, her hand on the doorknob. William goes out into entry. Sound of door.) Alan. (Voice o§) Why, good evening, Wil- liam. William. Evening, Parson. (Re-enter Wil- liam — to EsmeraldaJ It's Mr. Wylie, the new minister. I'll go an' tell 'em they can come. (Exit William as Alan enters, Esmeralda comes down.) Alan. I hope you don't mind my calling — it's 8 THE CHOIR REHEARSAL such a lovely night out — I thought I'd just come in. Esmeralda. Oh, Tm so sorry " Alan. Are you ? Esmeralda. Did you want to see my father? Alan. Well — I — ^is your father in? Esmeralda. Why, yes, he is. He's in bed. Did you want to see him about anything important? Alan. Well, no — well — ^yes — his soul. Esmeralda. Oh, well, maybe that could wait till to-morrow. Alan. Your father doesn't come to church Esmeralda. Well, you see — he's been to church so much. He counted it all up one Sunday. It was over eight thousand times with prayer meeting — and he just said, "If that isn't enough, it's no use." Alan. But you don't come to church. Esmeralda. No — I don't. Alan. It's very discouraging ! May I sit down ? Esmeralda. Please do. (With a little curtsey Alan sits l. of table. Esmeralda sits r. of table.) Alan. I've always wanted to come into this house. Esmeralda. Have you ? Why ? Alan. Why, it's the oldest house in Tucker- town, isn't it? Esmeralda. Yes. It was built by my great grandfather, Ephraim Tucker. He settled Tucker- town. I wish he hadn't. That's his picture there over the mantel. (Turning to look at picture.) Alan. Is it? Why, he looks just like my great grandfather. Esmeralda. Does he? I think all great grand- fathers look alike, don't you ? But you were saying, "It's very discouraging." Alan. Was I? Oh, yes, of course it is. This is such a little parish — everyone in it would only make a small congregation — ^but they don't come to THE CHOIR REHEARSAL 9 church — they don't seem to care where they go, after this Hfe. Don't you care? Esmeralda. No — all I want is just to leave Tuckertown. Alan. But after you leave Tuckertown, you want to go to heaven, don't you? Esmeralda. I'd rather go to Duxbury. I want to live a little before I go to heaven. (Esmeralda rises, goes and sits on ottoman near Alan.j Alan. Duxbury — that's where the Rev. Hiram Hallowell went. Esmeralda. Yes — oh, it's a wonderful place. I have a picture of the railroad station, and the Town Hall. They hold the Country Fair there and once they gave a ball — for the man who was nearly elected Governor. These beads came from there (Holding out coral chain round her neck.) Alan. Did they? They're very pretty — but we must forget the things of this world — all is vanity. Esmeralda. Yes, that's what the Reverend Hiram Hallowell used to say. Alan. He was very successful here. Esmeralda. Yes — he got away. Alan. I'm a failure. I knew it last Sunday. I sat up all night working on my sermon. I painted the picture of the afterlife for sinners. I tried to make them see the flames and the smoke, but in the morning my congregation sat unmoved. Esmeralda. It's been such a long, hard winter — and these old houses are so cold I suppose the flames sounded sort of warm and pleasant. Alan. You used to come to church, when the Reverend Hiram Hallowell was here. Esmeralda. Yes — I did Alan. I suppose you've heard how bad my ser- mons are. Esmeralda, Yes, but that's not the reason I don't come to church. 10 THE CHOIR REHEARSAL Alan. Isn't it ? Esmeralda. No — I wouldn't care if there wasn't any sermon. Alan. No — I don't suppose anyone would. Esmeralda. It was the singing I loved so. Alan. (Surprised) Did you? I'll confess that it takes all my strength of character to realize the grace of our Lord when Sister Tabitha Hole starts the Doxology. Esmeralda. I sang in her place — yes — but I was dismissed — and reproved by the Elders. I did a dreadful thing — yes, they all had to pray for me — it was terrible. That's why I don't come to church. I had to be prayed for. (Sound of door off. Esmeralda exits hastily r.u. Closes door after her. Alan follows a few steps, stands looking at door. Enter William. He goes direct to organ.) William. Well, they're on the way — the folks are coming over for Choir Rehearsal. Alan. (Disturbed, hesitating) Are they? Sis- ter Esmeralda has been telling me she used to sing in the choir. William. Yes — they used to come to church just to hear her sing. Alan. (Comes down c.) Oh, that was why they came. Well — er — tell me, why isn't she sing- ing now ? William. Why, she sang a song in church one Sunday morning — a regular song with a tune and everything — she was dismissed — and reproved by the Elders for doing it. Alan. Oh, that's what she did— poor child— that's why she had to be prayed for. What was the song? THE CHOIR REHEARSAL ii William. It went something like this (Plays refrain of ''A Wonderful Thing.'') Alan. Why, that sounds hke a hymn. William. Yes, it does — ^but it's not in the book. Old Tabitha Hole made all the trouble. She wanted to sing in Esmeraldy's place. She says you can dance to this tune. Alan. I wonder if you can (He takes a few furtive steps.) William. You can dance to any tune if you want to. (Esmeralda enters in cape and bonnet r.u. Sees Alan dancing. He stops suddenly.) Alan. I was just seeing if you could dance to it. Esmeralda. And you found you could ? Alan. You thought it was a hymn, didn't you? Esmeralda. I did, didn't I ? Alan. Well, perhaps it is. Are you going? ^Esmeralda. Yes, I don't want to be here when they come. Alan. Wait a moment, please — I want to hear you sing it. Esmeralda. My wicked song? Alan. Yes — William told me. Sing it. Esmeralda. Oh, I couldn't. William. Of course you can. (Esmeralda hesitates a moment. Sings, ''A Won- derful Thing." She stands R. of Alan, who sits on arm of chair R. of table.) Until to-day this world, to me Seemed far from what a world should be — 12 THE CHOIR REHEARSAL Sometimes I heard its laughter gay But, oh, it seemed so far away . . . Until to-day I walked alone — There was no hand to take my own Until to-day I dreamed my dreams — Now they have all come true, it seems. Refrain A wonderful thing has come into my life, A beautiful, wonderful thing. My heart is a garden that wakens to find It is Spring, and a thousand birds sing, The wonder to m.e is that no one can see, That the world doesn't pause to look in When a wonderful thing has come into my life It's worth all the livinsf to win. If I had known the path to you I would have flov/n on wings, it's true. I would have sung along ipy way Nor been so weary every day — Out of the shadow shines the sun, After the rain the flowers come And to the heart that waits alone, Comes everything a heart can own. Alan. (Who has listened intently, rises, goes to her) Why, it's beautiful and so far I see nothing that is not in accord with the Scriptures. The Won- derful Thing! — Why, we all know what that is. It is — Religion. The happiness is the joy of a contrite heart — and the hand referred to — (He is about to put his hand on hers, but does not) — is the hand of the Lord, of course. Now, the third and fourth verses THE CHOIR REHEARSAL 13 Esmeralda. But there aren't any more — and hymns always have nine or ten — don't they? Alan. Oh, well, perhaps they were left out for some very good reason — after all, it's very satisfy- ing as it is. William. I think it's a good hymn. It's got more sense than a lot of them. Alan. Quite right, William. I want it sung and I want you to sing it — I shall take it up with the Elders. Esmeralda. When ? Alan. Now. Esmeralda. Oh, please don't — I don't want you to go away, too. Alan. Don't you? (Bell.) Esmeralda. No. William. There they be. (Enter Abigail, Amos and Enoch.^ Abigail. Good evenin', Esmeraldy — well, here's Parson Wylie. Amos. How be, Esmeraldy — evenin', Parson. Abigail. Was you goin' out? Amos. Why, you've got to stay and sing first sopranny, Esmeraldy — Tabitha Hole's got a cold and two yards of red flannel wrapped round her throat. Abigail. (Sniffing) Oh well, if she's walkin' out with the minister Esmeralda. I'm not — I never thought of such a thing. I — I've just come in — and he's just going. Aren't you? (To Alan.j Alan. (Disappointed) Yes — ^yes — I must be- gin my Sunday's sermon to-night. William. It's goin' to be a long one. Alan. (To Esmeralda^ Good night 14 THE CHOIR REHEARSAL Esmeralda. (Following him to door l.) Good night. Abigail. She's startin' on him just the way she did on Parson Hallowell. William. Come on — I got to be home by ten. Amos. Here, Abby — you set down here. (Standing behind chair r. of table) Well, what's to sing at prayer meeting ? (Taking chair.) Abigail. I thought as sister Mordecai's boy has turned from grace and gone to the haunts of sin, it would be very comforting to her if we was to sing "Where Is My Wandering Boy To-night." Enoch. A lovely thought, Abby. They do say as how he took ten dollars out of his father's cash drawer, and went to New York. You know the temptations for a boy in New York City — with money. Esmeralda. (Comes back, overhears) New York City — how do you go there? Amos. Well, you take the stagecoach to Duxbury to start with (They look at one another.) Abigail. You thinkin' of goin'? Esmeralda. It would be too wonderful. Enoch. Too wonderful to go to perdition? Abigail. Come, Enoch — give us the note. (Ris- ing. They gather about the organ. Enoch trys to get note with pitch pipe.) Amos. Stop it, stop it — you start it for us, Es- meraldy. ("Where Is My Wand'ring Boy." They sing the hymn through. After hymn.) William. Now, shall we gather at the river? Esmeralda. I hope not ("Abigail returns to chair r. of table. Esmeralda sits l. of table. Enoch brings chair down and sits l. of Esmeralda, j Amos. It sounds good to hear ye again, Esmer- aldy. (To the rest) Don't it? THE CHOIR REHEARSAL 15 Abigail. Yes. If Esmeraldy'd only had her mind on serious things, she'd be singing now in the choir. But she had her mind on Hiram Hallo- well. Esmeralda. Well, he was very serious. Amos. Sister Tabitha Hole says you was led astray by gewgaws and flummeries, Esmeraldy Esmeralda. What do you mean? Abigail. Why, there wa'n't a time the peddler came from Duxbury that he didn't stop here and sell to you, Esmeraldy. Esmeralda. Well, what of that? Amos. And she said you powdered your face — I don't know. Esmeralda. What's wrong in that? Do you think it makes you good to have a shiny nose ? Yes, I did buy powder — and soap. Abigail. Scented soap. Amos. Well, if the Lord had intended us to be scented, he'd a made us so Esmeralda. Well, at least the Lord invented soap. Abigail. Why, Esmeraldy! She's blasphemin', Amos! Amos. Oh, let her You don't know what blasphemin' is. It's like old times to hear her sing again, ain't it, Enoch ? Enoch. 'Tis so, an' I was just thinkin* maybe Tabitha's voice won't get better — we can only hope for the best. If it don't, and Esmeraldy was to ask Elder Dogberry for forgiveness Abigail. She'd have to ask higher than Elder Dogberry for forgiveness. Esmeralda. But I don't want to be forgiven. Abigail. (Shocked, turning to AmosJ Why, Amos, she's unregenerate. Enoch. Why don't you want to be forgiven, — dear? i6 THE CHOIR REHEARSAL Esmeralda. Because I loved the song. I thought it sounded'just beautiful that Sunday morn- ing — and so did the Reverend Hiram Hallowell. Abigail. Don't bring him in. He vi^a'n't to blame. 'Twa'n't him you cared for. "fwas the gay life of Duxbury — the goin's on and doin's! Esmeralda. Yes, that's true. I did long for the life and music. I did long for the lights of Dux- bury. Enoch. Did, eh ? And did you love Hiram Hal- lowell, Esmeraldy? Esmeralda. No, I didn't. But I'd have gone away with him if he'd asked me. Abigail. Gone with him — and not lovin' him? Amos. (Solemnly) Marriage without love is a cracklin' thorn an' a pitfall in the wilderness, Es- meraldy. Abigail. Do you mean to say you'd go to Dux- bury with anybody that asked you to ? Esmeralda. Yes, I do. Enoch. (Leaning toward her eagerly) I've an uncle there in the shoe business — he's just crazy to have me to go in with him. Abigail. It's bad enough to marry a man lovin' him — but not lovin' him, it's a deadly sin, ain't it, Amos? Amos. I don't know, Abby, it's hard on the man either way. What say, Enoch? Enoch. All I can say is 'tis if 'tis, and 'tain't if 'tain't. Abigail. Men ain't natural Christians, that's the trouble — and there's too many of 'em in this town. (Alan enters unobserved i..) Amos. What? I ain't a Christian? Why, I come from a whole line of ministers. THE CHOIR REHEARSAL 17 William. Well, the minister always boards at our house and I guess if we weren't Christians we couldn't stand it. Enoch. Well, if I ain't a Christian, there ain't a Christian in this town ! Esmeralda. (Rising and appealing to the por- trait) Oh, great grandfather, why did you ever set- tle Tuckertown ? Alan. One moment, please. What has all this to do with the hymns to be sung at prayer rpeeting? Abigail. If you want to know the truth. Par- son, this daughter has worldly thoughts. She said she'd go to Duxbury with anybody Amos. You want to watch her mighty careful, Parson. Alan. I intend to. (To William J Now, Wil- liam, that hymn you played for me, I want it sung. I want peace here — and love ! Abigail. Love! Tut! Tut! Alan. Heaven is what we're striving for — and this is the song of one who has found it. Abigail. Praise the Lord — if I ain't familiar with it I can read. ('William begins to play. They gather about the organ, all but Alan and Esmer- alda, who are down c.) Can you see, Amos? Amos. Oh, I can foller anything. (They begin to sing, harmonizing, "A Wonderful Thing/' ''Until to-day this world to me," etc. During the humming of the song Alan speaks) Alan. Would you really go to Duxbury with — anybody ? Esmeralda. Yes — but I'd stay here if anybody wanted me to. Abigail. (Shocked, as she recognizes the music) Why, land sakes — it's the very song. Amos. So 'tis — I sensed it from the beginning. i8 THE CHOIR REHEARSAL Alan. (Turning to them) Well, why don't you go on? Abigail. Do you mean to say, Parson, that *tis really a hymn ? Alan. Yes, I mean to say it. Amos. I don't see why 'tain*t. It's got a good bass. Alan. I want it sung on Sunday morning — and I want Sister Esmeralda to sing it. Amos. Well, you'll have to speak to the Elders about that, Parson. Alan. I have. Amos. Oh, well, then, that settles it. (They all bend over the music, rehearsing care- fully,) Esmeralda. (Coming down with Alan J It was splendid of you — splendid. (Sadly.) Alan. Then why are you so sad? Esmeralda. (Looking at him) Is the wonder- ful thing just being good? Is that all there is for us? Alan. We'll find out about that in the next world. Esmeralda. But we're not in the next world — we're here and it's now — to-night — and that's all we know anything about. Alan. (Looking at her) I don't feel as if I know anything about that Esmeralda. I'm going to tell you something. I didn't think that song was a hymn — I didn't think the wonderful thing was religion — I thought it was — love. Alan. It is. There's no difference — don't you see? Esmeralda. (Understanding, sings happily, join- THE CHOIR REHEARSAL 19 ing in leith the rest) "A wonderful thing has come into my life." etc. Choir. (After refrain) Amen. Esmeralda. (Above them) Ah — men! CURTAIN The Return of Hi Jinks A comedy in four acts, by Marion Short, author of "The Varsity Coach," "The Touch-Down," etc. 6 males, 8 females. Costumea modern. One interior scene. This comedy is founded upon and elaborated from a farce comedy in two acts written by J. H. Horta, and originally produced at Tuft's College. Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier type), and a young moving picture actress (Mary Pickford type), are the leading characters in this lively, modern farce. Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes to think up a scheme to throw ridicule upon him during a visit of the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted as a one-day substitute in a moving picture play, in which there is a fire scene, and this gives Hodge his cue. He sends what seems to be a bona fide account of Jink's heroism at a Hoosic fire to Jink's home paper. Instead of repudiating his laurels as expected, Jinks decides to take a flyer in fame, confirms the fake story, confesses to being a hero and is adoredi by all the girls, to the chagrin and dis- comfiture of Hodge. Of course, the truth comes out at last, but Jinks is not hurt thereby, and his romance with Mimi Mayflower comes to a successful termination. This is a great comedy for amateurs. It is full ef funny situations and is sure to please. Price, 30 Cents. J une A most successful comedy-drama in four acts, by Marie Doran, author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's Neighbors," etc. 4 males, 8 females. One interior scene. Costumes modern. Plays 2}4 hours. This play has a very interesting group of young people. June is an appealing little figure, an orphan living with her aunt. There are ,a number of delightful, life-like characters: the sorely tried likeable Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- ment, the lively Tilly and Milly, who work in the store, and ambitious >Snoozer; Mrs. Hopkins's only son, who aspires to be President of the United States, but finds his real sphere is running the local trolley car. The play is simplicity itself in the telling of an every-day story, !aad the scenic requirements call for only one set, a room in the boarding house of Mrs. Hopkins, while an opportunity is afforded to introduce any number of extra characters. Musical numbers may be introduced, if desired. Price, 30 Cents. Tempest and Sunshine A comedy drama in four acts, by Marie Doran. 5 males and 3 females. One exterior and three interior scenes. Plays about 2 hours* Every school girl has revelled in the sweet simplicity and gentle- Ti'iis of the characters interwoven in the charms that Mary J. Holmes co.Tiraands in her story of "Tempest and Sunshine." We can strongly recommend this play as one of the best plays for high school pro- duction published in recent years. Price, 30 Cents. ) (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street. New York City Nsw and Explicit Descriptive Catalogue Mailed Free on Request The Touch-Down . A comedy in four acts, by Marion Short. 8 males, 6 females, but any number of characters can be introduced in the ensembles. Cos- tumes modern. One interior scene throughout the play. Time, 234 hours. This play, written for the use of clever amateurs, is the story of life in Siddell, a Pennsylvania co-educational college. It deals with the vicissitudes and final triumph of the Siddell Football Eleven, and the humorous and dramatic incidents connected therewith. "The Touch-Down" has the true varsity atmosphere, college songs arc sung, and the piece is lively and entertaining throughout. High schools will make no mistake in producing this play. We strongly recommend it as a high-class and well-written comedy. Price, 30 Cents. Hurry^ Hurry^ Hurry A comedy in three acts, by LcRoy Arnold. 5 males, 4 females. One interior scene. Costumes modern. Plays 2J4 hours. The story is based on the will of an eccentric aunt. It stipulates that her pretty niece must be affianced before she is twenty-one. and married to her fiance within a year, if she is to get her spinster relative's million. Father has nice notions of honor and fails to tell daughter about the will, so that she may make her choice untram- meled by any other consideration than that of true love. The action all takes place in the evening the midnight of which will see her reach twenty-one. Time is therefore short, and it is hurry, hurry, hurry, if she is to become engaged and thus save her father from impending bankruptcy. The situations are intrinsically funny and the dialogue is sprightly. The characters are natural and unaffected and the action moves with a snap such as should be expected from its title. Price, 30 Cents. The Varsity Coach A three-act play of college life, by Marion Short, specially adapted to performance by amateurs or high school students. 5 males 6 females, but any number of beys and girls may be introduced in the action of the play. Two settings necessary, a college boy's room and the university campus. Time, about 2 hours. Like many another college boy,. "Bob" Selby, an all-round popular college man. becomes possessed of the idea that athletic prowess is more to be desired than scholarship. He is surprised in the midst of a "spread" in his room in Regatta week by a visit from his aunt who is putting him through college. Aunt Serena, "a lady of the old school and the dearest little woman in the whole world," has hastened to make this visit to her adored nephew under the mistaken impression that he is about to receive the Fellowes prize for scholarship. Her grief and chagrin when she learns that instead of the prize Robert has received "a pink card," which is equivalent to suspension for poor scholarship, gives a touch of pathos to an otherwise jolly comedy of college life. How the repentant Robert more than redeems himself, carries off honors at the last, and in the end wins Ruth, the faithful little sweetheart of the "Prom" and the classroom, makes a story of dramatic interest and brings out very clearly certain phases of modern college life. There are several opportunities for the introduction of college songs and "stunts." Price, 30 Cents. , (The Above Are Subject to Royalty When Produced) SAMUEL FRENCH, 28-30 West 38th Street, New York City 1 Ntw aod Explicit Discriptive Gataiogus Mailed Free on Request \ RETURN TO the circulation desk of any University of California Library or to the NORTHERN REGIONAL LIBRARY FACILITY BIdg. 400, Richmond Field Station University of California Richmond, CA 94804-4698 ALL BOOKS MAY BE RECALLED AFTER 7 DAYS • 2-month loans may be renewed by calling (510)642-6753 • 1-year loans may be recharged by bringing books to NRLF • Renewals and recharges may be made 4 days prior to due date DUE AS STAMPED BELOW JAN 1 5 2005 DD20 6M 9-03 535n? UNIVERSITY OF CALIFORNIA LIBRARY *'^^&s^!!S' ^?*.vvtr ?i'w^'-.;:7«jL.^o"»i;ijfe".is^'Av'j;- >,vv,*- j*.- . ^ti;*^