ONE HUNDRED PLAYS FOR OUT -DOOR THEATRES A SELECTED LIST SARA TRAINOR FLOYD i es ae pet ONE HUNDRED PLAYS FOR OUT-DOOR THEATRES ied res ise FN painter a? + N ONE HUNDRED PLAYS FOR OUT -DOOR THEATRES A SELECTED LIST SARA TRAINOR FLOYD THE H. W. WILSON COMPANY 1924. PUBLISHED JUNE, 1924 Printed in the United States of America A ASL | . me aoe == > bo SS P a PREFACE In the growing interest in the “Little Theatre Movement” which has made such rapid progress in the last twenty years, the “Open-Air Theatre” has played an important part. Throughout the country, outdoor theatres of various types have grown in popularity from Greek Theatres, constructed on true classic lines, to very simple garden plots and wooded places, which lend themselves by their natural charm, as backgrounds for outdoor plays. Too little literature has been devoted to this particular phase of the theatre. With the exception of Cheney’s excellent book “The Open-Air Theatre” and such articles concerning outdoor production as may be found in periodicals, the Drama, Quarterly Journal, etc., there has been little written, in the great amount of literature, on the Little Theatre Movement. The purpose of this Bibliography is to present a general list of plays, in con- cise form, procured from a brief survey of the history of dramatic literature, to all those who are interested in producing in open-air theatres. The Greek classic plays which were written to be played in the open, fail in a number of instances today, to hold the attention of the audience. Care should be taken in selecting a Greek play that the theatre is suited to and the audience in sympathy with this great type of drama. The next period that we survey is Pre-Shakespearean. It covers that great collection of Miracles, Moralities and Interludes, Masques and Comedies, which are in many cases adaptable to the uses of a modern producer. Such plays of this period as have been successfully produced by our contemporaries are included. The large number of modern plays presented is made up to a great degree, of one-act plays. The one-act play has enjoyed phenomenal popularity in Europe and America since 1890 and forms a very important part in contemporary liter- ature. It is of particular interest to the amateur as its construction and plot treatment make it a unit of expression more easy to sustain than is the case in the presenting of the longer three-act play. While pastorals and masques are) the best form of drama for outdoors, many plays not falling into these specific classes have been included, hoping that as they may all be done out-of-doors, they will fill a particular need. SARA FLoyp. NOTE: “One Hundred Plays for Out-door Theatres,’ was originally prepared as “An annotated bibliography of plays for Out-door Theatres,’ a Thesis submitted in partial fulfillment of the re- quirements for the degree of “Master of the Arts” in Drama, College of Fine Arts, Carnegie Institute of Technology, Pitts- burgh, Pennsylvania. Accepted by Thomas Wood Stevens, Head of the Department of Drama, and E. Raymond Bossange, Di- rector. June 7, 1923. . A \ € a “* i Je 4 INTRODUCTION In assigning to Miss Floyd the listing of a hundred plays for the open air, the Drama Department of the Carnegie Institute of Technology did not limit her to plays suited to any one type of open air theatre; and especially not to the type of its own Arts Garden theatre, with its enclosed brick garden-wall stage. Such a list, to be useful, should include the play which requires for its setting nothing but the earth and sky, and the play which may be done only with considerable plastic scenery or in certain relations to buildings which may serve for scenery. The comparative ease with which plays can now be lighted, and the value of the lighting in the suggestion of place and mood, should also be taken into account. All in all, the range of open air production is much wider than the continual repetition of “As You Like It’ would suggest. In general, however, the play which gains by being done outdoors is the play which has a positive breadth of style, and a fairly definite flow of external action. Its scenes need not all be laid under the open sky, if those which happen indoors are of a nature to be readily suggested by furniture, plastic backings, or controlled and concentrated light. For the matter of that, I find that a wagon- stage by means of which indoor scenes can be swiftly presented on an outdoor stage is not much more difficult than the simplest convincing treatment of outdoor scenes in an ordinary theatre. There is also an element of rapport. The open air audience is always willing to “go along with you,’ and not to be too exacting in matters of detail. Certain of the plays included in this list seemed at first glance to be more suited to a theatre under roof, but on looking them over with the in- tention of producing them, and subjecting them all, mentally, to the process of setting, I am inclined to consider the whole list available. The Drama Depart- ment at Carnegie Tech has produced more than a score of them, and these not all in the Garden theatre; but the ones which have been done indoors could, with a different approach, have been done outdoors just as well. In fact, when stress of weather has compelled us to move a production inside, the question has never become easier; the audience has always looked for greater precision with the loss of the open air breadth, and the play itself has gained nothing. There is no reason why scenery should not be used out of doors, so long as it is of a severely plastic order. It is obviously futile to try to mix painted with natural foliage; but if a tree or bush does not happen to grow where the play re- quires it, the crafts of camouflage are available. Hedges, gates, walls, doorways, windows (seen from without), not to mention fountains and sundials and the various favored movables of Romance, are all as easy outside as in. And since groups of community players gain most by continuous exercise in production, and the summer season may otherwise be lost, a broadening of the sylvan repertory, as this list suggests, is greatly to be desired. THomas Woop STEVENS. CONTENTS PESTS WoT fou ei ig i Ss MS a aac a Gd Ce Rea A aden De ED V PORTOTICTIONG 8) Serr Tete a oc ao crete te FR ea VS”. Vil ADDRESSES FOR PAYMENT OF ROVALTIES ...c..ccccccccccce x SHorRT Piays; ANNOTATED—Type, Characters, Setting, Costumes, Time, Comment, Royalty and Publisher... 1 Long Ptays; ANNOTATED—Type, Characters, Setting, Costumes, Time, Comment, Royalty and Publisher... 9 RE ERS VLE i See en een cb ree Gat etd ohn ee 16 eR Ge HOR GAVY OMEN. « ovnicrn 5 vil fe eet ee eee nO aan 16 WTEC RAP RIES wi eo an cre cera eee Ce te ole Ser 17 PR ECTORVC OR. UBLISH ERS) oc xs il raeial fh tai Petes a eee 19 ADDRESSES FOR PAYMENT OF ROYALTY (Not including those given in the script) American Play Co., 33 W. 42nd Street, N. Y. Appleton: D. Appleton & Co., New York and London. Baker: Walter H. Baker, Hamilton Place, Boston, Mass. Curtis Brown Ltd., 116 West 39th Street, N. Y. 47 Workshop, Harvard University, Cambridge, Mass. Four Seas Publishing Company, Copley Theatre Bldg., Boston, Mase French: Samuel French & Company, 28 W. 38th Street, N. Y. Frohman: Charles Frohman Co., Empire Theatre Bldg., Broadway, INC ENE Huebsch: B. W. Huebsch Co., 116 W. 13th Street, N. Y.— Paget Dramatic Agency, 62 W. 47th Street, N. Y. Smith Elder Co., 15 Waterloo Place, London, England. Stage Guild, Railway Exchange Bldg., Chicago, III. Stewart Kidd Publishing Company. Business has been taken over by D. Appleton Co. Swartout: Norman Lee Swartout, Summit, N. J. Washington Square Book Shop, 27 W. 8th Street, N. Y. N. B.—The Royalties listed in this book apply to amateur produc- tion only, professionals should apply to the agent or pub- lisher in each’ case. The payment of royalty is an im- portant matter and the producer should always make ar- rangements with the owners of the rights before setting a date for the production. The author is entitled to this fee both ethically and by law. In a few cases, it has been impossible to procure such information from the publishers and these are clearly stated in the text. In regard to the older plays, Greek, Restoration, etc., there is in general no royalty, but some translations and some modern ar- rangements, of these plays, which are now classics, carry a royalty and it is always better to consult the publisher before using a text when there is the least question of certainty. SHORT SREAYS Abraham, Melchisedec and Isaac. Ralph Higden. Entire in the Everyman Edition of Miracle Plays. Dutton, 80c. Second Episode in English Miracle Plays. Pol- lard, the Oxford Press. $2.85. Miracle play in verse. 1 scene. 8 m. 1 boy. extras. Setting: to represent a road, with a hill which rises immediately behind it. The higher level is required for the second episode. Costumes: of the characters in miracle plays were always in accordance with the role of the player. Divine char- acters always had the additional splendor of gilt beards and hair. Others in biblical costumes. Time: entire play, thirty-five minutes; second episode, fifteen minutes. Comment: This play is of the Chester Cycle and attributed to Ralph Hig- den. The tale is very simply told and is the familiar story of Abraham and Lot and God’s covenant with Abraham. The second episode deals with the sacrifice of Isaac. This episode is quite frequently given, and as it is short might be used with another miracle play. The Miracle full of dramatic incident, is true to life and as here depicted lends itself to simple production. The father and son are weil characterized. Royalty: None. Aria Da Capo. Edna St. Vincent Millay. Kennerley. $2. Also im Fifty Contempo- rary One-Act Plays. Shay and Loving, D. Appleton and Company. $5; and in Provincetown plays. D. Appleton and Company. $2.50. Fantasy in blank verse. 1 act. 4 m. 1 w. Setting: calls for a merry black and white interior, but can be played before any charming background. Im- mediately behind the footlights is a long table, with black and white cover, on which is spread a banquet. At either end of the table, thin legged chairs with high backs. Costumes: traditional costumes for Pierrot and Columbine, Pierrot in lavender and Columbine in pink. Shepherds, peas- ant costumes with cloaks. Time: twenty minutes. Comment: this fantasy of the love of Pierrot and Columbine is full of charm and rich in imagina- tion. The play within the play is portrayed by the shepherds as an interlude or rehearsal. Quite suited to High School age, this little play should have careful direction and rehearsal with proper- ties, as it must have a lightness of touch which comes with experience. Royalty: $15 for each of the first three performances, $5 for each subsequent performance. Author, 27 W 48 St. N.Y.C. At the Edge of the Wood. Kenneth Saw- yer Goodman. Jn More Quick Curtains. Stage Guild, Chicago. $1.50. Fantasy in. verse. 1 scene. 6 m. 2 w. Setting: an open space at the edge of an old wood, with a path winding through the trees, at the left near the audience there is an unlighted camp fire. Costumes: fantastic for the faun and the wood sprite, modern for the others. Time: about fifteen minutes. Comment: a poet, an artist, an architect and a merchant, guided by the poet, seek relief from their failures in the woods. They each carry a bundle of faggots, dead sticks that represent the empty honors and other petty attributes of their every day lives. They determine to hurn them in an attempt to rekindle the joy of life. The faun, the spirit of the woods, welcomes them and listens to each separate story. The faun assures them that in the fire each wili see new hopes spring forth, but that they themselves must light the fire. As there is no flame left in their hearts they must await another traveller in whose breast the sacred spark burns. A working man and woman are seen at the edge of the wood. They have come for a holiday, away from the congested districts. They Au Revoir. Blind. Seumas O’Brien. are happy because they have not time to be other- wise. In their travels they carry with them a little lamp, the lamp of their unselfish love. They are persuaded to light the fire. The dream is com- pleted and the faun promises to all the silence and beauty of the woods, and the blessing of the changeless stars. This play in beautiful verse is delicate and effective. Royalty: $10, when admis- sion is charged. $5, when no admission is charged. Swartout. Also Stage Guild. Austin Dobson. In At the Sign of the Lyre. Scribner. o.p.; also im Book of Recitations. E. S. Werner. $1.75. Comedy in verse in one scene. 1 m. 1 w. Setting: a park with a marble bench, to represent a corner in the Luxembourg Gardens. Costumes: should be picturesque, a gallant of the period of the French Revolution and a Lady. Time: five minutes. Com- ment: this light comedy has all the charm of Dres- den figures. It is quite short and might be used for a curtain raiser or even just a reading. Mon- sieur Jolicoeur, and the Lady, meet in the Luxem- bourg Gardens, each having received a letter pre- sumably from the other. They understand in a moment what has occurred, and looking about they observe the plotter. They however, are too clever for him and defeat his purpose by feigning a long friendship and an unexpected meeting. The play is deftly presented. Royalty: No information available. Behind a Watteau Picture. Robert Emmons Rogers. W. H. Baker. $1. Fantasy in verse. 1 act. 6 m. 2 w. extras. Set- ting: two scenes, a Watteau picture tableau, and a garden with wall and gate. The staging _Te- quires careful attention but need not be expensive. There are helpful notes in the text. Costumes: the Watteau characters should wear the costumes of that period; the traditional costumes for the Pierrot group; while the extras, Chinese and negroes, should be brilliant and bizarre. Time: forty-five minutes. Comment: the play opens with the tour of a gallery. The guide, discussing the pictures, pauses, pointer in hand, before the Wat- teau tableau, gives his opinion and passes on. Harlequin enters, waves his hand at the group in the frame and they all come to life. The bored Watteau Marquise then takes part in the tangled loves of Pierrot, Harlequin and Columbine, which are tragic to say the least. The play should be well staged, costumed and acted to give the desired effect. Royalty: $10. Swartout. Egmont Arens. 35C. Farce comedy, Irish. Prose. 1 act. 3m. Set#- ting: a street in a country town. At the rear of the stage is a wall and a public house is seen to one side. Costumes: peasant and policeman’s uni- form. Time: about fifteen minutes. Comment: the very amusing story of a bogus blind beggar, the stranger who works with him and the simple but none too honest policeman. The policeman prides himself on his prowess and the other two cleverly relieve him of fifty pounds. The story shifts in a most surprising manner. Royalty: $1o first per- formance; $5 thereafter. Washington Square Book- shop, N.Y.C. Carrots. Jules Renard. French. 30c. Serious play in prose, translated from the French by Alfred Sutro. 1 act. 1m. 2 w. Setting: a country courtyard with an old house at left; at right, a wall with an iron gate; at center, a cir- cular seat with a dog kennel to the left. Costumes: modern. The boy’s clothes are obviously too small for him. Time: forty-five minutes. Comment: Carrots, a happy boy, who has been made the family drudge, has great difficulty with his mother, Z PLAYS: FOR OUT-DOOR. THE Athi Carrots—Continued Columbine. a nervous woman, who looks for the sympathy she does not deserve. The father makes the best of the situation, and in him the boy finds a staunch friend. The entrance of Annie, a well balanced woman servant, rather assures the tranquility of the household. The play, pathetic in tone, has fine characterization, bright moments and ends happily. Royalty: $10. French. Chaplet of Pan. Thomas Wood Stevens and Wallace Rice. Stage Guild. 50c. Masque in blank verse. 1 scene. 6 m. 6 w. extras. Setting: a wood, in the garden of Ugolino; marble seats at right and left; statuary in the shrubbery. At the extreme right a figure of a faun. Costumes: fifteenth century Italian court costumes for the mortals, peasant costumes for the goatherd and goatherdess, grotesque masque for Pan and fairy costumes for the others. Time: about one hour. Comment: a fantastic tale in beautiful verse, ideal for outdoor production. The story has to do with the magic Chaplet of Pan, that has power to make all cast away their cares and dance to inward music. Ugolino, a mortal and a prince, bored by the happiness of all around him, decides to make an end of their May-Day folly. He at- tempts to set their loves at criss-cross, but he, him- self falls under the spell of the Chaplet. At the close of the play and of the day, Pan is discovered laughing, and in a merry epilogue surveys all “‘sub- servient to love, friend and servant of the great god Pan.” Royalty: $10 when admission is charged, $5 when no admission is charged. Stage Guild. Reginald Arkell. Sidgwick Jackson, London, and LeRoy Phillips. Boston. 75c. Fantasy in verse. 1 scene. 4 m. I w. 1 boy. Setting: a woodland with a fairy ring in the fore- ground. The scene is at the identical spot of an old Roman camp in the South Downs. Costumes: rustic for the peasants, traditional Pierrot, Harlequin and Columbine for the others. Drawings in the text by Richard Carter are valuable aids. Time: thirty minutes. Comment: this is one of the most effective plays ever written for out of doors. The old man and a boy are discovered seated on a knoll, discussing fairies and other imaginative things, when Columbine enters. The boy leaves for home as night falls, while Columbine and Daniel await Harlequin and Pierrot, who are going to combat for her love. They call for an arbiter and old Daniel, quite unwittingly, clinches the point for Pierrot. The play closes with an epilogue. The fantasy is deftly and charmingly written, marked by true rustic humor. Royalty: $8. French. Constant Lover (The). St. John Hankin. Jn his Dramatic Works, vol. 2, Kennerley. 3 vols. $12. Also im Theatre Arts Maga- zine, April, 1919. Comedy in prose. 1 act. 1m. 1w. Setting: a glade in a wood, at center, a great beech tree. Costumes: modern. . . lightest and most charming of summer attire. Time: thirty-five minutes. Com- ment: the author suggests for an overture, wood- land music from Hansel and Gretel or pastoral music from Peer Gynt (Grieg), or some Gabriel Faure. The curtain rising reveals the constant lover, who falls in love with every girl he meets, who is constantly in love. The girl however is of a more constant nature and a highly amusing dia- logue ensues. The play is a brilliant comedy, beautifully written, must be lightly played, for a particular audience. Royalty: $10. French. Corydon. Thomas Bailey Aldrich. Jn Sis- ter’s Tragedy and Other Poems. Hough- ton Mifflin Company. $1.75. _ Pastoral in verse. 1 scene. 1 m. 1 boy. Set- ting: a roadside in Arcady. Costumes: of any period, but should be picturesque. Time: five minutes. Comment: the shepherd, but a boy, meets the pilgrim on the way and asks him if he has seen his lady fair, lamenting sorely that he has lost her. The pilgrim describes a girl whom he has seen pass by, who so surpasses the shepherd’s lady fair that the boy is forced to ask, “This one, which Dark Lady of the Sonnets. way went she’? The pilgrim directs the boy, and then smiling to himself he says, ‘‘He loves, thus lads at first are blind, No woman, only woman- kind.’? The pastoral is an amusing, light and grace- ful interlude and might be used quite successfully as a curtain raiser. Royalty: None. George Ber- nard Shaw. Brentano’s. $2.25. Comedy in prose. 1 act. 2 m. 2 w. Setting: midsummer night on Whitehall Terrace at the end of the sixteenth century. A railing may be used to mark the _ terrace. Costumes: Elizabethan. Time: about fifteen minutes, Comment: for a sophisticated audience, delightful if skillfully played. Shakespeare awaiting the Dark Lady of the Sonnets, meets Queen Elizabeth. He greets her in his mood, makes ardent love to her and is discovered by the Dark Lady. A fiery scene of jealousy follows. Quite an amusing situation with brilliant dialogue, in which Shakespeare wrings from the astounded queen a promise to support his theatre. Royalty: $10. American Play Company. Dollar (The). David Pinski. In Ten Plays. B. W. Huebsch. $2. Comedy in prose. 1 act. 5 m. 3 w. Setting: a cross roads at the edge of a forest, to the right a sign post. Costumes: Russian peasant. Time: twenty minutes. Comment: a band of strolling players arrive at the sign post, and discuss the in- formation they find there, as to the distance of three towns. They are all quite desolate, when the comedian attempts to console them. They find a dollar, struggle for it, and finally lose it in a most distracting manner. Satirical, delicate and very amusing. Royalty: $10 if admission is charged; $5 if no admission is charged. Payable to the pub- lisher. B. W. Huebsch. Free Speech. William L. Prosser. In Har- vard Plays of the 47 Workshop, first series. Brentano’s. $1.25. Satire in prose. 1 act. 7 m. Setting: an open space backed by a wall to represent a prison. The door in the wall must be practical. Costumes: Rus- sian peasant for the men and a corporal’s uniform for the officer. Time: fifteen minutes. Comment: six men in Bolshevist Russia, who are commissioned to shoot a German prisoner, get into an argument over free speech. The argument becomes so heated and the rules of parliamentary law so_ intricate that, during their intense interest in the discussion, their prisoner escapes. They all determine to do a little bombing, but again the crafty prisoner is the quicker, and while they have gone in search of a bomb, he has lighted the fuse that will cause the end of all. Clever and amusing dialogue. Royalty: $10. 47 Workshop. Gaol Gate (The). Lady Gregory. In Seven Short’ Plays, Putnam’s. -$2: Tragedy in prose. 1 act. 31m. 2 w. Setting: just outside a prison gate, a wall with a doorway will suffice. Costumes: peasant. Time: about fifteen minutes. Comment: the mother and wife of a supposed rebel talk to the jailer, at the door provided for visitors. They have heard that ne is to be released, as he has given the names of his companions. They learn that his freedom was death, as he had refused to betray his comrades. Pathetic throughout, requires careful acting, but is quite within amateur range. Royalty: $5. French. Glittering Gate (The). Lord Dunsany. In ie Plays. Little, Brown and Company. 1.05. Dialogue in prose. 1 ‘act. 2 m. Set#ing? a lonely place strewn with black rocks, with the gate of heaven at the back. The door is of gold. Costumes: modern. Time: very short, ten minutes. Comment: two criminals, Jim and Bill, lately burglars and both dead, discover each other at the gate of heaven. They are old friends. Jim turns philosopher while Bill practises his art on the lock of the gate. The dialogue ends with their discovery of what lies beyond the “‘gate of heaven.” Royalty: $10. Swartout. PLAYS FOR OUT-DOOR THEATRES A Glory of the Morning. William Ellery Leonard. In Wisconsin Plays, edited by Thomas H. Dickinson. B. W. Huebsch. 1.50. ; eS Benoa in prose. 1 act. 3 m. 2 w. Setting: an autumn afternoon, long ago; a wigwam to left, to right—cross sticks and kettle; to extreme right a canoe, drawn up among the rushes, and, scattered about, other properties suggesting Indian habita- tion. Costumes: Indian costumes for all, except- ing the Chevalier, who is dressed as a trapper, but wears military jacket and cap. Time: forty-five minutes. Comment: Glory of the Morning, an In- dian squaw, and her husband the Chevalier, a noble- man and adventurer live quietly and happily with their children, Red Wing, a boy and Oak Leaf, a girl, in a French and Indian fur trading district. Word reaches the Chevalier that his father has died, and that he must return to his father’s home in France. He explains to Glory of the Morning, that she, an Indian squaw, cannot return with him, but that he will take his children to the land of his father and educate them. A dramatic scene follows in which the mother cries out for her children. Then Black Wolf, a medicine man, suggests that the children decide for themselves and choose between their parents. The little girl determines to go with her father, but the boy in true Indian fashion chooses to remain a Winne- bago. The play is well written with fine feeling and splendid atmosphere, quite suited to senior high school age. Royalty: $10 if admission is charged, $5 when admission is free. B. W. Huebsch. Golden Doom (The). Lord Dunsany. In Five Plays. Little, Brown and Company. $1.65. Fantastic comedy in prose. 1 act. 9 m. I w. ex- tras. Setting: outside the king’s great door in Zericon. Costumes: oriental, the period of this play is ‘‘somewhile before the fall of Babylon,” so that the costumes may be quite original. Time: fifteen minutes. Comment: this play might be given by a cast of girls. It is the story of two children, who in their play, write in gold on the king’s great door. The king on his return, thinks it is a message of ill omen from the gods and humbles himself before them. The stars are ex- piated and the little boy’s wish is granted in an unexpected manner. The play is quite short. Royalty: $10. Curtis Brown. Grandmother. Lajos Biro. In Fifty Con- temporary One-Act Plays, Shay & Loving. D. Appleton and Company. $5. Delightful Hungarian play in prose, trans., Charles Recht. 1 act. 3m. 7 w. Setting: a broad sunny terrace with garden furniture, a large sum- mer residence at rear. Costumes: modern summer sport clothes, with -suitable dress for the grand- mother. Time: twenty to twenty-five minutes. Comment: the grandchildren are gathered at the grandmother’s home for her golden anniversary. They are of various types, the melancholy, the vi- vacious, the polite, the sentimental, the high school girl and the disagreeable young man. They beg their grandmother for an after dinner story, which begins quite simply enough but has a most amaz- ing conclusion, not altogether pleasant. The play has dramatic value, but should not be attempted for any other than a sophisticated audience. Royalty: $10. Charles Recht, c/o D. Appleton and Company. Hunger. Eugene Pillot. Jn Representative One-Act Plays. Margaret Mayorga. Little, Brown and Company. $3. Dramatic allegory. 1 scene. 4 m.1 w. Setting: a garden through which is a roadway. A large tower with a practical door is necessary. Cos- tumes: modern. Time: twenty minutes. Comment: the tower represents the unattainable. To it come the beggar who hungers for food, the girl who desires clothes, the poet, love, and the man, fame, They would all open the door leading to desirable things but they cannot. The satisfied man attempts to dissuade them, saying that only dissatisfaction comes from satiety. They do not heed him but King Rene’s Daughter. force the door and rush blindly to their_failure and disappointment. A serious play. Difficult. Royalty: $10. Swartout. Idyll of the Carp. Austin Dobson. In Old World Idylls, Scribner. o. p. Poetic sketch in one scene. 2 w. Setting: France—a lovely garden with a pool at center. Cos- twmes: of whatever period desired, but they should be elaborate and beautiful. Time: ten minutes. Comment: the princess and her lady-in-waiting are amusing themselves in the garden. The princess gazing into the pool, likens the fish, who come to be fed, to the various men of her acquaintance. The comparisons are not made for the sake of comedy, but are rather true pictures, subtle and clearly outlined. The dialogue may be appropriately used to open a program or as a reading. Royalty: No information available. Interlude of Youth. Jn vol. 1 of W. C. Haz- litt’s edition of Dodsley, London. Morality play in verse. 3 scene. 5 m. I w. Setting: an attractive out-door stage. Costumes: period, fifteenth century. Time: about fifteen to twenty minutes. Comment: a moral interlude deal- ing with the temptations of youth. The characters who lead to his fall are represented in Riot, Pride and Lechery, while Humility and Charity aid in his repentance and ultimate salvation. The play has dramatic value, distinguished by unusual grace- fulness and ease of manner, interesting character- ization with good situations. This Interlude, with that of Hycke Scorner, enjoyed the greatest popu- larity and while it is difficult to obtain, can usually be found in a good library. Royalty: None. Jephthah’s Daughter. Elma Ehrlich Levin- ger, (French. 35: Biblical tragic drama in prose. 1 act. 6m. 5 w. extras. Setting: on the road before the house of Jephthah (which should be visible in the background, but may be of very primitive construction) of a spring morning. Costumes: period, biblical. Time: about an hour. Comment: a religious play with fine dramatic quality. Sheila, the daughter of Jeph- thah an outcast, is the bethrothed of Nathan. The father returns from battle, the hero of the people. He had promised as a sacrifice in return for vic- tory, the first person that should greet him on his return home. By a strange trick of fate it is Sheila. She, on hearing of her father’s vow, is torn between her love for Nathan and her duty to her father. She then determines to sacrifice her- self. The play is of a good length, intensely in- teresting, with well drawn characters and much that is dramatic in situation. Songs and dances may be added for the festival scene. The play is especially recommended for a church audience. It is one of the Drama League prize plays for 1921. Royalty: None. Hendrik Hertz. Henry: sHolte Companyesdst- oe Woe Ee Baker Company. 25¢c. Lyric play in verse. 7 scenes. 6 m. 2 w. Set- ting: a garden in Provence, 15th century; to the left a one story house, a wall at back with prac- tical gate. Costumes: period. Time: about one hour. Comment: poetic drama from the Danish. Princess Tolanthe blind since infancy, meets Count Tristan an enemy of her household, and falls in love with him. Meanwhile a famous physician prepares to perform an operation to restore her sight but in- sists that she be told what sight is, Her sight is restored, and Tristan, once the enemy of her house- hold, becomes her husband. Royalty: none. King’s Threshold (The). William Butler Yeats. In Plays in Prose and Verse. Macmillan Company. $2.50. Also in Poetical Works. Vol. 2. Macmillan. o.p. Poetic drama. 1 scene. 9 m. 5 w. The cripples and pupils may be either boys or girls and the groups may vary in number. Setting: the threshold of a great Celtic castle in Ireland in the olden time. Large broad steps are necessary for the action and curtains may be hung to represent the castle background if a partial set is not available. PLAYS FOR OUT-DOOR THEATRES : Kings Threshold (The)—Continued Costumes: mediaeval, court costumes should be very beautiful, the peasant costumes may be of varying degrees of respectability. Time: about forty-five minutes. Comment: this is a play of Ireland in the olden time. A poet, deprived of his rightful honor, a seat at the king’s table, makes use of the ancient, traditional weapon of the hunger strike, to restore again the ancient right of the poets. Among those who plead with him to take food ares tie Mayor, the Chamberlain, the King, a Peasant from his own village, the Princess and the peasant girl, Fedelm. The king, fearing the ill luck that would attend him if the man die at his threshold, and realizing that the people would turn against him, begs the poet to eat, but to no avail. All who are concerned with the king or the poet plead with him but he resolutely reiuses all offers of food. When all means have failed, the king realizes that the spirit of the poet is not to be conquered and that the gift of poesy is truly from heaven. The king places his crown in the poet’s hands acknowledging to all the singer’s victory. The play offers a wide variety of very good parts, especially that of the poet, which is difficult and should be well sustained, in his mood, for the success of the play. Royalty: Siew Hrench: Likely Story (A). Lawrence Housman. French, 5c. Roadside comedy in prose. 1 act. 3 m. 1 girl. 1 bear. Setting: a road at the outskirts of a town, bounded by a wall with a practical door and window. An apple tree with apples. Costumes: any period of peasant costume, a bear skin for the bear. Time: thirty minutes. Comment: a delight- ful comedy, in which Grumble, an old man, finds again his son, Nimble, a wandering minstrel. Nimble had been carried away in his youth by the bear, Tiny. Charming dialogue between Nimble and Thimble, who proves to be his cousin. The bear has much to do with the problem of proving his master’s identity. The bear’s pantomime gives splendid opportunity for comedy. Royalty: $5. French. Lost Silk Hat (The). Lord Dunsany. In Five Plays. Little, Brown and Company. $1.65 Light-comedy with farcical situation. 1 act. 6 m. Setting: a fashionable London Street, showing ex- terior of house with a practical door. Costumes: modern. Time: ten minutes. Comment: the caller “faultlessly dressed” but hatless, stands on the doorstep and attempts to persuade his unknown comrades, one by one, to procure the hat which he has left behind him, in the house. The poet has much to say for romance. The play is clever, always effective, and frequently given. Royalty: $10. Swartout. Love, The Locksmith. Thomas Kennedy. Manuscript only. A morality in rhymed verse. «1 scene. 4 m. 3 w. a boy and a girl, Setting: a garden treated in a conventional manner, two houses face each other on opposite sides of a street, only the portion show- ing a door and a window need be visible, but the two doors and the two windows must be practical. At the rear of the stage, center; a bench and a tree. The houses are very attractive in black and white. Costumes: Cupid; tall hat, frock coat and tall boots, later he is disguised as a locksmith in a long coat. For the two men and two women, the parents, character costumes, Victorian. The young man and young girl, in attractive summer sport clothes, and the two children should wear clothes which they have obviously outgrown. Time: about twelve minutes. Comment: a modern morality— the story of two young lovers whose parents do not speak to their neighbors. The lovers are aide by Cupid, disguised as a locksmith, who offers bliss and eternities of joy to all who are obedient to him. The parents and smaller children lend the comedy atmosphere to the play, which is highly amusing. This little play should be acted lightly and deftly as a harlequinade. First produced at the Little Theatre, Carnegie Institute of Technol: ogy, Pittsburgh Pa. 1921. Royalty: $5. Author. R.F.D. Box 32, Clayton, Delaware, from whom the manuscript may be obtained. Medicine Show. Stuart Walker. In Maker of Dreams. Oliphant Down. Leroy. Phillips, 50c; with music $1. Also pub-. ‘lished in One-Act Plays by Modern Au-. thors, Helen: Louise Cohen. Harcourt Brace & Company. $2.25. re Fantasy in prose. 1 act. 2 m. 1. w. Setting: which calls for an old cottage room, with moon- light streaming in, can be readily adapted to a garden theatre, with the addition or suggestion of a conventional setting in black and white. Cos- tumes: usual costume for Pierrot and for Pier- rette, and for the manufacturer a quaintly cut coat of bottle green, with silver buttons and large side pockets, knee breeches and shoes with large silver buckles. Time: fifteen minutes. Comment: Pier- rot, always in love, is pining for a girl whom he saw at a fair. Pierrette is in love with him, and of course a little jealous. The Manufacturer or the Maker of Dreams, comes and goes again—but not without success, as Pierrot finds that his true love is indeed Pierrette. A charming, dainty fantasy, which requires lightness to insure success. Royalty: $8. French. Man About the Place (The). Harold Brig- house. In Plays for the Meadow and Plays tor the Lawn... Prench 2 y75e) Comedy in prose. 1 act. 3 m. 6 w. Setting: the lawn of a country house. Costumes: modern. Time: twenty minutes. Comment: a band of land girls who scorn men and live in seclusion are in- vaded by several men. Comedy ensues, and several matches are quickly made. Rather. farcical. Royalty: $10. French. Masque of Culture (The). Annie Eliot Trumbull. W. H. Baker Companyagee Beat masque in prose. 3 acts. 2 m. 9 w. Séf- ting: any open space, the first scene is Mount Olympus; the second a park with benches and a stage. Costumes: Greek classic for the prologue, The characters of the play proper, various women of different times, require the costumes of their age, such as Athenian, Venetian, English peeress and modern. Costumes are not difficult. Time: thirty-ive minutes. Comment: Minerva sends Con- fucius and Socrates. to Boston, to represent her at a convention for “Woman’s Rights.” They meet there the famous women of the past, Zenobia, Hy- patia, Cassandra, Portia, etc. All the parts may be taken by women. The masque is a very amus- ing parody. Royalty: None. Maypole Morning. Harold Brighouse. In Plays for the Meadow and Plays for the Lawns Prench:. 75c, A May-day play in prose. 1 act. 15 m. 4 w. extras. Setting: a village green, May-day 1665, Costumes: period, royal costumes for king and lord. Time: twenty minutes. Comment: villagers danc- ing about the Maypole are championed by Charles II, against a local puritanic lord. love match gives thread plot. A folk dance may be substituted for the maypole dance. Royalty: $10. French. Port- manteau- Plays. -D. Appleton and. @on- Dati wh2s50; Comedy in prose. 1 -act. 3 mm. Seminge van open space presumably the bank of a river. Cos tumes: modern, suited to “ne’er do wells” of a country village. Time: about fifteen minutes. Comment: a very amusing sketch in country dia- lect, of two simple country boys who spend their time fishing and basking in the sun, and a quack doctor who has a scheme for money. The setting requires only a soap box, a log and a stone. The characterization is good and the play is quite suited to amateurs. Foyalty: $10. Author, 304 Carnegie Hall, N-Y.€C. Merry, Merry Cuckoo. Jeannette Marks. In Three Welsh Plays. Little, Brown and Company, $1.65; and also in Representa- tive One-Act Plays by American Authors, compiled by Margaret Mayora. Little, Brown and Company. $3. i PLAYS FOR OUT-DOOR THEATRES — 5 - Poetic drama in prose. 1 act. 3 m. 2 w. extras. Setting: in Wales, a garden with a cottage at back, - a road at the right leads to the village beyond. Costumes: Welsh peasant. They are helpfully de- scribed in the text of the play. Time: twenty-five minutes. Comment: the villagers are at prayer meeting, all except David, an old, old man and Annie, his wife. David’s life is slipping away and he longs to hear the first cuckoo’s song that he and -his wife have listened for together, for over fifty years. In order to soothe him, she bravely imitates the cuckoo’s song but is discovered by her sedate neighbors, who object on moral grounds. The play is full “of pathos and humor and is_ very quaint. Suited to High School age. Royalty: $10 for first performance; $5 thereafter. Author, Presidents house, South Hadley, Mass. Night. James Oppenheim. Square Bookshop. 35c. Poetic Drama. 1 act. 4 m. 1 w. Setting: a hilltop, in October, at night, the play is readily -adapted to an interior stage and the actors can appear in silhouette before a lighted blue curtain, with a single mound to suggest a hilltop. Cos- tumes: modern throughout. The priest, the poet and the scientist may wear robes to suggest their calling. Time: quite short, fifteen minutes. Com- ment: this is a play for a sophisticated audience, symbolic throughout. The priest, the scientist and the poet face reality and each responds after his Own manner; there are five splendid parts, especi- ally that of the woman. Royalty: $10 for the first performance, $5 thereafter. Washington Square Bookshop. Washington Noah’s Flood. Ralph Higden. Jn English Miracle Plays edited by Alfred Pollard. Oxford Press. $2.85. Also im Everyman and Eight Miracle Plays, Everyman Edi- tion. Dutton Company. 8oc. (and others). A’ miracle play in verse. 1 scene. 5 m: 4 w. Setting: an open space, presumably the enclosure about Noah’s house. A work bench and other notes of occupation may be added. The ark, car- ried in during a dark change, may be of simple construction as only the downstage side need be visible. The characters and animals pass in behind it. Costumes: period, biblical. Time: about twenty minutes. Comment: this is one of the twenty-five plays known as the Chester Cycle, and attributed to Ralph Higden. It is also known under the titles, “Noah’s wife” and “The Deluge.’’ The story of Noah is very simply told, and a note of comedy is added when Noah’s wife at first refuses to leave her friends, the gossips. The original stage direc- tions suggest, that the names of the animals be read aloud as they enter, and that they are repre- sented by drawings on parchment which are carried in. This play and that of the “Sacrifice of Isaac’’ are frequently given. Royalty: None. Pan in Ambush. Marjorie Patterson. Nor- man Remington Company. 4oc. Fantasy in verse. 1 scene. 3m. 4 w. Setting: an old fashioned garden. Costumes: modern, with suitable attire for the faun. Time: about twenty minutes. Comment: into this old garden come the poet, the faun, the schoolmistress and the botany teacher. Highly amusing complications ensue, full of satire and sentiment. The play is an idyll of Springtime and youth and is excellent for out of doors. Requires rather skillful direction and while difficult, is quite delightful for a sophisticated audi- ence. Royalty: $15 first performance; $10 there- after. Swartout. Paris Doctor. Harold Brighouse. In Plays for the Meadow and Plays for the Lawn. Prench...: 7c; A Brittany folk play in prose. 1 act. Senin? Wwe Setting: the garden of a house in a Brittany fish. ing village. Costumes: preferably modern. Henri, the fisher boy and Marie, the peasant girl must be picturesque. Time: about twenty-five minutes. Comment: the girl refuses her sailor lover, for the sake of a dead sweetheart. Retired doctor “cures her.”’ The local barber adds an el t of Royalty: $s. French. n element of comedy. Pawns. Percival Wilde. Jn the Unseen Host and Other War Plays. Little, Brown and Company. $1.50. Tragic drama in prose. 1 scene. 5 m. 1 boy. Setting: a clearing in a forest, near the center of which is a small fire, which casts but little light. Costumes: peasant costumes of eastern Europe, and a sergeant’s uniform—Russian. Time: about twenty minutes. Comment: the story is a very tragic one, a vehement preachment against the horrors of war. The father and two sons, who have paused on their way to rest, are going to the mobilization of their country’s forces. They, in their simplicity, think that mobilization is a festival or probably a relig- ious ceremony. They meet two neighbors who are also on their way. They discover that they are going to different cities but even that does not seem strange to them. A drunken Russian officer enters. He discovers that the peasants are sub- jects of different lands, Russia and Austria. But the peasants know only that they are neighbors and friends. The Russian in his stupor, brings the war to the little clearing, and kills lame Peter, an Austrian. Stephen, himself a Russian, kills the sergeant. The play closes with each of the survi- vors picking up his pack and setting out. The Russians go one way and the lone Austrian another, saying, ‘‘Farewell brother,” to one another. Royalty. $7.50. Baker. Pierrot of the Minute. Ernest Dowson. Jn Fifty Contemporary One-Act Plays, Shay and Loving. D. Appleton and Company. $5. Also Mosher Company. $1.25. Dramatic fantasy in verse. 1 act. Im. I w. Setting: a glade in a park; in the center, a Doric Temple; at the left a statue of cupid on a pedestal. Twilight. Costumes: Pierrot costume for the man, a soft robe-like costume with veils for the Moon Maiden. Time: twenty-five minutes. Comment: Pierrot, in search of adventure, meets the Moon Maiden who warns him that “‘he is safe who flies,” but he will not heed her. She tells him that all who fall under the Moon Maiden’s spell are Moon lovers always, and he in return for her story, tells her of mortals. They enact an imaginary scene at court, the dawn breaks and Pierrot sinks to sleep again. But “whom once the moon has kissed, loves long amd late, yet never finds the maid to be his mate.’’ Pierrot never finds his love again but must seek her in vain in each fair face. The play is in lyric verse and should be quite effective if care- fully worked out. Royalty: None. Prince Who Was a Piper. Harold Brig- house. Jn Plays for the Meadow and Plays for the Lawn. French. 75c. Fairy play in prose. 1 act: 5 m. 8 w. Setiwg: a palace garden, a la Versailles. Costumes: no special period need be followed, but the author sug- gests that the Watteau period might be used most successfully. Time: twenty-five minutes. | Com- ment: a fairy story of a prince who must needs wed a certain princess, and how each tries to escape, and finally how they fall in love with each other; without knowing the other is his destined mate. Play is pretty and amusing, with opportun- ity for character parts. Royalty: $10. French. Rainald and the Red Wolf. Thomas Wood Stevens and Kenneth Sawyer Goodman. In Masques of the East and West. Stage Guild. $1.50. Mediaeval masque in verse. 1 scene. 20m. 8 w. extras. Setting: an open space before a great cathedral, the facade and entrance of which should be on stage, to the right, a booth with steps. Cos- tumes: Mediaeval. Time: about an hour. Com- ment: Waldemar, the Red Wolf, in the absence of Rainald, becomes tyranical, and rules with an iron hand the fair city of Lavayne. He not only op- presses the guilds and withdraws charters, but at- tempts to make Rainald’s wife, Yosebel, his bride; claiming that Rainald has fallen in battle. Mean- while Rainald returns unannounced to his fair city on the wedding day, and plans Waldemar’s destruc- tion. By means of a miracle play, depicting the sadness of Lavayne, Rainald accomplishes his task, kills the tyrant and steps forward as the master 6 PLAYS FOR: OUT-DOOR THEATRES Rainald and the Red Wolf—Continued Sanctuary. Percy MacKaye. and savior of his city. A splendid play to introduce a large cast, with a variety of very good parts. Interest is sustained throughout by good situation and held by a dramatic climax. The costumes of the period—fourteenth century—add greatly to the pictorial value of the play. Royalty: $10 when ad- mission is charged, $5 when no admission 1s charged. Swartout. Also Stage Guild. Rising of the Moon. Lady Gregory. Jn Seven Short Plays. Putnam’s. $2. Also i Dickinson, Chief Contemporary Drama- tists, first ser. Houghton Mifflin Company. $5. School ed. $3.50. Comedy in prose. I act. space, prceintehie a river bank. At the rear a wharf, indicated by posts and chains. Lights very dim throughout, to give the impression of moon- light. Costumes: peasant’s costumes and two police- man’s uniforms. Time: about fifteen minutes. Com- ment: a policeman on watch for an escaped patriot prisoner, meets and converses with his man, who appears as a ballad maker. The ballad maker so plays on the feelings of the policeman, and his staunch love for Ireland, that he is allowed to escape. The dialogue and characterization are €x- cellent. There are several Irish ballads introduced that are to be sung. Royalty: $5. French. Frederick A. 4m, Setting: an open Stokes Company. $1.50. Bird masque in verse. 10 short scenes. 6 per- sons. extras. (all parts may be taken by either men or women) Setting: a sylvan glade representing a bird sanctuary, with nest boxes of bark in the trees. At one side there is a pool or bird bath. Costumes: symbolical—for Pan the usual costume, for poet, a robe, for the bird spirit, filmy draped costume etc., The bird costumes give wide scope for origi- nality and artful arrangement. The color prints in the text should be of great help. Time: about one and a quarter hours. Comment: written for the dedication of the bird sanctuary at Meridan, New Hampshire, a masque for which special music has been composed by F. C. Converse, published by the H. W. Gray Company New York. The theme is a plea for the preservation of bird life and gives a vivid picture of the bird hunter, a cold hearted merciless person, in his killing of beautiful birds. There is a theme also that has to do with mortals. A very charming masque which requires a truly beautiful setting. Royalty: Communicate with the author, at the Harvard Club, N.Y.C. Slave With Two Faces (The). Mary Caro- lyn Davies. Arens. 35¢c. Avparamaticonallesonry Ai prose... i cach... toms 2 girls. Setting: a wood through which runs a path. Costumes: the two girls wear peasant cos- tumes with crowns. Time: quite short, not fifteen minutes. Comment: two girls meet ‘“‘Life, the slave with two faces,” on the highway. The first girl, who is very brave, has instructed the second to face life unflinchingly and to demand what she ex- pects of him, but never to bow or humble herself. The second girl, however, is won over by life’s flattery and each time realizes her mistake when it is too late, until at last; life leaves her dead by the roadside. The brave woman, however, who faces him in her fashion finds Life a fawning slave. Royalty: $5. Swartout. Spreading the News. Lady Gregory. In Seven Short Plays. Putnam’s. $2. Also in QOne-Act Plays by Modern Authors, compiled by Helen Louise Cohen. Har- court, Brace and Company. $2.25. Irish farce comedy in prose. 1 act. 7 m. 3 w. Setting: the outskirts of a fair, with an apple stall in the foreground, set may be a street scene or a wooded place. Costumes: Irish peasant, modern, one uniform for a policeman and dignified morning dress for a magistrate. Time: thirty to thirty-five minutes. Comment: play illustrates the effect of gossip in a little town, where there is a new magis- trate, over-zealous in his pursuit of criminals. He has not long to wait, as gossip provides him with the flight of one man with another's wife—and even a murder. The reappearance of the supposedly married man satisfies the towns people, but not the magistrate. Good dialogue. The Irish dialect for those unaccustomed to it, should not be forced, as the manner in which the dialogue is written, car- ries as dialect if read quite simply. Royalty: $5. French. Sunny Morning (A). Serafin and Joaquin Alvarez Quintero. In Fifty Contemporary One-Act Plays, compiled by Shay and Loving. D. Appleton and Company. $5. Comedy in prose, translated from the Spanish by Lucretia Xavier Floyd. 1 act. 2m. 2 w. Set- ting: a park in Madrid, a_bench at right. Cos- tumes: modern Spanish. Time: twenty minutes. Comment: Dona Laura, a refined old lady of seventy, and her young maid Petra, come to the park as is their custom to feed the birds. Don Gozalo a very old gentleman, gouty and impatient enters with his servant, Juanito. Don Gonzalo’s. bench is already occupied and he is forced to ap- proach Dona Laura’s. She greets him graciously, he answers her gruffly. As their conversation pro- gresses, each discovers in the other, the love of his youth, although neither one will admit the recog- nition. They part on the best of terms and we know that they are to meet again and again. The character parts are finely drawn and should be well cast to ensure the sparkling comedy and charming picture the authors have given us. Royalty: $10. Society of Spanish Authors, Room 62, 20 Nassau Street, New York. Tents of the Arabs (The). Lord Dunsany. In Plays of Gods and Man.” Johny: Luce and Company. $1.75. Oriental drama. in prose. “2 -acts:2.5 0a, enews Setting: outside the gate of a city of Thakama. Gate should be practical. Costumes: oriental of any period as the year is uncertain, imaginative. Time: about forty-five minutes. Comment: the king, tired of his duties, longs for the peace of the desert, and wishes to be forever free of his kingly life. Bel-Narb, a camel driver, who strangely re- sembles the king, hates the desert and longs to be king. Fate permits them to change places and strangely enough, each is satisfied with his lot. The play gives opportunity for attractive and imaginative costumes and setting, while the beauty of the lines and the strange philosophy of the two men create an atmosphere truly eastern. Eznarza, the gypsy of the desert, is a vivid role full of color and beauty. The play is suited to high school age. Royalty: $10. Curtis Brown. Told an a Chinese Garden. Constance Wil- cox. Jn Told in a Chinese Garden and Four Other Fantastic Plays. Henry Holt and Company. $1.50. Fantastic comedy in verse and prose. 1 act. m. 3 w. extras. Setting: Chinese garden, for which any garden may suffice. Large flat gray silhouettes to represent lanterns and pagoda orna- ments could be easily made and placed about. A path bordered with bright flowers leads to the garden. Costumes: picturesque Chinese. Time: about forty minutes. Comment: a young noble- man disguised as a gardener, defeats the wicked scheming of his uncle who has stolen his estates and arranged to marry his lady love. There is good comedy in the attitude of the young girl’s governesses and the songs and all the quotations are Old Chinese. The play is very effective. | Royalty: $5. Author, Madison, Conn. Traitor (The). Percival Wilde. Jn Dawn and Other One-Act Plays of Life To- day. Little, Brown and Company. $1.50. Drama in prose. 1 act. 8 m. Setting: the mili- tary tent of a Colonel, in an open space in South Africa, at the time of the Boor war. Costumes: officer’s uniforms, English of the time of the Boor war. The period might be changed, however as the action could take place any time. Time: one-half hour. Comment: it is known to the Colonel that there is a traitor in camp, so he, with the aid of Lieutenant Edwards, determines to bring him to PLAYS FOR OUT-DOOR. THEATRES 7 justice. They concoct a story making Edwards a traitor, and then call in the other officers to de- termine his fate. The Colonel trusts to his know- ledge of human nature, that the truly guilty one will expose himself by the way he casts his vote, that is that he will not vote against a man in a similar position. The traitor falls into the trap and betrays himself. The situation is strikingly dramatic. Can be played by boys of high school age. Royalty: $5. If higher royalty is paid for any other one act play on the same bill, then a like amount is required. Author, c/o American Dramatists, 148 West 45th Street, N.Y Two Slatterns and a King, a Moral Inter- lude. Edna St. Vincent Millay. D. Apple- ton and Company. 50c. Morality play in a comedy manner. 1 act. 2 m. 2w. Setting: any simple garden space. Costumes: the king in royal robes; Chance may be dressed as Puck; Tidy and Slut in peasant costumes, the one very neat, the other in a turmoil of disorder. Time: about ten minutes. Comment: Chance, the Vice expounds the moral that ‘‘He who is o’er hasty in his decision, will by Chance be called a fool.”” The foolish king who is o’er hasty finds himself married to Slut, when he might have had Tidy. The play is quite amusing, short, and will please grownups as well as children. A quite suc- cessful little play to open a program. Rovyalty: $10 first performance; $5 thereafter. D. Appleton and Company. Wonder Hat (The). Ben Hecht and Ken- neth Sawyer Goodman. Jn Stage Guild Plays, No. 3. Shay. (Sold by D. Apple- ton and Company). 50c. Harlequinade in prose. 1 act. 3 m. 2 w. Set- ting: a park, by moonlight, with a fountain center— backed by a low wall. Space should be allowed between the fountain and the wall, for the actors to pass through. Costumes: conventional costumes for Harlequin, Pierrot and Columbine; Punchin- ello, the old vender, in a suit of gay colored tatters and ribbons, with a great broad brimmed, high crowned hat; Margot in a trim costume with full knee-length skirt, cap and apron. Time: about twenty minutes. Comment: this charming farce or fantasy, tells of the tangled loves of Pierrot and Harlequin. The old vender, Punchinello, by means of the Wonder Hat, which renders Harlequin in- visible and the magic slipper, which draws all men to Columbine, causes both joy and consternation. The play sparkles with good comedy and the five parts are rather equally divided. Sophisticated speeches give the play a most naive effect. Royalty: $10 when admission is charged; $5 when no ad- mission is charged. Swartout. Also Stage Guild. X-O, a Night of the Trojan War. John Drinkwater. In Pawns (4). Mifflin Company. $1.50. Tragedy in verse. 4 scenes. 6 m. Setting: an open space before Troy, with a Grecian tent in the foreground and the walls of Troy in the back- ground. CWany others). Comedy in verse. 5 acts: 11. ms 3) warextras. Setting: a pleasant grove will satisfy the actors and the audience. The scenes are a court, which may be a terraced garden, and a seacoast. Cos- tumes: Elizabethan for the duke and his attendants and for Olivia and her followers; Moorish cos- tumes for Viola and her brother. Time: a full evening. Comment: Viola and Sebastian, twin brother and sister, are shipwrecked and separated. Viola disguised as a page arrives at the court of Orsino, who sends her to Lady Olivia on his own behalf. Lady Olivia, however, falls in love with the charming page, who is at length forced to fight a duel for her. Viola is saved by Antonio who mistakes her for her brother. Meanwhile Se- bastian comes to the court of Olivia, and she be- lieving him to be her late messenger, Orsino’s page, declares her love for him and he gallantly marries her. Viola returns, is reunited with her brother and solves the difficulty of the suitor Orsino, by marrying him. Royalty. None. Two Gentlemen . of Pio FOR OUT-DOOR- LHEATRES Po ts, Verona. William Shakespeare. Temple Edition. Dutton. $1.25; Oxford Edition. Oxford Press. $2.25. (Many others). Comedy in verse. 5 acts. II m. 3 w. extras. Setting: Verona, Milan and the frontiers of Man- tua. If staging is kept very simple, the play may be readily given out-of-doors. Costwmes: period, may be either Italian Renaissance or Elizabethan. Time: a full evening. Comment: this is the first of the Shakespeare dramas in which the device of a woman: disguised as a boy is used. Valentine in his travels, falls in love with Sylvia, the daugh- ter of the Duke of Milan. Proteus, forgetting his love Julia, also falls in love with Sylvia, and at- tempts to out-do his friend Valentine, by betray- ing his intentions to the Duke. The angry Duke banishes Valentine. Julia, disguised as a page, overhears Proteus courting Sylvia, who will have none of him. Sylvia also refuses to recognize Thurio, her father’s choice. She escapes from Milan, falls into the hands of outlaws, who are under the leadership of Valentine. Her father fol- lowing her is also captured, and Thurio is chal- lenged by Valentine. Thurio willingly gives up all claim to the hand of Sylvia as he fears for his own safety. The Duke then forgives his daughter and the brave Valentine, and Proteus and Julia are reconciled. The play dates from 1591, and is thought to be an adaptation of the Spanish ro- mance, Diana. Royalty: None. Ulysses. Stephen Phillips. Jn Phillips’ Se- lected Plays. Macmillan Company. $3.50. Poetic drama in verse. 3 acts and prologue. 21 m. 8 w. extras. Setting: a large out-door stage that can be adapted to represent the summit of Mount Olympus, the forecourt of a palace at Ithaca, and a barren shore. Stone benches are needed as furniture. Costwmes: Greek classic. Time: a full evening (the play allows consider- able cutting). Comment: a poetic dramatization of the life and wanderings of Ulysses, from the story of the Odyssey of Homer. The theme is especially suited to high school production, but the play would have to be cut and adapted. Royalty: Apply to Mrs. May Phillips, 1 Sunnyside, Chaucer Road, Middlesex, England. Washington, the Man Who Made Us. Percy MacKaye. Knopf. $2.50. Ballad play in prose. 3 acts, with a prologue and epilogue, making a total of fifteen scenes. 8 m. 8 w. a boy and a girl and extras. Setting: an outdoor stage that can be greatly elaborated to represent or suggest such varied places as Mt. Vernon, Harvard, Columbia, Valley Forge, etc. This is necessary when the play is given in its en- tirety, as a community drama on an elaborate scale. For the presentation of one or more epi- sodes, however, the setting can be made quite sim- ple. Costumes: difficult and varied, Colonial period. Time: a full evening. Comment: this romantic, historical play is the story of the life of Washing- ton, presented as a community drama. It includes fifteen scenes, each one complete in itself, elab- orated with song and dance motifs. The author’s attempt is to present Washington ‘“‘in his strong prime with truth to reality—a magnetic human being, patient, resourceful, lovable and greatly be- loved,”’ and he has succeeded in giving a very in- teresting characterization and a _ successful ballad play, often finely dramatic. An appendix with a full outline of scenes, transitions and characters supplements the play. Suited to pageant purposes and high school use. Royalty: Communicate with with the author, at the Harvard Club, N.Y.C. Well of the Saints. John Millington Synge. John W. Luce Company. $1.25. An Irish folk comedy. 3 acts. 4 m. 3 w. ex- tras. Setting: calls for two scenes, one a roadway with two large stones as a resting place (a church off left‘may or may not be indicated); the other an open space with a well at center and a black- smith’s shop off left. Costumes: Irish peasant. Time: two hours. Comment: Martin and Mary, husband and wife, are blind and very poor. They are very homely but each thinks himself beautiful and they do not lack in praising themselves or each other. A miracle gives them their sight and the comedy of their dialogue is overshadowed by the tragedy of their discovery. They voluntarily be- come blind again, and even flee from the saint who attempts to restore their sight a second time. A splendid play if well directed, but requires actors with experience. Royalty: $25 French. Woman’s Town (The). Serafin and Joaquin Alvarez Quintero. Jn Contemporary Spanish Dramatists edited and translated by Alfred Turrell. Badger and Company. Farce comedy in prose. 2 acts. 5 m. 8 w. Setting: a patio or reception hall, which can be adapted to a formal garden. Costumes: modern Spanish, con- cerning the individual costumes there are many helpful notes in the script. Time: about two hours. Comment: the Woman’s Town is a small Spanish village where women and gossip reign. The gossips bring about a love affair which at first was purely of their creation, but which has actually come into existence by the power of gossip, and the artful manouvering of these busy-bodies. The helpless lover, a victim of circumstance, falls in with their plan and all are satisfied. A very enter- taining play with amusing situations, and not too difficult. Royalty: Apply to Professor Charles A. Turrell. 16 PLAYS FOR: OUT-DOOR THEATRES PLAYS FOR MEN Abraham, Melchisedec and Isaac (Short) Lost Silk Hat (Short) Blind (Short) Medicine Show (Short) Corydon (Short) Pawns (Short) Free Speech (Short) Traitor (Short) Glittering Gate (Short) | X-O a Night of the Trojan War (Short) PLAYS FOR WOMEN (Greek Classic Plays and Shakespeare Plays are always adaptable for a cast of women). Alcestis (Long) Lady of the Weeping Willow (Long) Alexander and Campaspe (Long) Lost Pleitad (Long) Chaplet of Pan (Short) Masque of Culture (Short) Chinese Lantern (Long) Princess Kiku (Long) Idyll of the Carp (Short) Wonder Hat (Short) BIBLIOGRAPHY COLLECTIONS Baker: 47 Workshop Plays. Harvard University. Sold by Brentano’s. 3 series, each $1.25. Clark, Barrett H. Representative One-Act Plays by British and Irish Authors. Little, Brown and Company. $3. Clements Colin Campbell (Author). Plays for a Folding Theatre, (7). D. Appleton and Company. $2. sides Helen Louise. One-Act Plays by Modern Authors. Harcourt Brace. 2.25, Cook, George Cram and Shay, Frank. Provincetown Plays (10). D. Apple- ton and Company. $2.50. Evans, Herbert Arthur. English Masques. Blackie & Son, Stanhope St., Glas- gow, Scotland. Everyman Edition. Everyman with Other Interludes Including Eight Miracle Plays. Dutton. Cloth, Soc. Gayley, C. M. Representative English Comedies from Beginning to Shakespeare. Macmillan. $2.50. Leonard, Sterling Andrews. Atlantic Book of. Modern Plays (15); with a Bibliography of Plays for Reading in High Schools. Atlantic Monthly Publishing Company, Boston. $2. Lewis, Roland B. Contemporary One-Act Plays (18). Scribner. $2; School Edition, $1.50. Manley, John M. Specimens of Pre-Shakespearean Drama. 2 vol. Ginn. $2.20 a vol. Mayorga, Margaret Gardner. Representative One-Act Plays by American Au- thors (24)—(Appendix: Selective list of one-act plays by American au- thors.) Little, Brown and Company. $3. Moses, Montrose J. Representative One-Act Plays by Continental Authors. Little, Brown and Company. $3. Pollard, Alfred, editor and compiler. English Miracle Plays, Moralities and In- terludes. Oxford Press. $2.85. Shay, are Treasury of Plays for Women (18). Little, Brown and Com- pany. Shay, Beanek Twenty Contemporary One-Act Plays, American. D. Appleton and Company. $3.75. Shay, Frank, and Loving, Pierre. Fifty Contemporary One-Act Plays. D. Appleton and Company. $5. Smith, Alice M. Short Plays by Representative Authors (12). Macmillan. 96c. Turrell, C. A. Contemporary Spanish Dramatists. Badger. $3. RLANSELISTS Boston. Drama League. Selective List of Plays for Amateurs. Brown University Library. Plays of To-day. 1921. 100 Best Modern Dramas. Chicago Public Library. 1916. Actable One-Act Plays. Clapp, John Mantel. Plays for Amateurs, Drama League of America. Chicago. IQI5. Columbia University. 1921. Teacher’s College Bulletin and List of Plays Suitable for Production by High School Students. Series 13. No. 30. Cornell Extension Bulletin. List of Plays, N.Y. State College of Agriculture, Cornell University, Ithaca, N.Y. Bul. No. 53. Drummond, A. M. Plays for ‘the Time. English Journal. vol. VIII, p. 419-428. IQIQ. University of Chicago Press. Drummond, A. ee i! One-Act Plays. Quarterly Journal of Public Speak- ing, vol. Ent Hogg, Weneea nin “Guide to Selecting Plays for Use of Professionals and Amateurs. French. 1916. Koch, F. H. and Lay, E. A., compilers for Community Drama Service, Plays for Amateurs. University of North Carolina, Chapel Hill, N.C. McFadden, Elizabeth and Davis, Lilian E. A Selected List of Plays for Ama- teurs and Students of Dramatic Expression in Schools and Colleges. Pri- vately Printed. 18 PLAYS“ FOR “OU TsDOOR THEATRES New York Drama League. Plays for Amateurs. Prepared by S. Marion Tucker. H. W. Wilson Company. 6o0c. Riley, Alice D. The One-Act Play, Study Course. Drama League Monthly, Feb.-April, 1918. Selective List of Plays for Amateurs, Drama League, Boston. Doubleday, Page Company, Garden City, N. Y. Stratton, Clarence. One Hundred Plays for Amateurs. Address, Board of Education, Cleveland. University of Utah. Extension, Series No. 2. Plays for School and College ae arranged by Roland R. Lewis. Univ. of Utah, Salt Lake City, Utah. Worcester, Mass. Free Public Library. Selected List of One-Act Plays. GENERAL Bates and Orr. Pageants and Pageantry. Ginn. Cheney, Sheldon. The Art Theatre. (Appendix: Plays produced at the Arts and Crafts Theatre, Detroit.) Knopf. 1917. $2.50. Cheney, Sheldon. Open Air Theatre. Kennerley. Chicago, Newberry Library. Materials for the Study of English Drama (ex- cluding Shakespeare). Chubb. Festivals and Plays. Harper. Clark, Barrett H. How to Produce Amateur Plays. Little, Brown and Com- pany, SL.75. Crawford and Beegle. Community Drama and Pageantry. Yale Press. Dickenson, Thomas H. The Insurgent Theatre. (Appendix: List of Plays produced by Little Theatres.) Huebsch. $1.25. Lewis, Rowland B. The Technique of the One-Act Play. (Appendix: Con- temporary One-Act Plays.) Luce. $1.75. Mackay, Constance D’Arcy. Costumes and Scenery for Amateurs. Holt. $1.75. Mackay, Constance D’Arcy. The Little Theatre in the United States. (Appen- dix: List of Plays produced by Little Theatres.). Holt. $2.50. MacKaye, Percy. The Civic Theatre: Kennerley. MacKaye, Percy. Community Drama. Houghton Mifflin. 75c. Matthews, Brander. Chief European Dramatists. Houghton Mifflin. $4. Shay, Frank. Plays and Books of the Little Theatre. Shay. Stratton, Clarence. Producing in Little Theatres. Holt. $2. University of Wisconsin, Gertrude Johnson. Choosing a Play. Wise, Claude Merton. Dramatics for School and Cee ( Bibliographies include—Collections of one-act plays, Collections of full- -evening plays, Biblical plays, Pageants and Masques, Book list for dramatization in school work, Plays for reading and presentation, and a general list of useful books.) 1923. D. Appleton and Company. $3. PLAYS FOR OUT-DOOR THEATRES DIRECTORY OF PUBLISHERS Appleton: D. Appleton and Company, New York and London. Arens: Egmont, Washington Square Book Shop, 27 W. 8th St., N.Y. Baker: Walter H. Baker, 5 Hamilton Place, Boston, Mass. pare Richard G. Badger (The Gorham Press), 100 Charles Street, Boston, ass. Brentano’s, Fifth Avenue & 27th Street, N.Y. Century: Century Company, 353 Fourth Avenue, N.Y. Dufheld: Duffield and Company, 211 E. 19th Street, N.Y. Dutton: E. P. Dutton & Company, 681 Fifth Ave., N.Y. Fitzgerald Publishing Corporation, 18 Vesey Street, N.Y. 47 Workshop, Harvard University Press, Cambridge, Mass. French: Samuel French, 28 W. 38th Street, N.Y. Ginn: Ginn & Company, 15 Ashburton Place, Boston; 2301-2311 Prairie Ave., Chicago; 70 Fifth Avenue, New York. Harper: Harper & Brothers, 49 E. 33rd Street, N.Y. Harcourt: Harcourt Brace & Company, 383 Madison Avenue, N.Y. SOO eens Holt & Company, 19 W. 44th Street, N.Y.; 2451 Prairie Avenue, icago. Houghton: Houghton Mifflin Company, 4 Park Street, Boston; 16 E. 4oth St., N.Y.; 2451-2459 Prairie Ave., Chicago; 612 Howard St., San Francisco, Cal. Huebsch: B. W. Huebsch, 116 W. 13th Street, N.Y. Kennerley: Mitchell Kennerley, 489 Park Ave., N.Y. Knopf: Alfred A. Knopf, 220 W. 42nd Street, N. Y. Lane: John Lane Company (American business has been taken over by Dodd Mead & Company, Fourth Ave. and 30th Street, N.Y.) LeRoy Phillips, Publisher, 124 Chestnut Street, Boston, Mass. Little: Little, Brown and Company, 34 Beacon Street, Boston. Luce: John W. Luce & Company, 212 Summer Street, Boston, Mass. Macmillan: The Macmillan Company, 64 Fifth Ave., N.Y. Mosher: T. B. Mosher, Portland, Maine. Norman, Remington Company, 308 N. Charles Street, Baltimore, Md. Oxford University Press (American Branch), 35 W. 32nd Street, N.Y. Routledge: G. Routledge and Sons, 68-74 Carter Lane, Ludgate Hill, London, E ei Scribner: Charles Scribner’s Sons, 597 Fifth Avenue, N.Y.; 320 E. a2tist- St., Chicago. Shay: Frank Shay, 4 Christopher Street, N.Y. Sidgwick and Jackson, 3 Adam Street, Adelphi, London W.C. Smith Elder & Company, 15 Waterloo Place, London, S.W. Stage Guild, Railway Exchange Bldg., Chicago. Stewart, Kidd Company business has been taken over by D. Appleton and Com- pany. Stokes: F. A. Stokes Company, 443-449 Fourth Ave., N.Y. Theatre Arts Magazine, 7 E. 42nd Street, N.Y. Washington Square Book Shop, 27 W. 8th Street, N.Y. Werner: E. S. Werner & Company, 11 E. 14th Street, N.Y. White: James T. White & Company, 70 Fifth Avenue, N.Y. Yale University Press, 143 Elm Street, New Haven, Conn.; 522 Fifth Ave., N.Y. ig 3 645619 0112 077