EASTERN ILLINOIS UNIVERSITY Z5781.M12 C001 MM 2211 130672273 UNIVERSITT OF IOWA EXTENSION BULLETIN BULLETIN NO. 78 DECEMBER 1, 1921 library ST\rr S J^J i ILLINOIS Vm C . CHEf?s college C n r\ n! I- 9 T ft m h hi 6 , C ft c ffe PLAYS FOR HIGH SCHOOLS PUBLISHED BY THE UNIVERSITY IOWA CITY, IOWA Issued semi-monthly throughout the year. Entered at the post office at Iowa Ciy, Iowa, as second class matter. Acceptance for mailing at special rate of postage provided for in section 1103, Act of October 3, 1917, authorized on July 3, 1918. BOOTH L IBP ARY EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS EXTENSION BULLETINS The Extension Division has issued the following pamphlets, copies of which may be obtained, free of charge, upon application. Similar papers will be published from time to time, as material is available. Numbers marked with an asterisk (*) are out of print. Preliminary announcement * 1. Street lighting * 2. Bate making for public utilities * 3. Engineering as a profession 4. Store lighting * 5. Economy of time in arithmetic * 6. Vocational guidance in high schools * 7. Ninth annual announcement of the Iowa High School Debating League * 8. Water works statistics of thirty-eight cities of Iowa * 9. Work, wages, and schooling of eight hundred Iowa boys *10. Principles of advertising *11. Hygienic conditions in Iowa schools *12. Tenth annual announcement of the Iowa High School Debating League *13. Employers welfare work in Ioioa *14. Iowa handbook on child welfare 15. Present attainment in handwriting of school children in Iowa *16. Child welfare surveys and bibliography *17. Correspondence courses *18. High school plays 19. Electric power transmission in Iowa *20. Culture and women’s clubs *21. Loan collections of lantern slides *22. Municipal accounting *23. Eleventh annual announcement of the Iowa High School Debating League 24. Arithmetical skill of Iowa school children 25. Standards Qf measuring junior high schools 26. The social survey *27. The Iowa desk book of newspaper practices *28. Twelfth annual announcement of the Iowa High School Debating League *29. German submarine warfare against the United States, 1915-1917 *30. Newspaper English 31. The Monroe Doctrine and the war *32. The conservation of sugar *33. The Fifth Annual Eecreational Camp for Girls *34. Iowa Training Camp for Scoutmasters *35. Conference for Eeligious Workers *36. The overdraft evil as illustrated by conditions in Iowa banks 37. Survey of the high schools of Des Moines *38. Thirteenth annual announcement of the Iowa High School Debating League 39. Loan collections of lantern slides 40. Iowa Patriotic League bibliography 41. Survey of the school buildings of Muscatine *42. Parent-teacher associations in Iowa *43. Second grade spelling scale *44. High school plays *45. Training Camp for Scoutmasters *46. Correspondence courses *47. Conference for Eeligious Workers 48. Iowa Patriotic League bibliography *49. Conference for Women "50. Our centrifugal society (Continued on third page of cover) THE STATE UNIVERSITY OF IOWA IOWA CITY Extension Division Bulletin No. 7 8 O. E. KLINGAMAN, M. A., Editor PLAYS FOR HIGH SCHOOLS BY Edward C. Mabie PUBLISHED BY THE UNIVERSITY, IOWA CITY 7 . S78I • MIL CONTENTS introduction.. 3 Books for the Teacher-Director. 8 One Act Plays.-. 10 Long Plays.. d.s. 18 Collections of Plays for the Library.:. -...-.l. 21 Publishers and Agents .... c .. T i.......J --- 35 Costume Houses.:.s. -2.Jl-j.ji 36 Copyright, 1921, by Edward C. Mabie PLAYS FOR HIGH SCHOOLS Throughout the country increasing attention is being given to school and community plays. Teachers and school administrators are recognizing the educational values in the dramatic arts and are hastening to direct the work in ways which will yield greatest returns. Whether the work be conducted as an outside activity or in the classroom, if it be properly supervised it can be made a means of developing personality and power of expression through speech and action. As a method of supplementing the classroom work, it does much to make effective, vital, and interesting, the study of dramatic literature. It provides also another channel through which the high school can render a service to its community by producing good plays not offered in the commercial theatre. It affords a means of building an appreciation for the best and the artistic things of the theatre and provides a profitable recreational activity. High school students of to-day 'will be an influential part of the amusement-seeking public of to-morrow. What an opportunity the direction of high school dramatics gives to the teacher-director to influence the kind of entertainment they will demand of the theatre! It is an opportunity also to counteract, in part at least, the effect of some phases of the “movies.” One of the most important problems connected with high school dramatics is the selection of plays for presentation. To aid in the finding of suitable material, this bulletin has been prepared. Plays produced by high schools should have artistic and literary values. In these busy times, when dozens of new interests are being pressed in upon the high schools, the spending of time of teachers and pupils upon plays of no literary value is difficult to justify. Plays with literary and artistic values can by careful production be made to yield great satisfaction and enjoyment to pupils, teachers, and community. Such plays can be found with elements which will appeal to various types of audiences. The burden of proof is upon the director who tries to justify the selection of a poor play by the statement that a good play will not “go” with the community. 3 4 UNIVERSITY OF IOWA EXTENSION BULLETIN The school should hold to its educational ideals in recreational activities as well as in courses of study. Most of the plays in this bulletin have been chosen because they have values which will make profitable the time and effort spent in their production. Some teachers may feel it necessary to compromise with what seems to be the demand of the audience. To assist such teachers, a number of plays which have no special literary merit but which afford wholesome fun for a community frolic are included. Such plays have been designated in this bulletin by statements “of no literary value” or “of little literary value.” High schools will profit by the presentation of plays and scenes from Shakespeare more frequently. The commercial and pro¬ fessional theatre in Iowa communities rarely offers such pro¬ ductions. Strolling players like the Coburns and the Devereux serve too few communities and too seldom. General knowledge of the acted Shakespeare is limited to a few facts about great players. The beauty, poetry, the joyful laughter of the mass of Shakes¬ peare’s dramatic material is almost never offered on the stage in our small towns and cities. One is driven to the conclusion that if Shakespeare plays are to be seen at all, they must be produced by school and community players. If we approach the amateur production of Shakespeare, emphasizing not elaborate production, not expecting great acting, but hoping to secure through the weeks of rehearsal and the interest, comment, and discussion stimulated in the school and in the community, a finer appreciation for the comedy and fun, the beauty and the artistry of the literature,—if we approach the presentation of a Shakespeare play with these aims, we will find ample rewards for the energy expended. A number of Shakespeare plays and some cuttings suitable for high schools are suggested in this bulletin. One-act plays offer attractive opportunities for high school players and are especially recommended for use in small high schools. Small high schools, handicapped by cramped quarters, lack of equipment, insufficient funds to pay large royalty charges frequently demanded, are often forced to accept poor plays which bear no royalty. The increase in the number of excellent one-act plays produced during the last ten years has offered a happy way out of this difficulty. More than fifty good one-act plays, which are now available for high schools at very small royalty or for no PLAYS FOR HIGH SCHOOLS 5 royalty at all, are listed in this bulletin. Two or three presented in one evening make an excellent program. Many of these can be presented with very meagre equipment. In the more general use of one-act plays lies the solution of many of the difficulties of dramatic work in the small high schools. A list of books covering many phases of high school dramatics is also included. Every book listed would be a useful addition to the teacher’s private library and to the library of the school. Teachers will also find suggestive material in the following periodicals: The Drama, published monthly for the Drama' League of America, 59 E. Van Buren St., Chicago, Ill. Theatre Arts Magazine, published quarterly at 7 E. 42d St., New York, N. Y. Theatre Magazine, published monthly at 6 E. 39th St., New York City. The Quarterly Journal of Speech Education, George Banta Pub¬ lishing Co., Menasha, Wis. ' The English Journal, University of Chicago Press, Chicago, Ill. THE HIGH SCHOOL AND COMMUNITY DRAMA High schools in Iowa have an excellent opportunity to render a service to their local communities. Citizens of the community through parent-teacher associations can do much to support and improve the dramatic work in the high schools. The school by presenting good plays, plays which the commercial theatre does not offer, can make a contribution to the recreational, social, artistic, and educational activities of the people of its town or city. Parent-teacher associations are in an especially advantageous posi¬ tion to improve dramatics in the high schools. These associations can cooperate with teachers and principals to provide suitable equipment. They can organize the community and, perhaps with the cooperation of the Drama League of America, assure the high schools an audience for good plays which the high schools present. With an audience paying a small admission fee, there will be funds to purchase equipment for the further improvement of dramatic work. One excellent way to provide money for securing stage equipment is to establish a “High School Little Theatre Fund.” 6 UNIVERSITY OF IOWA EXTENSION BULLETIN From profits of three or four plays most high schools could pur¬ chase a considerable amount of stage equipment. Too frequently the profits from plays are used to pay expenses of athletic teams or for odds and ends. In schools which have inadequate stages the profits from plays can be most profitably invested in the “High School Little Theatre Fund.” Such cooperation between school and community through the high school’s Little Theatre would be mutually advantageous. In bringing it about the parent-teacher associations can do very effective work. Several organizations will be glad to aid members of parent- teacher associations to organize community and school dramatics. The Extension Division and the Department of Speech of the Uni¬ versity offer assistance in the selection of plays, the building and equipment of stages, and the organization of the activity. The Drama League of America, with its headquarters at 59 East Van Buren Street, Chicago, Illinois, will be glad to cooperate in or¬ ganizing the citizens of the community. December 28 of this year marks the seventy-fifth anniversary of the admission of Iowa to statehood, for Iowa became a state December 28, 1846. The occasion offers an unusual opportunity to teach lessons of citizenship and patriotism in the schools; to bring schools and community together to celebrate the event by community drama and pageantry. Iowa’s history has been marked by great dramatic episodes, and characterized by traditions and ideals, excellent raw material for historic pageants. Through the State Historical Society of Iowa this material is easily available. Schools and communities are urged to plan community celebrations to be given next spring. The Extension Division will be glad to cooperate by furnishing information about pageantry. Letters requesting information on any of these matters may be addressed to the Extension Division, University of Iowa, Iowa City, Iowa. ROYALTIES In some instances royalty charges on the plays listed have been indicated in this bulletin. In all cases teachers and others who desire to produce the plays listed should ascertain facts about royalty charges by writing to the publisher, author, or agent in¬ dicated. Addresses of publishers and agents are listed on the last page of this bulletin. PLAYS FOR HIGH SCHOOLS 7 Federal statutes which apply to copyrighted dramatic material are as follows: Section 4966 —Any person publicly performing or representing any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages therefor, such damages in all cases to be assessed at such sum, not less than one hundred dollars for the first, and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction be imprisoned for a period not exceeding one year.— U. S. Revised Statutes, Title 60, Chap. 3. Section 28 —That any person who wilfully or for profit shall infringe any copyright secured by this act, or who shall knowingly and wilfullly aid or abet such infringement, shall be deemed guilty of a misdemeanor, and upon con¬ viction shall be punished by imprisonment for not exceeding one year, or by a fine of not less than one hundred nor more than one thousand dollars, or both, in the discretion of the court .—Act of March 4, 1909. PLAY LOANING SERVICE This bulletin aims to present sufficient information about each play to enable the principal, teacher, or director to choose with some degree of certainty the plays best suited to his particular school. In many cases it will be found desirable to secure copies of the play for examination. Copies can be secured direct from the publishers at prices ranging from twenty-five cents to a dollar each. The library of the University has copies of the plays, listed, which will be loaned for short periods. Any superintendent or principal of an Iowa high school may secure, for examination, from one to three plays at a time, thus saving the expense of purchasing those which may prove unsuitable and economizing time. Such plays may be secured more quickly from Iowa City than from New York or Chicago. When writing for plays , a list of ten titles , in the order of preference , should he submitted. If some of the copies are out of the library at the time, at least two or three plays will be available. It is recommended that the work of selecting the school plays be begun early in the fall. This will allow plenty of time for reading, and selection may be made without the usual rush, which occurs when the selection is delayed until a few weeks before the per¬ formance. Superintendents or principals ordering plays will be held responsible for postage both ways and for the return of the bor¬ rowed plays in undamaged condition within seven days after their 8 UNIVERSITY OF IOWA EXTENSION BULLETIN receipt. Requests for plays should he addressed to the Librarian, University of Iowa, Iowa City. Superintendents will find that by adding to the school library a few of the collections of plays listed herein, many copies of actable plays, especially of the one-act plays, will be secured. This will make a body of good material ready at hand for use on short notice. Several of these volumes which contain a large number of plays can be secured at small cost. BOOKS FOR THE TEACHER-DIRECTOR Clark, Barrett H., How to Produce Amateur Plays. Little, 1917. A simple and practical small manual for those who have little or no knowl¬ edge of producing plays. Each question and problem is treated in its natural order, as indicated by the chapter headings; choosing the play, organization, choosing the cast, rehearsing, the stage, lighting, scenery and costumes, list of plays, copyright, royalty, and make-up. This book will help especially the teacher-director of the very small high school who does not have access to the entire group of books here listed. Curtis, Elnora Whitman, The Dramatic Instinct in Education. Houghton, 1914. A good discussion of the larger educational values of dramatic interpreta¬ tion and presentation. It contains much thought-provoking material relative to the theatre-going of children and to dramatic work in schools and colleges, with chapters on play, dancing, story telling, moving pictures, the puppet play, and pageantry. The author believes that the aim of dramatic work in the schools should be to develop the individual and that the production itself is secondary. The book presents a sound point of view for those interested in educational dramatic productions. It contains an introduction by Dr. G. Stanley Hall. Johnson, Gertrude E., Choosing a Play (Revised edition.) Century, 1920. This book furnishes a classified list of plays which is of great assistance in the finding of material for amateur production. To the revised edition have been added chapters which contain many helpful suggestions regarding the problems of play presentation. Mackay, Constance D'Arcy, Costumes and Scenery for Amateurs . Holt, 1915. To present methods of making a series of costumes and scene sets for amateur plays and pageants is the aim of this book. Plans and designs cover “the range of the historical play, the folk play, the fairy play, and the play of fantasy .' 9 For the high school teacher and director whose hall or stage is small and inadequately equipped, the book has many suggestions which can be realized with the aid of energetic boys and girls. The book presents, with the scenes and costumes, full descriptions of material, construction, and color, and each costume and scene is made to serve as many uses as possible. Butterick patterns may be obtained for many of the costumes. The scenes can readily be adapted to school stages. Methods of costuming and of staging suggested are practical, simple, inexpensive, and appropriate. Mackay, Constance D'Arcy, The Little Theatre in the United States. Holt, 1917. This book is a survey of the so-called “Little Theatre Movement" in the PLAYS FOR HIGH SCHOOLS 9 United States. It is an inspiring account of things accomplished by amateur and community players. The book contains descriptions of about fifty Little Theatres and notes on their achievements, policies, repertoires, methods of production, and management. It is valuable to the teacher-director especially for its accounts of ways in which problems of staging and costuming have been solved, inexpensively and with artistic results, under a wide variety of restricting conditions. It is helpful also because it contains notes on one-act plays and programs which have been produced successfully by amateurs. Mitchell, Roy, Shakespeare for Community Flayers. Dutton, 1919. This is a book written for the teacher-director on the stage presentation of Shakespeare. It is written for teachers who are “ using Shakespeare plays for the twofold purpose of developing powers of expression in their pupils, and of inculcating a real love for our finest dramatic literature. ’ ’ No previous experience on the part of the director has been taken for granted; consequently the descriptions and suggestions are explicit and detailed. However, the book is not too detailed and covers the topics of choosing the play or scenes from the play, organization, rehearsal, stage-setting, furniture and accessories, costumes, lighting, make-up, and music in such a way as to make it an ex¬ cellent handbook on dramatic presentation. The point of view of the author is indicated by the following statements from the introductory chapter: “When we come to the Shakespeare plays, the cornerstone of English liter¬ ature, the absurdities of eye-reading multiply. Here is a series of memoranda of lines to be spoken by certain actors who belonged to Shakespeare's com¬ pany. The speaker is indicated in each case, and from time to time there is a reminder to the stage manager to have trumpets sounded or cannon dis¬ charged behind the scenes. There is no direct description of the appearance of the persons, their age, their dress, their idiosyncracies, the gesture which accompanies the speeches, the position of the persons on stage, the mood of a speech, or the mood in which it is received. A character may be calm or may be sobbing convulsively without any direct indication in the text. All of this by-play, without which the spoken words are mere fragments, are gone with Burbage and Kemp and Hemyng and Condell, and the others who first made the plays live. And still we persist in putting a Shakespeare play be¬ fore a child as if it were a novel and expect him to appreciate it. Almost as well give him a conductor’s score of Beethoven’s Ninth Symphony and ex¬ pect him to realize the splendours of the composition. “Who does not remember the dismal periods in his own school days when a class of apathetic pupils laboured with comparisons of the characters of Antonio and Bassanio, or heard without emotion or even intellectual interest what a Jewish gabardine was? At no single point did that printed page seem to touch life, even for those who had a sympathy for letters. What, there¬ fore, must it have been to the boys and girls to whom all literature was a vexation? The present situation as the commercial theatre would indicate is that those boys and girls took refuge in the word ‘high-brow’ and will hate Shakespeare all their lives. “The task before the teacher is not one of dissecting Shakespeare, but of completing him. The text should be accepted unreservedly as material for dramatic reconstruction. A few years ago this was theory; to-day it is a fact demonstrated by scores of experiments, and in many schools it has be¬ come the fundamental of instruction in dramatic literature.” For the high school teacher of English, this book on the use of the method of dramatic interpretation and presentation in the teaching of Shakespeare has much that is unusually helpful. Pichel, Irving, On Building a Theatre. Theatre Arts, 1921. This is an excellent, simple guide for clubs, community groups, and schools planning to build small theatres or to remodel auditoriums. The book dis¬ cusses such subjects as the relative size and arrangement of stage, dressing 10 UNIVERSITY OF IOWA EXTENSION BULLETIN rooms and workshops, the construction and seating requirements of the auditorium, the lighting equipment, and new methods and devices in use here and abroad. Simons, Sarah E. and Orr, Clemm Irwin, Dramatization. Selections from English classics adapted in dramatic form. Scott, 1913. This book aims ‘ ‘ to give practical suggestions for the dramatization of high school classics. The teaching experience of the authors leads them to believe that dramatization of the literature studied is one of the most successful of all devices for vitalizing the work of the English class. The book is presented to high school teachers with the hope that it may point the way to making the regular, not the holiday dramatization of literature an effective instrument in the teaching of English. ’ ’ Selections treated in the book are familiar to teachers in the secondary schools. The dramatic illustrations “are type studies and are intended as a working basis for teachers and pupils in developing similar exercises. To facilitate their use in the classroom, they are grouped, according to the usual high school English course, in four parts, one for each year respectively, and are published independently in pamphlet form expressly for the convenience of pupils.'’ The book includes a bibliography on dramatization and the following specimen dramatizations: first year,— Treasure Island, Ivanhoe, Bobin Hood Ballads, Feathertop, episodes and tableau from the Odyssey; second year,— Iliad, Last of the Mohicans, A Tale of Two Cities, David Swan, Kidnapped, The Adventure of My Aunt; third year,— Sohrab and Bustum, Silas Marner, Tales of a Wayside Inn, The Purloined Letter, A Spring Fantasy; fourth year,— Vicar of WaTcefield, Prologue to the Canterbury Tales, Idylls of the King, Henry Esmond, Comus. Stratton, Carence, Producing in Little Theatres. Holt, 1921. This is a practical and helpful book, which reflects the many successful phases of amateur and community dramatic activity. It contains chapters on organizing an amateur group, choosing the play, specimen programs, rehearsing, artistic amateur settings, creating the stage picture, costumes, make-up, light¬ ing, experimenting, and educational dramatics. It contains about seventy illustrations of amateur productions, diagrams, sketches for stage sets, and an appendix of helpful notes on one hundred one-act plays and one hundred long plays. It is written for directors of amateur dramatics, and aims to help them in developing well-balanced performances. Taylor, Emerson, Practical Stage Direction for Amateurs. Dutton, 1916. This is another concise manual which covers the problems which arise in the production of an amateur play from the time the organization decides to give a play until the close of the performance. Young, James, “Making Up.” Witmark, This is a good, practical manual on making up. It is well illustrated by diagrams and photographs and treats the making up of many character types and nationalities. The inexperienced director will find the methods here described productive of satisfactory results provided a little time is devoted to careful practice. ONE ACT PLAYS Allison’s Lad, by Beulah Marie Dix. In “Allison’s Lad and Other Martial Interludes.” Holt. Also in Margaret C. Mayorga’s “Representative One-Act Plays by American Authors.” Little. This play is a dramatic episode in the village of Faringford, England, at the close of the second civil war, autumn, 1648. Its story is the proving of the courage of a gallant young gentleman volunteer. The players are six men: Col. Sir William Strickland, Captain George Bowyer, and Lieutenant Robert PLAYS FOR HIGH SCHOOLS 11 Goring of the Cavalier Party; Favis Hopton and Tom Winwood, Gentlemen Volunteers, and Col. John Drummond of the Roundhead party, all in costumes of the period. The scene is laid at midnight in an upper chamber of the village inn. Permission for performance must be secured from the author, care of Holt. America Passes By, by Kenneth Andrews. In “ Plays of The Harvard Dra¬ matic Club. ” Brentano, or Baker. This is an interesting love comedy for two men and two women, a young man and his fiancee, a young husband and his wife. The setting is the living room of a small fiat. Permission for performance must be secured from 47 Workshop. As Good as Gold, by Laurence Housman. French. A quaint morality play in which St. Francis converts three robbers and a miser from their love of gold. The players are seven men: St. Francis of Assisi, Brother Juniper, a boy, three robbers and a miser. The setting can be simply arranged to represent cross-roads near a monastery. Royalty, $5 to French. Behind a Watteau Picture, by Robert Emmons Rogers. Baker. This is a delightful Columbine-Pierrot fantasy in verse. The players are twelve men and two women: a museum guide, a Watteau Marquise, a Watteau Marquis, a W’atteau poet, Columbine, the Melancholy Pierrot, Harlequin, a fat Pierrot, four Chinese lantern-bearers, two negro grave diggers, and two lutanists. The play is recommended to directors w T ho have fairly adequate stages and who wish to undertake a play which offers opportunity for artistic costuming and setting. The set is in a great gilt picture frame as if it were a painting. Scenery and costumes need not be expensive but should approxi¬ mate in color and shade the tones of a Watteau picture. Characters should wear the costumes of Watteau’s pictures. Photographs and notes on methods of production are included in the book of the play. Royalty, $10 payable to Baker. The Bogie Men, by Lady Augusta Gregory. In “New Comedies.” Putnam. A good comedy for two boys: Taig O’Harragha and Darby Melody, both chimney sweeps and both Irish. The scene is the interior of shed very easy to set. Royalty, $10 to French. The Brink of Silence, by Esther E. Galbraith. In “Representative One-Act Plays by American Authors.” Little. This play is a new and original development of an Enoch Arden situation in the form of a play for 4 men: Cole, Sir Gilbert Darton of an Antarctic expedition which never came back; Macready, his companion; Darton, his son; and Johnson, a member of young Darton’s expedition. The scene is the crude interior of a house on a rocky island far down in the Antarctic. Permission to perform must be secured from Miss Esther Galbraith, 3425 Fourteenth St., N. E. Washington, D. C. The Dear Departed, by Stanley Houghton. French. A comedy in which interest centers about the squabble over the division of an old man’s possessions by his daughters and sons-in-law. The “dear de¬ parted,” who “must have gone round to the Ring-o-Bells,” recovers from his nap and interrupts the discussions in an embarassing manner. The players are three men and three women: Abel Merryweather, an old widower, his two daughters, their husbands, and a granddaughter. The setting is a living- room. Royalty, $5 to French. Embers, by George Middleton. Holt. This is an emotional story of the renewal of a jilted young man’s ambition 12 UNIVERSITY OF IOWA EXTENSION BULLETIN through the influence and example of the men who cherished an ideal love for the young man's mother. The characters are: Jasper Harrington, Mrs. Ruth Harrington, his mother, and the Hon. Mason King, a diplomat. The setting is the living-room of a modern home. A Fan and Two Candlesticks, by Mary Macmillan. In “Short Plays." Stewart. This is a charming story of the betrothal of a coquette at an old-fashioned party on St. Valentine's night. The players are: Ralph and Hugh, two suitors, and Nancy, a pretty girl of eighteen. The scene is a room with curtained entrance. The play offers unusual opportunities for attractive setting with Georgian mahogany furniture and costumes of the eighteenth century, but it can be changed to meet exigencies. No royalty. The Florist Shop, by Winifred Hawkbridge. In “Plays of the Harvard Dra¬ matic Club." Brentano. This is a romantic comedy about a too sympathetic and gossipy florist’s bookkeeper. The players are three men and two women: Maude, the book¬ keeper, young and fairly good-looking; Henry, an ordinary tough office-boy, who gives the impression of being in long trousers for the first time; Slovsky, the middle-aged Jewish proprietor of the shop; Miss Wells, a timid, talkative spinster; and Mr. Jackson, baldish, pale, with sandy mustache and solemn, pompous manner. The scene is the interior of the florist's shop, with a dis¬ play of flowers. Permission for performance must be secured from American Play Co. Fourteen, by Alice Gerstenberg. In “The Drama" for February, 1920. Swartout. This is a delightful modern comedy about a dinner for fourteen. The players are: Mrs. Horace Pringle, a woman of fashion; Elaine, her debutante daughter; Dunham, the butler. The scene is the dining room of a New York residence. French without a Master, by Tristan Bernard. Barrett H. Clark's translation of “L 'Anglais tel qu'on le parle." French. This is a farce about an interpreter who pretends to speak French. The players are five men and two women: Percy, the interpreter; Jean-Jacques Chanoine-Malherbe, Seraphine’s father; Gerald Forsythe, a young English¬ man; Mile. Seraphine Chanoine-Malherbe; a police officer, a hotel keeper, and the cashier, who is an Englishwoman about twenty-five. The scene is the office of a small London hotel. No royalty. The Glittenng Gate, by Lord Dunsany. In “Five Plays." Kennerley. Jim and Bill, lately burglars and both dead, discovered in a weird and lonely place just outside the gate of Heaven, struggle in vain to free them¬ selves from the never ending void. Requires two good players and offers opportunity for simple yet artistic setting and lighting. Royalty, $10 pay¬ able to Swartout. The Golden Doom, by Lord Dunsany. In “Five Plays." Kennerley. This is a charming symbolistic play. The characters, ten or more in brilliant costumes, are: the king, his chamberlain, three prophets, two sentries, a stranger, spies, attendants, and the boy and the girl. The scene is outside the king's great door in Zericon before the fall of Babylon. The play offers good opportunity for high schools interested in undertaking work in artistic and colorful production on a small scale. Royalty, $15 payable to Swartout. A Good Woman, by Arnold Bennett. In “Polite Farces." Doran. This is a lively burlesque on the love triangle. The players are two men and a woman: James Brett, a clerk in the war office, age 33; Gerald O'Mara, PLAYS FOR HIGH SCHOOLS 13 a civil engineer, age 24; and Rosamund Fife, a spinster and a lecturer on cookery, age 28. The scene is a plainly furnished drawing room in Rosa¬ mund’s flat. Arnold Bennett himself says, ‘‘The only apparatus necessary to the presentation of the pieces is ordinary costume, ordinary furniture, and a single door for entrance and exit.” The Green Coat, by Alfred De Musset and Emile Augier. French. This is a lively comic episode in the lives of two young artists in Paris. The players are: Raoul and Henri, the artists; Marguerite, a little seamstress, their neighbor; Munius, an old dishonest clothes dealer, who is beaten at his own tricks. The set is a studio. The costumes should be mid-nineteenth century French, but an approximation to this is English mid-Victorian. No royalty required of amateurs. The Groove, by George Middleton. In “Possession and Other Plays.” Holt. This is a charming story of an older sister’s sacrifice for a younger sister. The players are two girls, and the setting, a girl’s cozy room, can be very easily arranged. Happiness, by J. Hartley Manners. Dodd. This is a charming play, the theme of which is in Jenny’s line, “Do ye know what I think happiness is really? Lookin’ forward.” The players are two men and two women: Shabby Jenny; Mrs. Chrystal-Pole, a charming and rich young widow of twenty-seven; her father, Fritz Scowcraft, a burly, genial, hearty man of fifty-five; and Philip Candos, a scrupulously dressed man of thirty-five, bored in manner and disillusioned in outlook. The set is a com¬ fortably furnished room of a modern apartment house. Royalty for one-act play, $10 payable to French. Available as three-act play, royalty, $25. Her Tongue, by Henry Arthur Jones. In “The Theatre of Ideas.” Doran. This is a lively comedy about a talkative society girl. The players are two men and two women: Miss Patty Hanslope, about thirty; Mrs. Minnie Bracy, her cousin; Walter Scobell, a rich Argentine planter; Fred Bracy, Minnie’s husband, and a waiter. The scene is a private sitting room furnished in an old-fashioned, rather dingy, comfortable way. Royalty, $10 payable to French. The Hour Glass, by William Butler Yeats. In “The Hour Glass.” Macmillan. A morality play of literary value, about a wise man’s salvation. The play¬ ers are four men, two women, and two children: a wise man who teaches people to disbelieve, some pupils who have learned to disbelieve, the wise man’s wife, his two children, an angel, and a fool who dreams but believes in the life hereafter. The setting is simple, there is opportunity for use of a few simple costumes, and only one bit of unusual property is required, an hour¬ glass to mark the wise man’s last hour. Royalty, $10 payable to French. Hyacinth Halvey, by Lady Augusta Gregory. In ‘ ‘ Seven Short Plays. ’ ’ Luce. An unusually good comedy about one Hyacinth Halvey, who labors in vain to rid himself of his good reputation among the Irish villagers. The players are four men and two women, the others being James Quirke, a butcher, Fardy Farrell, a telegraph boy, Sergeant Carden, Mrs. Delane, the postmistress, and Miss Joyce, the priest’s housekeeper. The scene, easily set, is outside the post-office in the little town of Cloon. Royalty, $5 payable to French. Indian Summer, by Meilhac and Ludovic Halevy. Barrett H. Clark’s trans¬ lation of “L’Ete de la Saint-Martin.” French. This is an interesting little play in which Adrienne, a pretty young woman of twenty-three, and Noel, an attractive young man to whom she has been married secretly, win the approval of Noel’s uncle Briqueville, a gray-haired man of sixty. One other player is required, Madam Lebreton, an elderly house¬ keeper. The set is the parlor in Briqueville’s home in a small town in Tour- 14 UNIVERSITY OF IOWA EXTENSION BULLETIN aine, France. The costumes should be mid-nineteenth century French. No royalty. In the Zone , by Eugene G. O'Neill. In “The Moon of the Caribbees." Boni. Also in Margaret Mayorga's “Representative One-Act Plays by American Authors.'' Little. This play is a dramatic episode in the lives of merchant sailors on a British tramp steamer during the World War in the spring of 1915. The players, eight men, are: Smitty, the “Duke," his face is refined and handsome in a weak way; Davis, middle-aged; Olson, middle-aged and a short stocky Swede; Scotty, just past twenty, and thin and wiry; Ivan, in the thirties, hulking and awkward; Yank, twenty-eight, rather good looking in a tough sort of way; Driscoll, thirty, a powerfully built Irishman with a battered, good-natured face; and Corky, fifty, a wizened runt of a man. The scene, which can be arranged with a little ingenuity, is the seamen's forecastle. Permission for performance must be secured from Mr. Eugene O'Neill, Provincetown, Massa¬ chusetts. Royalty, $15 payable to the author. I'm Going , by Tristan Bernard. Barrett H. Clark's translation of “Je vais m 'en aller. ’' French. This is an amusing French comedy of a young married couple's quarrel and reconciliation. The players are Henri and Jeanne, his wife. The scene is a small room in their apartment. No royalty. Joint Owners in Spain, by Alice Brown. Baker. A comedy in which two quarrelsome inmates of an old ladies' home settle their troubles in an amusing manner. The play offers good character parts for four girls in the director and three inmates of the home. The setting is a comfortable room. Royalty, $5 payable to Baker. The Land of Heart’s Desire, by William Butler Yeats. Baker. A poetic Irish fairy love play of literary quality. The players are three men and three women: Maurten Bruin, a peasant, Shawn Bruin, his son; Bridget Bruin, Maurteen's wife; Marie Bruin, their daughter-in-law; Father Hart, a priest; and a child of the fairies. The setting, the kitchen of an Irish peasant cottage, can be adequately suggested by simple means such as those discussed in Miss Constance Mackay’s “Costumes and Scenery for Amateurs.'' No royalty. The Lost Silk Hat, by Lord Dunsany. In “Five Plays." Little. This is a clever comedy about a reconciliation of a lover and his lady, brought about because of a lost silk hat. The players are five men: the caller, a quarreling lover who forgot his hat; the laborer who is suspicious; the clerk who won't be accommodating; the poet who loves romance; and the policeman who arrives in time to hear the duet which announces the reconciliation of the lover with his lady who is heard but not seen on the stage. The scene is a door-step, an exterior very easy to set. Royalty, $10 payable to Swartout. The Maker of Dreams, by Oliphant Down. French. A charming Pierrot-Pierrette fantasy is this little play about love and dreams. The players are two men and one woman: Pierrot and Pierrette, of course, and the Maker of Dreams, all in their usual costumes. The set is a room in a cottage, with meagre furnishings but a cheery fireplace. Royalty, $8 payable to French. A Marriage Has Been Arranged, by Alfred Sutro. French. In “Five Little Plays." Brentano. A clever little play for two persons about a proposal by a self-made million¬ aire of forty-two to an oldest daughter, in her ninth season, still unmarried. PLAYS FOR HIGH SCHOOLS 15 The set is a corner of a conservatory, unusually easy to provide. Royalty, $5 payable to French. Miss Civilisation, by Richard Harding Davis. French. This is an exciting play in which a clever girl outwits and brings about the capture of three crooks. Four men and one woman are required: Uncle Joseph Hatch, alias “Gentleman Joe”; Brick Meakin, alias “Reddy the Kid”; Harry Hayes, alias “Grand Stand Harry”; Captain Lucas, chief of police, and the girl, Alice Gardner. The scene is the dining room of the Gardner home on Long Island. No royalty. The Medicine Show, by Stuart Walker. In “Portmanteau Plays.” Stewart. One of Walker’s interludes, this is a play delightfully suited to effective presentation under the limitations of the small high school stage. The players are three men: Lut’er, Giz, and Dr. Stev’n Yandexter. The scene is on the south bank of the Ohio River. An old soap box, a log, and a large stone are visible before the curtain. The river is supposed to flow between the stage and the audience. Permission from Walker. A Merry Death, by Nicholas Evreinov. In “Five Russian Plays” (C. E. Bechhofer) Dutton. This is a delightful Russian harlequinade about the merry death of Harle¬ quin. With omission of a few lines and with easily-made fanciful costumes and set, it becomes very effective. The players are: Harlequin, Pierrot, Columbine, a Doctor, and Death. A photograph of the production of this play by the Washington Square Players will be found in Constance D’Arcy Mackay’s “The Little Theatre in the United States.” Modesty, by Paul Hervieu. Barrett H. Clark’s translation. French. This is a lively and witty comedy in which Jacques and Albert propose to Henriette, a changeable coquette, who makes final decision for Jacques. The players wear evening dress. The set is the parlor in Henriette’s apartment in Paris. No royalty. The Neighbours, by Zona Gale. In “Wisconsin Plays,” edited by Thomas H. Dickinson. Huebsch. Neighborliness is the theme of this play of American country life. The “folks” of the play are two men and six women: Grandma, Mis’ Diantha Abel, Ezra Williams, Peter, Inez, Mis ’ Elmira Moran, Mis ’ Trot, all neighborly and willing to do a bit to help Mis’ Carry Ellsworth. The scene is a kitchen with ironing board, clotlies-bars, wood-bottomed chairs, and other evidences of a busy ironing day. An easily paid royalty,—organize a neighborhood group or plant a fruit tree and write Zona Gale about it. Nevertheless, by Stuart Walker. In “Portmanteau Plays.” Stewart. One of Walker’s whimsical interludes to be played before the curtain on the forestage arranged with two chairs, a stool, a table, and a lamp, to suggest a room which belongs to very young people. The players are three: a girl, a boy, and a burglar. Excellent for small high schools. Permission from Walker. A Night at an Inn, by Lord Dunsany. In ‘ ‘ Plays of Gods and Men. ’ ’ Luce. This is an intensely interesting story of the pursuit and recovery of ruby eye stolen from an Indian idol by a “dilapidated gentleman” and his three merchant sailor pals. The players are eight men, the dilapidated gentleman, his three friends, three priests of Klesh in the costumes of natives of India and the idol Klesh himself in grotesque mask and costume. The setting, easily arranged is a room in an inn. Royalty, $10 payable to Swartout. 16 UNIVERSITY OF IOWA EXTENSION BULLETIN Overtones, by Alice Gerstenberg. In “Washington Square Plays.” Doubleday. This play is a clever satire on the characters of two society women, each represented by her cultured and hei primitive self. The players are four women: Harriet and Margaret, cultured women, and Hetty and Maggie, their primitive selves. The scene is Harriet’s fashionable living room. A tea service and an attractive cabinet or lamp are required. Royalty, $10 payable to Swartout. Playgoers, by Arthur Wing Pinero. French. This is an amusing episode in the life of a young wife who tries in vain to make playgoers of her servants. The players, two men and six women, are the master, the mistress, the cook, the kitchenmaid, the house maid, the useful maid, and the odd man. The set is a morning room in a house in London. Royalty, $5 payable to French. The Post-Scriptum, by Emile Augier. Barrett H. Clark’s translation. French. This is an interesting little French comedy in which M. de Lancy proposes to Mme. de Verliere and finds himself in an amusing dispute about love, from which he emerges the victor, when the Madame herself fails in her own test. One other player, a maid, is required. The set is an easily arranged living- room. No royalty. A Pot of Broth, by William Butler Yeats. In “The Hour Glass and Other Plays. ’ ’ Macmillan. This is an unusually good Irish comedy in which a beggarman uses his wits to fill his stomach at the home of Sibley Coneely, in whose heart “there’s no more pity . . . than there’s a soul in a dog.” One other man is needed to play John Coneely, Sibley’s husband. The scene, a cottage kitchen, can be easily arranged. The Bising of the Moon, by Lady Augusta Gregory. In 1 1 Seven Short Plays. ’ ’ Luce. This play tells an attractive story of the escape of an Irish patriot with the aid of a police sergeant who chose between duty and love of Ireland. The players are four men: a sergeant, two policemen, and the patriot disguised as a ragged man. The simplicity of the set makes the play an excellent one for small stages. The scene is the side of a quay in an English seaport town and requires only an old barrel, a lantern, a placard, and an easily arranged effect, moonlight. Royalty, $5 payable to French. Bosalie, by Max Maurey. Barrett H. Clark’s translation. French. This is a clever farce about a stubborn maid who leads her master and mistress into embarrassment. The players are a man and two women: Mon¬ sieur Bol, Madame Bol, and Rosalie. The scene is a parlor, simply arranged. No royalty. Bosalind, by James M. Barrie. In “Half Hours.” Scribner. This is a delightful little play for two women and one man. The story centers about the charming actress who has run away from London to spend a short vacation in a cottage by the sea. The scene is the parlor of that cottage. Sam Average, by Percy Mackaye. In “Yankee Fantasies.” Duffield. Also in Margaret G. Mayorga’s “Representative One-Act Plays by American Authors. Little. This is an excellent little fantasy, with a patriotic appeal. The scene, not difficult to set, is an intrenchment in Canada, near Niagara Falls shortly be¬ fore dawn on Thanksgiving day in the year 1814. The players are three men and one woman: Joel and Andrew, discouraged soldiers; the latter’s wife, Ellen; and “Uncle” Sam Average. A photograph of the setting of this play as produced by the Dramatic Club of the College of William and Mary, PLAYS FOR HIGH SCHOOLS 17 Williamsburg, Va., will be found on Page 129 of The Drama for January, 1921. Permission from the author. Six Who Pass While the Lentils Boil , by Stuart Walker. In ‘ * Portmantean Plays.” Stewart. Also in Margaret G. Mayorga's “Representative One-Act Plays by American Authors.” Little. This is a delightfully fantastic comedy for ten players, seven boys and three girls: the Prologue and the Device-Bearer; a Queen who was fleeing from decapitation; Sir Davie Little Boy, who wouldn't break a promise for a ‘ 1 pail of gold, two finger rings, and a seat at the feet of the king ”; a dainty Butterfly, a Mime, a Milkmaid, a Blindman, and a Ballad Singer all on the way to the decapitation; and the Dreadful Headsman himself. The scene is a kitchen and the period is when you will,—altogether adaptable to a director's limitations and desires as to stage and costume. Permission to perform must be secured from Walker. Spreading the News, by Lady Augusta Gregory. In “Seven Short Plays.” Luce. This is a lively Irish comedy about the growth of village gossip. The play¬ ers are seven men and three women: Jack Smith and Bartley Fallon, who gossips said had a falling out; Shawn Early, Tim Casey, Mrs. Tarpy, Mrs. Tully and James Ryan, who spread the news until Bartley was accused of murder; Mrs. Fallon, a policeman, and a magistrate. The setting is an apple- stall on the outskirts of the village fair. Royalty, $5 payable to French. The Tents of the Arabs, by 1 LorcL Pnnsany. In “Plays of Gods and Men.” Luce. , , C' f ' This is a beaut if iil’ poetic 'storyof ate Arab ’king-whd deserts his kingdom for the desert and his gypsy-love. The players aye five men and one woman: an Arab king, his,chamberlain and a.notable, two camel-drivers, and Eznarza, a gypsy of the desert. Th« scene outside Hie gate of a city on the edge of the desert, can Be .arranged* teery simply. It offers excellent opportunity for easy and attractive^ lighting. -The costumes are those of Arabs. This play should most certainly be inekided in programs of high schools which are mak¬ ing a beginning in the use of artistic costumes, colors, and lights. Royalty, $15 payable’-to. Swartout. The Twelve Pound Look, by James M. Barrie. In “Half Hours.” Scribner. This is a good serious comedy for one man and two women, a plea for a certain type of woman against the selfishness of men. The set is a simple interior. Three Pills in a Bottle, by Rachel Lyman Field. In “Plays of the 47 Work¬ shop. '' Brentano. This is a fantastic little play about an unselfish little sick boy, Tony Sims, who gave away three precious pills which were to make him well. The other players in the group are three women and four men: the Widow Sims; Tony's mother; a middle-aged gentleman, his soul; a scissors grinder, his soul; a scrub woman, and her soul. The scene is a room in the Widow Sims' house with a window which looks out upon the street. Permission for per¬ formance must be secured from 47 Workshop. Royalty, $10 payable to Swartout. The Traveling Man, by Lady Augusta Gregory. In “Seven Short Plays.” Luce. This is a modern miracle play set in the kitchen of an Irish peasant cottage. The players are a mother, a child, and a ragged man. The setting can be easily arranged, for the play must be done simply to retain its tone. Royalty, $5 payable to French. — -i JuIDaC AK Y eastern Illinois universit CHARLESTON, ILLINOIS 18 UNIVERSITY OF IOWA EXTENSION BULLETIN The Trimplet, by Stuart Walker. In “Portmanteau Plays.” Stewart. This is a charming poetic fantasy which requires careful work on the part of three men and two women. The players are the Lady Bobolara, the Mar¬ quess of Strenathco, the Lady Caratina, the Baron Milton Maurice, the Person Passing By, and You in the Audience. “The time is partly then and partly now-a-days.’’ “The scene is a lonely place’’ and offers an opportunity for the exercise of the imagination of the teacher-director. Permission for per¬ formance must be secured from Walker. The Very Naked Boy, by Stuart Walker. In “Portmanteau Plays.” Stewart. This is a delightful “Interlude Before the Curtain” for three players: He, She, and Brother. The scene is half way to a proposal in a hallway with a heavily curtained doorway in the center and two chairs with a tabouret be¬ tween them. Excellent for small high schools. Permission from Walker. Where hut in America, by Oscar M. Wolf. In Margaret Mayorga’s Repre¬ sentative One-Act Plays by American Authors.” Little. This is a clever, satirical, servant-problem comedy for a man and two women: Robert Espenhayne, an energetic business man of thirty; Mollie, his attractive wife; and Hilda, the cook. The scene is a dining room. Permission for per¬ formance must be secured from the author at 105 West Monroe St., Chicago. Why the Chimes Bang, by Elizabeth Apthorp McFadden. French. This play is a dramatization in one-act of the story by Raymond McDonald Alden entitled, “Why the Chimes Rang,” published by the Bobbs-Merrill Company, Indianapolis, Ind. It makes an unusually fine Christmas play and has been successfully produced by amateur gvo.ups. , It requires as players a peasant boy, his young brother, their ipicle, an old w&man and several super- numaries as lords, ladies, a priest and a king. The scene'is the interior of a wood-chopper’s hut on the edge of a forest near a cathedral town. The book of the play contains full suggestions and pictures of simple and effective methods of staging. It has notes on 3cenery, music, lighting, costumes and properties. Royalty, when no admission charged, c $5 for £>ach performance; when an admission fee is charged, $10 for each" pbrfprmancp, payable to French. The Zone Police, by Richard Harding Davis. French.- ' \ ' - This is an interesting story of a scheme by a lieutenant cf the canal-zone police to reform his liquor-loving major. The major is tricked, into belief that he has killed a man in a drunken rage and is forced to take" the oath. The players are: the major, the lieutenant, a sergeant, and a private, four men in uniform. The set is a bare, official looking military police office on the Isthmus of Panama. Royalty, $5 payable to French. LONG PLAYS The Admirable Crichton, by James M. Barrie. Scribner. This is an unusually good four-act comedy, the plot of which is built about the impossibility of breaking down barriers between social classes in England. Walter Pritchard Eaton says that “The Admirable Crichton” is “one of the finest and most significant plays yet written in English in the twentieth century.” Six men and six women make up the cast: Lord Loam, Lord Brockelhurst, Hon. Ernest Woolley, Mr. Treherne, a clergyman; Ladies Cath¬ erine, Agatha and Mary, daughters of Lord Loam; Countess Brockelhurst; Tweeny, a kitchen-maid and several servants. Acts I and IV are interiors of the living room at Loam House, May fair. Acts II and III are an exterior and an interior on a desert island in the Pacific. They offer opportunity for ingenuity in stage setting. They can be set by using drapes. The exterior is easily possible if drapes are used. Royalty, $50 payable to French. PLAYS FOR HIGH SCHOOLS 19 Alice Sit-By-The-Fire, by James M. Barrie. Scribner. Alice Sit-By-The-Fire is the story of a woman who has lost her girlhood. In it we have “ Barrie’s April-weather manner,’’ and delicate and fanciful wisps of sentiment, of opinion, and of character. The play is in three acts and requires 4 men and 5 women as players. The principal parts are Colonel Gray; Alice Gray, his wife; Amy and Cosmo, their children; Ginevra, and Stephen Rollo, “too young to be a villain, but—all the villain we can pro¬ vide ; ’ ’ and servants. Two simply furnished, easily arranged interiors are needed. Royalty, $50 payable to French. All-of-a-Sudden Peggy, by Ernest Denny. French. This is a light popular comedy, about the impulsiveness of Peggy O’Mara, told in three acts, designated as follows: Act I, “The Suddenness of Peggy;” Act II, ‘ 1 The Suddenness of Consequences; ’ ’ Act III, ‘ 1 The Consequences of Suddenness.” Eleven players are required, six men and five women: Anthony, Lord Crackenthorpe, fellow of the Entomological Society; the Hon. Jimmy Keppel, his brother; Major Archie Phipps; Jack Menzies; Parker and Lucas, servants; Lady Crackenthorpe, Anthony’s Mother; the Hon. Millicent Keppel, his sister; the Hon. Mrs. Colquhoun; Mrs. O’Mara, and Peggy. Two easily arranged interior scenes are required. Of no literary value. Royalty, $25 payable to French. The Amazons, by Arthur Wing Pinero. Baker. This is an amusing three-act farce in which the author presents the “man¬ nish woman” idea in the lightest, gentlest spirit of satire, and in a whimsical mood of romance. “In the Tangle of Overcote Park we seem to hear distant laughing echoes from the Forest of Arden, and in Lady Noeline Belturbet and Barrington, Viscount Litterly, we fancy we recognize the descendants of Rosalind and Orlando.” The play requires seven men and five women: Barrington, Viscount Litterly; Galfred, Earl of Tweenwayes; Andre, Count de Grival; Rev. Roger Minchin; Fitton, a gamekeeper; Youatt, a servant; Orts, a poacher; Miriam, Marchioness of Castlejordan; her three daughters, the Ladies Noeline, Wilhelmina, and Thomasin; Belturbet; and “Sergeant/” Shutter. The scene is first in “The Tangle,” an overgrown corner 6f Over¬ cote Park and then in the gymnasium at Overcote Hall. Both sets are a bit difficult but they can be arranged. Royalty, $10 payable to Baker. An American Citizen, by Madeleine Lucette Ryley. French. This is a comedy in four acts about a man who falls in love with his wife. One Cruger, in order to meet his liabilities marries his cousin, an English girl, whom he does not love. The couple do not meet again until a year later. Then Cruger falls in love with his wife, discovers that she has no fortune, turns to manufacturing shoe polish, renounces his English citizenship, and comes to America to live happily. Players required are nine men and five women. The scenes are three interiors and one exterior. Of no literary value. Royalty, $25 payable to French. Arms and the Man, by Bernard Shaw'. Brentano. This is “a pleasant play” in three acts in which Mr. Shaw r thrusts delicately at militarism and incidentally writes a brilliant comedy for high school play¬ ers. The four men and three women of the play are: Major Paul Petkoff, a Bulgarian, about fifty; Catherine, his wife; Raina, his daughter; Louka, the maid; Major Sergius Saranoff, ostensibly suitor to Raina; Nicola, the butler; and Captain Bluntschli of the Swiss army, Raina’s “chocolate cream soldier.” The scene is the home of Major Petkoff in a small Bulgarian town near Dragoman Pass and requires a lady’s bedchamber, a garden, and a library for the three acts. Royalty, $25 payable to French. 20 UNIVERSITY OF IOWA EXTENSION BULLETIN The Art of Being Bored , by Edouard Pailleron. Barrett H. Clark’s transla¬ tion of “ Le Monde ou 1’ on s’Ennuie.” French. This is a witty and effective French comedy of manners in three acts for eleven men and nine women. Two interior settings, one a drawing room, the other a conservatory, are required. No royalty. As You Like It, by William Shakespeare. As You Like It is a generally popular choice of teachers who desire to produce a Shakespeare play with high school boys and girls. And with good reason, for the play is replete with delicate and intense beauty. “The play abounds in wild frolicsome graces which cannot be described; which can only be seen and felt. To all which add that the kindlier sentiments everywhere in the play seem playing out in a sort of jubilee. United for set purposes and definite aims, the persons come forth with their hearts already tuned, and all they say and do is music.” It can be presented with great effective¬ ness out of doors. It can be presented indoors on a stage arranged in a some¬ what conventional manner with screens or drapes. It requires careful attention to costumes. It will repay in large measure all energy expended in details of production. The play requires seventeen men, four women and lords, pages, foresters and other attendants. There are several good acting editions of the play. The Ben Greet edition containing excellent stage directions, formerly published by Doubleday, may be available in some libraries. An edition based on the prompt-book of Julia Marlowe is published by Baker. An edition arranged for the American Academy of Dramatic Art is published by French. The Bluffers or Dust in the Eyes. R. M. George’s translation of “La Poudre aux yeux,” by Labiche and Martin. French. This is a bright, lively comedy in two acts which is especially good for amateurs in small high schools. Its story centers about the efforts of the parents of Frederick Ratinois and Emmeline Malingear, the lovers, to throw dust in each other’s eyes by putting on airs and attempting to deceive each other as to the true social position of their respective families. Through the efforts of a blunt old uncle, the pretenders are rebuked and the lovers are made happy. Fifteen players are needed, nine men and six women. Members and servants of one family are: M. Malingear, a doctor; Mme. Malingear; Emmeline, their daughter; Sophie, their cook; Alexandrine, their maid; Upholsterer, their “little seventeen,” their neighbor’s footman. Members and servants of the other family are: M. Ratinois, a retired confectioner; Mme. Ratinois; Frederick, their son; Robert, their uncle; Josephine, their maid; their neighbor’s footman; a chef from Chevet’s, and a negro boy in livery. The scenes are two interiors very easy to arrange, the first in the home of M. Malingear on a May morning, and the second in the home of M. Rati¬ nois, on a June evening. No royalty. The Canterbury Pilgrims, by Percy Mackaye. Macmillan. This is an unusually fine arrangement and reworking of the materials of Chaucer’s 11 The Canterbury Tales. ” It is a comedy in four acts and requires careful work in production. In fact, it is built on the scale of a small pageant- drama and requires forty-six men and seven women. It is very effective when produced out of doors, and is to be recommended that high schools present it in that manner. The players are in two groups: those based on “The Canterbury Tales,” including, of course, Geoffrey Chaucer and the familiar characters; and characters introduced by the author of this arrangement. The principal new characters not based on “The Canterbury Tales” are: Richard II, king of England; John of Gaunt, Duke of Lancaster, uncle of the king, brother-in-law of Chaucer; the Duke of Gloucester, his brother; De Vere, duke of Ireland; the archbishop of Canterbury; John Wycliffe, the religious re¬ former; and Johanna, Marchioness of Kent. The scenes are laid as follows: PLAYS FOR HIGH SCHOOLS 21 Act I, the Tabard Inn; Act II, Garden of the One Nine-pin Inn at Bob-up- and-down; Act III, Hall of the One Nine pin; Act IV, Before the west front of Canterbury Cathedral. The scenes can be made simple for amateur pro¬ duction, yet the play will retain its effectiveness. Permission for performance should be secured from the author. The Chinese Lantern, by Laurence Housman. Revised Edition. French. This is a delightful comedy, its story a legend about the old Chinese painter Wiowani, whose spirit watches over and protects Tikipu, a poor student who is general drudge for Olangtsi, a teacher of art and Mee-Mee, a Korean slave- girl. It has a quaint oriental atmosphere and offers possibilities for artistic setting, costuming and lighting. The play requires twelve men and three women, but it may be played well by a cast composed entirely of women. The other players are: Mrs. Olangtsi; Yunglantsi, her fat, lazy son; Josi-Mosi, a Chinese rag and bone merchant; Cosi-Mosi, his brother, a money-lender; and seven Chinese art students and apprentices. One scene, the interior of Olangtsi’s studio, serves for three acts. A picture frame (perhaps six by nine feet) which can be easily constructed of compo-board is required. Royalty, $25 payable to French. Clarence, by Booth Tarkington. French. Clarence is a thoroughly American comedy in four acts, which has as play¬ ers five men and five women, a group of characters such as only Booth Tarking¬ ton can offer. Clarence has no medals, no shoulder bars. He was one of the “five million ,” an entomologist who found no field for his specialty in the war, just a buck private who was set to driving mules. Returned to civil life, he seeks a job and finds one in the home of a wealthy Englewood family, where he becomes guide, philosopher and friend until the college reappoints him to the professorship. The play is delightful, wholesome and as American as EucTdeberry Finn. Two easily arranged interior sets are necessary. Royalty, $25 payable to French. The Comedy of Errors, by William Shakespeare. The Comedy of Errors can be more easily adapted for presentation by high school students than almost any other Shakespeare play. Its laughter and rollicking fun is certain to appeal. Teachers can make their own cuttings and arrangements from the Rolfe Edition published by the American Book Co. The Ben Greet acting edition, formerly published by Doubleday, and now out of print, contains very helpful stage directions. Acting editions are also published by French and Baker. The play can be produced out of doors. Very simple properties are required but some care must be given to the costumes. Sixteen principal players are required, eleven men and five women, with additional attendants and officers. The Courtship, by Louise Ayres Garnett. Rand. The Courtship is a dramatization of Longfellow’s “The Courtship of Miles Standish,” written at the request of the Drama League of America and pre¬ sented by the Drama Club of Evanston, Ill., in commemoration of the Pilgrim Tercentenary. This dramatization revives in an interesting manner the pretty romance of Priscilla Mullen, John Alden, and Miles Standish. The people, the manners, and customs of the Pilgrims are well presented. The play is well suited for use in high schools. It is written in three acts for production indoors or out of doors. It requires eighteen players, eleven men and seven women, with children, soldiers, Indians, and settlers as supernumeries. The principal parts are those of Captain Miles Standish, John Alden, Priscilla Mullens, Mary Chilton, Bartle Allerton, William Brewster and Mistress Brew¬ ster. Pilgrim and Indian costumes are required. The scenes are the clearing between the houses of Captain Standish and Elder Brewster and an open spot on the shore of Plymouth harbor. No royalty is charged for performance by high schools. 22 UNIVERSITY OF IOWA EXTENSION BULLETIN Dandy Dick, by Arthur Wing Pinero. Baker. This is a farce written about a dean, who, while being a paragon of dignity and decorum, is driven by an indiscreet act into a most undignified dilemma. The players are seven men and four women: The Very Rev. Augustin Jedd, D.D., Dean of St. Marvell’s; Sir Tristram Mardon, Bart.; Major Tarver and Mrs. Darbey of the Hussars quartered at Durnstone near St. Marvell’s; Georgiana Tidman, a widow and the dean’s sister; Salome and Sheba, the dean’s daughters; Noah Topping, constable; Blore, the butler; Hatcham, the groom; and Hannah Topping, formerly a servant at the deanery. Two in¬ teriors, both easily set, serve for the three acts. Royalty, $10* payable to Baker. The Devil’s Disciple, by Bernard Shaw. Brentano. This is a comedy in three acts with interesting action. Its plot involves a brave man who takes the place of another in danger, a bad man who shows the good streak, and a providential escape from death. It requires eleven men and three women as players, in Puritan costumes. Royalty, $25 payable to French. A Doll’s House, by Henrik Ibsen. Translated by William Archer. Baker. This is a play in three acts about the sacrifice of a woman’s individuality. It is much heavier than plays ordinarily chosen for high school production. The players are three men, four women, and three children: Torvald Helmer; Nora Helmer, his wife; Ivar, Emmy and Bob, their children; Dr. Rank, Nils Krogstad, Mrs. Linden, and Anna and Ellen, the servants. One set, a com¬ fortably furnished sitting-room in the Helmer home is used for all acts. No royalty. The Dragon, by Lady Augusta Gregory. Putnam. The Dragon is a new play, a wonder play with three acts and real Irish fun. The story tells how King Manus of Sorcha, who has learned in a dream that Princess Nuala is in peril, comes in disguise to rescue her from the dreadful dragon; how the princess falls in love with the king; how the dragon, immense but likeable abjured flesh-eating, and how the old queen and the old henpecked king get on. It requires sixteen players, ten men and six women: the king, the queen, the princess Nuala, the blind wise man, the nurse, the prince of the marshes; Manus, the king of Sorcha; Fintan, the astrologer; Taig; Sibby, Taig’s mother; a gatekeeper; two aunts of the prince of the marshes; foreign men; and the dragon. One scene, a room in the king’s house at Burren is used for the three acts. Fanny and the Servant Problem, by Jerome K. Jerome. French. This is an unusually good four-act comedy in which Fanny, a charming young niece of Martin Bennet, the butler, establishes herself as a mistress of her own household when she becomes the new Lady Bantock. The other players in the cast, which includes five men and eighteen women, are: Vernon Wether- ell; Lord Bantock, Fanny’s husband; Susannah Bennet, her housekeeper; Jane Bennett, her maid; Ernest Bennett, her second footman; Honoria Bennett, her still-room maid; the Misses Wetherell, her aunts by marriage; Dr. Free- mantle, her local medical man; George P. Newte, her former business man¬ ager; and twelve girls, her quondam companions of the stage. One scene, Fanny’s boudoir in Bantock Hall, Rutlandshire, serves for the four acts. Of little literary value. Royalty, $25 payable to French. Green Stockings, by A. E. W. Mason. French. This is an English comedy in three acts about the marrying of Celia, who announces her engagement to a fictitious Colonel Smith, only to discover that a man later appears as one Col. J. N. Smith, D. S. O. The players are seven men: Admiral Grice, retired, a testy old gentleman, about sixty-five, with the PLAYS FOR HIGH SCHOOLS 23 manner of an old sea-dog; William Faraday, a well preserved man about sixty-five, fashionable, superficial and selfish; Colonel Smith, a dignified, dryly humorous man of military bearing, about forty years old; Robert Tar¬ ver, an empty headed young swell; Henry Steele, age thirty; James Raleigh, age thirty-five. The women, five in number, are Celia Faraday, an unaffected woman of twenty-nine, with a sense of humor; Mrs. Madge Rockingham, age twenty-five; Lady Evelyn Trenchord, age twenty-seven; Phyllis, Celia’s youngest sister, a pretty but selfish girl of twenty; and Mrs. Chisolm Faraday, of Chicago, a quick tempered aunt of fifty or thereabouts. The scene for the first two acts is a room in Mr. Faraday’s country house. It can be slightly changed for the last act. Of no literary value. Royalty, $25 payable to French. Her Husband’s Wife, by A. E. Thomas. Doubleday. This is a whimsical comedy, the charm of which lies in the character of Irene, quaint little hypochondriac. The players are six, three men and three women: Stuart Randolph, a young husband; Richard Belden, his brother-in- law; John Belden, the genial uncle of Irene and Richard; Irene Randolph, quaint little wife of Stuart; Emily Ladew, her friend; and Nora, an elderly maid servant. All three acts take place in the drawing room of the Ran¬ dolphs during racing season at the Spa. Royalty, $25 payable to French. The House Next Door, by J. Hartley Manners. Baker. This is a three act comedy dealing with the overthrowing of prejudices of an aristocratic English family against the Jews. There are twelve players, eight men and four women. The Cotswold family includes Sir John Cotswold, baronet; Margaret, his wife; Ulrica, his daughter; Cecil, his son; Vining, his servant; and Captain, the Hon. Clive Trevor. The Jacobson family in¬ cludes Sir Isaac Jacobson, M. P.; Rebecca, his wife; Esther, his daughter; Adrian, his son; Maximillian, his servant, and Walter Lewis, musical agent. Two interiors, drawing rooms of the Cotswolds and of the Jacobsons are re¬ quired. Royalty, $10 payable to Baker. The Importance of Being Earnest, by Oscar Wilde. French. A trivial and brilliant three-act comedy, one which has been a favorite with amateurs for many years. The players are five men and four women: John Worthing, J. P. of the Manor house, Woolton, Hertfordshire; Algernon Mon- crief, his friend, Rev. Canon Chasuble, D.D., rector at Woolton; Merriman, butler to Worthing; Lane, servant to Moncrief; Lady Bracknell; Hon. Gwendoline Fairfax, her daughter; Cecily Cardew, Worthington’s ward; Miss Prism. The sets are two interiors and an easily arranged garden set. Royalty, $50 payable to French. It Pays to Advertise, by Roi Cooper Megrue and Walter Hackett. French. This is a lively and wholesome farce with an amusing story and good situa¬ tions, all centering about Rodney Martin’s demonstration of the value of advertising in making the public believe that “13 Soap” is “Unlucky for Dirt.” The farce is in three acts and requires eight men and four women as players: Cyrus Martin, a soap magnate; Rodney, his son; Mary Grayson, elder Martin’s secretary; Ambrose Peale, a press agent; William Smith, friend of Cyrus Martin; Countesse de Beaurien; George McChesney, Charles Bronson, Ellery, a butler, a maid, and a clerk. The setting for acts I and III is in the library at Martin’s home, and for act II is the office of The 13 Soap Company. Of no literary value. Royalty, $25 payable to French. Jeanne D’Arc, by Percy Mackaye. Macmillan. Although this play is a large and difficult undertaking, it has been done successfully by high school students. It is a play of excellent literary and artistic values which will repay time and effort spent in its production. The 24 UNIVERSITY OF IOWA EXTENSION BULLETIN cast requires forty men, seven women, and supernumaries. The principal characters and those who appear in more than one act are Jacques D’Arc, father of Jeanne; Pierre D’Arc, brother of Jeanne; Jeanne D’Arc, the maid; Charles VII., King of France; Jean Due D’Alencon, his cousin; Seigneur de la Tremouille, his favorite; Regnault de Chartres, Archbishop of Rheims; Dunois, French Commander at Orleans; Jean de Metz; Bertrand de Poulangy of Jeanne’s escort to the king; Pasquere, St. Augustine Friar, Jeanne’s con¬ fessor; and Pierre Cauchon, Bishop of Beauvais. The play requires six scenes, but they may be simplified especially for an out-of-door production. Costumes, of course, must be given careful attention. The play makes an excellent com¬ munity production and is a challenge to a well-trained and experienced director. The Lady of the Weeping Willow Tree, by Stuart Walker. In 11 Portmanteau Plays. ’ ’ Stewart. The Lady of the Weeping Willow Tree is founded on an old legend from Japanese ballads and folk-lore. It has beauty, imagination, and emotional appeal, which have made it popular with audiences. The players are two men and four women in Japanese costumes. The scenes are two exteriors easily made, artistic, the one before the House of Obaa-San, the other, a Bamboo Glade on the Mountain-side. Permission for performance must be secured from Walker. Little Women, by Marion De Forrest. French. This is a dramatization of Louisa M. Alcott’s famous story, a charming play in four acts, the delightful story of a family of girls. This dramatization was produced successfully at The Playhouse in New York City by William A. Brady. It requires twelve players, seven women and five men. Two sets are required, the sitting room of the March home in Concord, Mass., and the garden at Plumfield. Costumes of the period 1863-1868 are required. Royalty, $25 payable to French. The Man from Rome, by Booth Tarkington and Harry Leon Wilson. Harper. This is a popular comedy in four acts with high school players, about a gentleman from Kokomo, Indiana. It requires eleven men and three women as players. The scenes can be set with a little care and to represent a terrace and an apartment of a hotel in Italy. Royalty, $50 payable to French. The Man Who Married a Dumb Wife, by Anatole France. Translated by Curtis Hidden Page. Lane. This comedy is founded on a passage in the 11 Lives, Heroic Deeds, and Sayings of Gargantua and His Son Pantagruel,” in which one of Rabelais’ characters tells of moral comedy of him who had espoused and married a dumb wife. The good, honest man, her husband was very earnestly urgent to have the fillet of her tongue untied. At his desire some pains were taken on her, and she spoke, and spoke again; yea, within a few hours she spoke so loud, so much, so fiercely, and so long, that her poor husband returned to the physician for a recipe to make her hold her peace. 11 There are,” quoth the physician, “many proper remedies in our art to make dumb women speak, but there are none that ever I could learn therein to make them silent. The only cure which I have found out is their husbands’ deafness.” The wretch became within a few weeks thereafter, by virtue of some drugs, charms, or enchantments, which the physician had prescribed unto him, so deaf that he could not have heard the thundering of nineteen hundred cannons at a salvo. His wife, perceiving that indeed he was deaf as a doornail, and that her scold¬ ing was in vain, sith that he heard her not, she grew stark mad.” Says Sir Thomas Urquhart whose translation is quoted above, “I never in all my life¬ time laughed so much as at the acting of that buffoonery.” The players are seven men and three women in mediaeval costumes: Leonad Botal, judge; PLAYS FOR HIGH SCHOOLS 25 Catherine, his wife; Boiscourtier, his secretary; Alison, his servant; Adam Fumee, a lawyer; Mile, de la Garandiere, Fumee’s ward; Simon Colline, doctor; Jean Maugier, surgeon and barber; Serafin Dulaurier, apothecary; and a blind man. One scene, an interior, is used throughout and offers some opportunity for ingenious setting. An unusually good play for high schools. Royalty, $15 payable to Lane. A Man Without a Country, by Elizabeth M ’Fadden and A. Crimmins. French. This is a dramatization of Edward Everett Hale’s story by the same name. It makes a good patriotic play for high schools. It is arranged in a prologue, three acts and an epilogue for seventeen men and one woman. The costumes required are army and navy uniforms. Three interior settings are needed. The Manoeuvers of Jane, by Henry Arthur Jones. French. This is an interesting four-act comedy, the story of which centers about the manoeuvers of one Jane Nangle who outwits her guardian and a plot to bring about her marriage with the fop, Lord Bapchild. The play requires ten men and eleven women, the principal players being Jane Nangle, a wilful, im¬ petuous girl of twenty-one; Constantia Gage, her sly, demure companion of twenty-four; Lord Bapchild, a very precise, pedantic and finicky young man; Lady Bapchild, his mother; Mrs. Beechinor, his aunt; Pamela Beechinor, his awkward cousin about fourteen; Jervis Punshon, a shrewd English country gentleman about fifty; George Langton, a young and handsome gentleman- farmer of twenty-eight. The play requires three interior sets. Royalty, $25 payable to French. Mary Goes First, by Henry Arthur Jones. Doubleday. This is an interesting comedy of manners, a so-called high comedy, about “social climbers” in three acts and an epilogue. The play requires eight men and four women as players and but one interior scene throughout, in the house of Felix Galpin at St. John’s Hill, the “residential” suburb of a manufacturing town. Royalty, $25 payable to French. Mater, by Percy Mackaye. Macmillan. This is a delightful American comedy with an American political story for its plot. The players are only five, three men and two women: Matilda Dean (“Mater”); Michael Dean, her son; Mary Dean, her daughter; Arthur Cullen, a political leader; and Rudolph Verbeck, in love with Mary. One set, a living room in the Dean home, serves for the three acts. Royalty, $25 payable to Percy Mackaye, Miami University, Oxford, Ohio. Mice and Men, by Madeleine Lucette Ryley. French. This is a romantic comedy in four acts which, can be prettily done in cos¬ tumes of the period about 1786. The story centers about a middle-aged man’s attempt to influence the opinions of his prospective wife and the upsetting of his schemes by his young nephew. The players required are seven men and five women. The play can be presented by a cast entirely composed of girls. Scenes are three interiors and one exterior. Of little literary value. Royalty, $25 payable to French. A Midsummer Night’s Dream, by William Shakespeare. A Midsummer Night’s Dream, as arranged in one of the available acting editions or in the form of several short plays which may be taken from the whole and arranged for separate production, is especially fine for high school production. The Ben Greet acting edition which is published by Doubleday, contains excellent stage directions. The William Warren acting edition is available from Baker. The play can be presented advantageously out of doors, or it may be presented indoors. The stage setting of the play can be altered and simplified to meet conditions. The players required for the 26 UNIVERSITY OP IOWA EXTENSION BULLETIN whole play are eleven men and ten women with additional fairies and attend¬ ants. Some care must be given to costumes, but energy spent in this direction will be well repaid. Teachers who are interested in arranging parts of this play in shorter form will find the following suggestions helpful. The aim is to present a series of connected episodes which will require an hour or an hour and a half for presentation. Such short arrangements require less labor in preparation and are usable in small high schools and in class rooms where conditions make the presentation of the whole play impossible. Other possible cuttings from Shakespeare plays will no doubt suggest themselves. The following scenes involving the players and their production of ‘ ‘ The most lamentable Comedy, and most cruel Death of Pyramus and Thisby” make an interesting series. (References are to lines as numbered in the Rolfe edition published by the American Book Co.) : (1) Act I, Scene II. (2) Act III, Scene I, lines 1-75. (3) Act IY, Scene II. (4) Act V, Scene I, lines 108-362. The following scenes which present the main love story of the play present another possible series: (1) Act I, Scene I. (2) Act II, Scene II, lines 84 to 156. (3) Act II, Scene II, lines 34-84. (4) Act III, Scene II, lines 36-464. (5) Act IV, Scene I, lines 103-199. The following scenes which present the midsummer fairies make a series full of imaginative beautv: (1) Act II, Scene I, lines 1-182 and 244-255. (2) Act II, Scene II, lines 1-34. (3) Act III, Scene I, lines 118-198. (4) Act IV, Scene I, lines 1-98. Milestones, by Arnold Bennett and Edward Knoblauch. Doran. This is a serious play with interesting comedy elements, the story of which, carried through three acts, is that of three generations of two English families. It is the story of the passing of milestones of progress in industry, politics, and society since 1860. The play has met with success in larger high schools with organization and equipment for handling the changes of setting, costume, and make-up. The scene throughout is the drawing room of the Rhead home in Kensington Gore. For Act I, which takes place in 1860, the furniture and decorations are of the mid-Victorian period. For Act II, in the same room in 1885, “the furniture has been rearranged and added to. There are new ornaments amongst some of the old ones. The room is over¬ crowded with furniture in the taste of the period.” For Act III the same room has been entirely refurnished in the manner of a modern home in 1912. The decorations have been changed and electric lights have been installed. The costumes of the players are those of the period of each act. The players are nine men and six women, representatives of four generations. They are Mrs. Rhead, mother of Gertrude and John, the latter being the lead¬ ing character full of determination and purpose in Act I, a successful iron manufacturer in Act II, and a grandfather, ready to retire on his golden wedding anniversary in Act III; Samuel Sibley; Nancy, his wife; Richard, his son; and his sister, Rose, who becomes Mrs. John Rhead; Emily Rhead, John’s daughter; Ned Pym, his son-in-law, although one of his own generation; Lord Monkhurst and the Hon. Muriel Pym, John’s grandchildren; Arthur Preece, an enterprising and successful business man and politician of a generation which follows John’s. In addition there are two butlers and a footman. Royalty, $25 payable to Kauser. PLAYS FOR HIGH SCHOOLS 27 Monsieur Beaucaire, by Booth Tarkington. Baker. This is a dramatization in three acts of Booth Tarkington’s novel by the same title. It requires fourteen men and seven women, but can be played by a cast composed entirely of girls. Costumes of the period are required. Simple settings can be easily arranged. Royalty, $10 payable to Baker. Much Ado About Nothing, by William Shakespeare. Much Ado About Nothing has a variety of appeal ranging from broad comedy and sparkling dialogue to pathos and tragedy. It has always been effective on the stage. Several good acting editions of the play are available. One edited by William Winter from Edwin Booth’s prompt book can be secured from the Penn Publishing Co. An edition by Winthrop Ames can be secured from Baker. The play can be produced on a stage arranged with drapes or screens in a somewhat conventional manner to represent a Shakes¬ peare stage. Careful attention to costumes will be amply repaid in the in¬ creased effectiveness of the production. For the players, fourteen men, four women, and several messengers and attendants are required. A number of excellent scenes can be taken from the comedy and produced as separate short plays. Such a short play can be made of the scenes involv¬ ing Dogberry and the Watch in Act III, Scene II, and in Act IV, Scene II. Another can be made of the following scenes in the garden. (References are to line numbers used in the Rolfd edition published by the American Book Co.) : (1) Act II, Scene I, lines 359-385. (2) Act II, Scene III. (3) Act III, Scene I. (4) Act V, Scene II. (5) Act V, Scene IV, lines 72-124. Nothing But the Truth, by James Montgomery. French. This is an unusually successful farce in three acts, the story of which centers about the hero’s efforts to speak nothing but the absolute truth for a stated period. It requires six men and five women as players. The play re¬ quires two sets, a broker’s office and a parlor at a country home. Of no literary value. Royalty, $25 payable to French. Beg O’ My Heart, by J. Hartley Manners. French. “Oh, there’s nothing half so sweet in life as Love’s young dream.” These lines are the theme of this comedy of youth which tells in the acts of the coming, the rebellion, and the winning of Peg. The players are five men and four women: “Peg,” a waif and an heiress given into the hands of her aunt, Mrs. Chichester, for training; her cousins, Ethel and Alaric; Montgomery Hawkes, a solicitor; Christian Brent, a friend of Ethel’s; Jarvis, the butler; Bennett, the maid; and “Jerry.” The entire action of the comedy passes in the living-room of Mrs. Chichester’s house in Scarborough, England, in early summer. Of no literary value. Royalty, $25 payable to French. The Pigeon, by John Galsworthy. Scribner. This is a fantasy in three acts, one of the most delicate and charming of Galsworthy’s plays. It requires eleven men and two women as players. They are: Christopher Wellwyn, an artist; Ann, his daughter; Guinevere Megan, a flower-seller; Rory Megan, her husband; Ferrand, an alien; Timson, once a cabman; Edward Bertley, a Canon; Alfred Calway, a professor; Sir Thomas Hoxton, a justice of the peace; a police constable; three humble-men and some curious persons. One set, Wellwyn’s studio, is used throughout the play. Act I takes place on Christmas Eve, Act II on New Year’s Day, and Act III on the first of April. Royalty, $25 payable to French. 28 UNIVERSITY OF IOWA EXTENSION BULLETIN The Piper, by Josephine Preston Peabody. Houghton. This is an attractive poetic play based upon the story of the Pied Piper of Hamelin. It is an excellent play for schools. It requires much labor and care in its production but will repay energy thus spent. It can be well done out of doors. It requires thirteen men, six women and five children for principal parts, and burglars, nuns, priests and children as supers. The principal parts are those of the Piper, Michael-the-Sword-Eater, and Cheat- the-Devil, Strolling players; ten men of Hamelin; and women and children, about a score. The costumes are those of the period 1284 A. D. The scenes are in the market-place in Hamelin, at the Cross-ways, and inside the i 1 Hollow- Hill. ,, Royalty, $25 payable to French. Pomander WalTc, by Louis N. Parker. French. This is a charming romantic comedy about old-fashioned folk and times of 1805. It requires eighteen players, ten men and eight women. The men are John Sayle, 10th Baron Otford, Admiral Sir Peter Antrobus, a genial old man; Jerome Brooke-Hoskyn, Esq., pompous and self-sufficient; Basil Pringle, a hunch back; the 11 Eyesore,” a nondescript; Lieut. The Hon. John Sayle, R. N.; The Rev. Jacob Sternroyd, D.D., F. S. A.; Jim, the muffin-man, and the lamplighter. The women include Madame Lucie Lachesnais, attractive woman of middle age; Mile. Marjolaine Lachesnais, her daughter of seventeen; Mrs. Pamela Poskett, forty and buxom; Miss Ruth Pennymint, thin and forty; Miss Barbara Pennymint, extremely pretty and 1 ‘of that age” which is never entered on the census paper; the Hon. Caroline Thring, Nanette and Jane. Costumes of 1805 are essential. One set, an exterior, is used for the three acts. It is elaborate but repays careful work in planning and construction. It requires a large stage. Royalty, $25 payable to French. Prunella, by Laurence Housman and Granville Barker. Little. This is a charming poetic comedy of love in a Dutch garden. It offers interesting possibilities of costuming and setting. It requires twenty-two players: Pierrot; Scaramel, his servant; eight mummers and Tenor, a hired singer; Prunella; three aunts, Prim, Prude and Privacy; two servants, Queer and Quaint; three gardeners, a fat boy and Love, a statue. The scene is a garden which may be arranged attractively in a conventional design. Cos¬ tumes of the usual design are required for Pierrot and his company, and prim quaint costumes for Prunella, her aunts, and their servants. The play requires music. The complete music score, the prompt copy of the play and a set of players’ parts, may be secured from Mr. Winthrop Ames, The Little Theatre, 244 West 44th St., New York City, N. Y. upon payment of royalty of $50 and a fee of $5 for the use of the music. Quality Street, by James M. Barrie. Scribner. This is an unusually charming comedy, the story of “a girl without girl¬ hood,” written in Barrie’s delightful manner. The play has four acts, re¬ quires two interior settings and seven men and six women as players. Per¬ mission for performance from Charles Frohman, Inc., Empire Theatre, New York City. The Rivals, by Richard Brinsley Sheridan (William Warren edition). Baker. The Rivals is one of the classics which can and should be more frequently undertaken by players in schools and colleges. It requires nine men and five women, whose names are familiar: Sir Anthony Absolute, Capt. Jack Absolute, Faulkland, Bob Acres, Sir Lucius O’Trigger, Fag, David, Boy, Thomas, Mrs. Malaprop, Lydia Languish, Julia, Lucy, and the maid. The costumes are of the period 1775 and the sets for five acts require some attention. There is no royalty charge, and the increased appreciation for the dramatic literature read in the classroom will repay production. PLAYS FOR HIGH SCHOOLS 29 The Romancers, by Edmond Rostand. Barrett H. Clark's translation of “Les Romanesques . 9 9 French. This is a charming, romantic fantasy, a fine play for high schools. It re¬ quires five men, one woman, and a number of supers. The characters are Sylvette and Percinet, unusually romantic lovers; Pasquinot and Bergamin, their respective fathers; Blaise, the gardner; and Straforel, a swaggering bravado, and his company of swordsmen and musicians. The play requires Louis XVI costumes which make it a very pretty production. The set is a corner of the private gardens of Bergamin and Pasquinot and can be arranged easily and artistically. The play is an excellent one for out-of-door pro¬ duction. The first act can be produced separately as a one-act play. No royalty. A Rose o’ Plymouth-Town, by Beulah Marie Dix and Evelyn Greenleaf Suther¬ land. Dramatic Pub. Co. This is a romantic comedy in four acts in Plymouth-Town in New England in 1622 and 1623. It is especially good for high school players and has been used frequently in connection with the celebration of the Pilgrim Tercentenary. It requires four men and four women for the following parts: Captain Miles Standish of Plymouth; Garrett Foster, of Weston's men; John Margeson and Philippe de la Noye, of the Plymouth colonists; Miriam Chillingsley, cousin to the captain; Barbara Standish, wife to the captain; Resolute Story, aunt to the captain; and Rose de la Noye. Settings required are the kitchen of Captain Standish's house and the dooryard in front of the cottage. Puritan costumes are required. Royalty, $10 for each performance. The Scarecrow, by Percy Mackaye. Macmillan. About The Scarecrow, Percy Mackaye says: 11 But for a fantasy of Nathaniel Hawthorne, this play, of course, would never have been written. Yet, it would not be true either to Hawthorne's work or my own, to classify ‘The Scare¬ crow' as a dramatization of ‘Feathertop.' The author's own literary ability, his own dramatic feeling are much in evidence in this reworking of materials into an effective play. Players required are six women and ten men, as fol¬ lows: Justice Gilead Merton; Goody Rickby; Lord Rovensbane, their hypo¬ thetical son; Dickson, a Yankee improvisation of the Prince of Darkness; Darkness; Rachel Merton, niece of the justice; Mistress Cynthia Merton, sister of the Justice; Richard Talbot, betrothed to Rachel; Sir Charles Red- dington, Lieutenant Governor; Mistress Reddington and Amelia Reddington, his daughters; Captain Bugby, the Governor's Secretary; Minister Dodge; Mistress Dodge; Rev. Master Rand and Rev. Master Todd, both of Harvard College; and Micah, a servant of Justice. The sets required, a blacksmith shop and a Colonial interior, can be arranged with a little care and ingenuity. Colonial costumes are required. Application for right of performing this play should be made to Macmillan. The Schoolmistress, by Arthur Wing Pinero. Baker. This is an English farce in three acts in which interest centers in the schemes of three boarding school girls. Nine men and seven women are the players. They are: Miss Dyatt, principal of Volumnia College for Daughters of Gentlemen; the Hon. Vere Queckett, her husband; Rear Admiral Archibald Ranklin, C. B. and Lieut. John Mallory, both of H. M. Flag Ship “Pandora," Saunders, of the Training Ship ‘ ‘ Dexterous;'' Otto Bernstein, a composer; Reginald Paulover; Mrs. Rankling; Dinah; Gwendoline, Ermyntrude and Peggy pupils; and Jane, Tyler, Goff and Jaffray, servants. The settings are easily arranged reception room, class room, and living room for three acts which are sub-titled ‘ ‘ The Mystery," “ The Party,'' and ‘ ‘ Nightmare.'' Royalty, $10 payable to Baker. Secret Service, by William Gillette. French. This is an exciting romance of the Southern confederacy and Civil War days 30 UNIVERSITY OF IOWA EXTENSION BULLETIN in four acts. The play takes place during an evening in Richmond at a time when the Northern forces were entrenched before the city and endeavoring by all possible means to break down the defenses and capture the Confederate capital. The scenes of the acts are as follows: Act I, in the drawing room at Gen. Varney’s house at eight o’clock; Act II, in the same place at nine o’clock; Act III, in a war department telegraph office at ten o’clock; and Act IV, in the drawing room of the Varney home again at eleven o’clock. The players are twelve men and five women. The following are the principal parts: General Nelson Randolph, commanding in Richmond; Mrs. Varney, wife of a confederate general; Edith Varney, her daughter; Wilfred Varney, her youngest son; Caroline Milford; Lewis Dumont of the United States Secret Service, known in Richmond as Captain Thorne; Henry Dumont, brother of Lewis and also in the U. S. A. Secret Service; Benton Arrelsford, of the Con¬ federate Secret Service; Lieut. Foray and Lieut. Allison, operators of the military telegraph lines; and other officers and messengers. Costumes re¬ quired are those of the period, and Union and Confederate uniforms. She Stoops to Conquer , by Oliver Goldsmith (William Warren edition). Baker. This is another of the famous old comedies which merit and will repay revival. It requires twelve men and four women as actors of the well-known parts: Sir Charles Marlow, Young Marlow, Squire Hardcastle, George Hast¬ ings, Tony Lumpkin, Diggory, Roger, Dick, Thomas, Stingo, Slang Jimmy, Mat Muggins, Tom Twist, Aminadab, Mrs. Hardcastle, Kate Hardcastle, Constance Neville, the maid and barmaids, pot-boys, and postillion. Costumes for the play of the period of 1775 are required and the set requires care and ingenuity, but the returns will warrant all energy expended in production. The Taming of the Shrew, by William Shakespeare. The Taming of the Shrew has been done successfully by high school pupils. It must be shortened by extensive cuttings. The play is available in several acting editions, one, the William Winter edition based on Edwin Booth’s Prompt Book under the title Katharine and Petruchio; another arrangement with an induction and three acts edited for the use of high schools is published by Baker. The latter arrangement requires thirteen men and three women if a number of parts are 1 ‘doubled.” Without “doubling” it is possible to use twenty-three men and four women in the production. The play can be done with simple settings. Costumes, of course, will be required. An interest¬ ing account of a production of The Taming of the Shrew by the boys of St. Mark’s School at Southborough, Mass., is to be found in The Theatre Magazine for July, 1921. A Thousand Tears Ago, by Percy Mackaye. Doubleday. This is a fanciful romance of the Orient, an original comedy. The elements of its plot are based upon the old Persian tale which is the theme of the eighteenth century Italian comedy “Turnadotte” by Carlo Gozzi. The play is written in English verse to be spoken but the major appeal of the play is to the eye. For his background, the author “has chosen an old tale of the Arabian Nights which is hung before the eye as a fantastic bit of oriental tapestry; and in the foreground he has exhibited in silhouette the sharper colors of the prancing figures of his group of Italian comedians.” When undertaken by a director of some experience in play production, who has at his disposal adequate equipment, the play can be made unusually attractive. It is included here because it offers possibilities for such a director. It can be done admirably on a draped stage. It can, however, be produced under restricted conditions. A suggestive illustrated account of the production of this play at the University of Minnesota will be found in The Theatre Maga¬ zine for July, 1921. The play is in four acts and requires nine men, two women and several supers. The principal parts are: Turnadot, Princess of Pekin; Altoum, her father, Emperor; Zelim, her slave; Calaf, prince of PLAYS FOR HIGH SCHOOLS 31 Astrakhan; Barak, his servitor; Chang, ennuch; Scaramouche, Punchinello, Pantaloon, and Harlequin, vagabond players from Italy; and Capocomico, their leader. The scenes are outside the city gate at Pekin, in the great hall of the emperor, and in other smaller rooms of the palace. Permission for pro¬ duction should be secured from the author at Miami University, Oxford, Ohio. Twelfth Night, by William Shakespeare. Twelfth Night is one of the most popular plays with school and college players. Its “witty dialogue, shot through with exquisite poetry,’’ the vigor of its characters and situations make it unusually happy in its appeal. Good acting editions are available, one based on the prompt-book of Julia Marlowe can be secured from Baker. A new prompt-book with a “producer’s preface” by Granville Barker is available from the same publisher. Like other plays of Shakespeare, Twelfth Night may be produced on a draped stage or on a stage arranged with screens in a somewhat conventional manner to represent a Shakespeare stage. An account and photographs of production of Twelfth Night in which a draped stage was used will be found in The Drama for October, 1919. It requires, but repays careful attention to costumes. It re¬ quires eleven men, three women, and several attendants as players. The Twig of Thorn, by Marie Josenhine Warren. Baker. This is a charming play of Irish fairy lore in two acts. It has strong dramatic interest and is excellent for high schools. The story relates how Onah having fallen into>.thej*po*wer of* the fairies because she broke the first blossoms from the rficrh* trde, is -saved by Aileel, a wandering poet. Six men and seven women are required as players of the parts: Nessa Teig, the woman of the house; Man?ya v her'neighbor,-OAnah, Tessa’s granddaughter; Aeugus Arann, a young peasant; Aileel, a $det< leather Brian, a priest; a fairy child; and six neighbors. The scene is laid in the cottage of Nessa Teig in the year of the Great Famine and is 'easily arranged. No royalty is charged for amateur performances. What Happened to Jones, by George Broadhurst. French. This is a yoily farce in three acts, with comic situations arising from the presence of a professor at a prize fight and a traveling salesman’s assumption of a Bishop’s garb. The players are seven men and six women. One interior set serves for the three acts. Of no literary value. You Never Can Tell, by Bernard Shaw. Brentano. The bickerings of a married couple, the disrespect of children for their parents, the philosophy of a talkative waiter, an unusual first act set in a dentist’s office, and brilliant and graceful handling of materials make this one of the most delightful of Shaw’s comedies. The players are six men and four women: Valentine, a young dentist; Philip, Dorothy and Gloria Clandon and Mrs. Clandon; Mr. Crampton, a grumpy father separated from his family; McComas, an attorney; the waiter and two other servants. The sets required are Act I, a dentist’s office; Act II, a terrace at a hotel; Acts III and IV, a sitting room in the hotel. Royalty, $25 to French. COLLECTIONS OF PLAYS FOR THE LIBRARY ONE-ACT PLAYS Barrie, James M., Echoes of the War. Scribner. Contains The Old Lady Shows Her Medals, The New Word, a Well Be- membered Voice, Barbara’s Wedding. Barrie, James M., Half Hours. Scribner. Contains Pantaloon, Bosalind, The Twelve Pound Look, The Will. Cohen, Helen Louise, One-Act Plays by Modern Authors. Harcourt. Contains the following plays: 32 UNIVERSITY OF IOWA EXTENSION BULLETIN The Boy Will, by Robert Emmons Rogers; Beauty and the Jacobin, by Booth Tarkington; The Pierrot of the Minute, by Ernest Dowson; The Maker of Dreams, by Oliphant Down; Gettysburg, by Percy Mackaye; Wurzel-Flummery, by A. A. Milne; Maid of France, by Harold Brighouse; Spreading the News, by Lady Gregory; Welsh Honeymoon, by Jeanette Marks; Biders to the Sea, by John Millington Synge; A Night at an Inn, by Lord Dunsany; The Twilight Saint, by Stark Young; The Masque of the Two Strangers, by Lady Alix Egerton; The Intruder, by Maurice Maeterlinck; Fortune and Men’s Eyes, by Josephine Preston Peabody; The Little Man, by John Galsworthy. Dunsany, Lord, Five Plays. Kennerly. Contains The Gods of the Mountain, The Golden Doom, King Argimenes and the Unknown Warrior, The Glittering Gate, The Lost Silk Hat. Dunsany, Lord, Plays of Gods and Men. Luce. Contains The Tents of the Arabs, The Laughter of the Gods, The Queen’s Enemies, A Night at an Inn. Gregory, Lady Augusta, New Comedies. Putnam. Contains The Bogie Men, The Full Mobn, Coats, Darner’s Gold, McDonough’s Wife. " *• * Gregory, Lady Augusta, Seven Sh(,rt t Plays. Luce. Contains Spreading the News, Hyacinth Ifahey, The Bising of the Moon, The Jackdaw, The Workhouse Ward, The Traveling Man, The Gaol Gate. Houghton, Stanley G., Five One-Act Plays*' French. Contains The Dear Departed, Fancy Free, The Fifth * Commandment, The Master of the House, Phipps. Mackaye, Percy, Yankee Fantasies. Duffield. ’ v Contains Chuck, Gettysburg, The Antick, The Cat-Boat, Sam Average. Mayorga, Margaret Gardner, Bepresentative One-Act Plays by American Authors. Little. Contains the following plays: Sam Average, by Percy Mackaye; Six Who Pass While the Lentils Boil, by Stuart Walker; Voices, by Hortense Flexner; The Merry Merry Cuckoo, by Jeanette Marks; Sintram of Skagerrak, by Sada Cowan; Will o’ the Wisp, by Doris F. Halman; Beyond, by Alice Gerstenberg; A Good Woman, by George Middleton; Funiculi Funicula, by Rita Wellman; Hunger, by Eugene Pillot; In the Zone, by Eugene G. O’Neill; The Brink of Silence, by Esther E. Gailbraith; Allison’s Lad, by Beulah Marie Dix; Mrs. Pat and the Law, by Mary Aldis; Lima Beans, by Alfred Kreymborg; The Wonder Hat, by Ben Hecht and Kenneth Sawyer Goodman; Suppressed Desires, by George Cram Cook and Susan Glaspell; Where, But in America, by Oscar M. Wolff; A Question of Morality, by Percival Wilde; Martha’s Mourning, by Phoebe Hoffman; PLAYS FOR HIGH SCHOOL 33 Hyland, by T. W. Stevens and K. S. Goodman; The Last Straw, by Bosworth Crocker; Hattie, by Elva De Pue; Dregs, by Frances Pemberton Spencer. Shay, Frank and Loving, Pierre, Fifty Contemporary One-Act Plays . Stewart. Contains the following plays: Austria— Madonna Dianora, by Hugo von Hofmannsthal; Literature, by Arthur Schnitzler; Belgium— The Intruder, by Maurice Maeterlinck; Bolivia— Interlude, by Fredrico More; France— M. Lamblin, by George Ancey; Francoise’s Luck, by Georges Porto-Riche; Germany— Altruism, by Karl Ettinger; The Tenor, by Frank Wedekind; Great Britain— A Good Woman, by Arnold Bennett; The Little Stone House, by George Colderon; Mary’s Wedding, by Gilbert Cannan; The Pierrot of the Minute, by Ernest Dowson; The Subjection of Kezia, by Mrs. Havelock Ellis; The Constant Lover, by St. John Hankin; India— The Judgment of Indra, by Dhan Gopal Mukerji; Ireland— The Workhouse Ward, by Lady Gregory; Holland— Louise, by J. H. Speenhoff; Hungary— The Grandmother, by Lajos Biro; Italy— The Fights of the Soul, by Giuseppe Giacosa; Russia— Love of One’s Neighbor, by Leonid Andreyev; The Boor, by Anton Tchekoff; Spain— His Widow’s Husband, by Jacinto Benevente; A Sunny Morning, The Quinteros; Sweden— The Creditor, by August Strindberg; Autumn Fires, by Gustave Wied; United States— Brothers, by Lewis Beach; In the Morgue, by Sada Cowan; A Death in Fever Flat, by George W. Cronyn; The Slave with Two Faces, by Mary Carolyn Davies ; The Slump, by Frederick L. Day; Mansions, by Hildegarde Flanner; Trifles, by Susan Glaspell; The Pot Boiler, by Alice Gerstenberg; Enter the Hero, by Theresa Helburn; The shepherd in the Distance, by Holland Hudson; 34 UNIVERSITY OF IOWA EXTENSION BULLETIN Boccoccio’s Untold Tale, by Harry Kemp; Another Way Out, by Lawrence Langner; Ario da Capo, by Edna St. Vincent Millay; Helena’s Husband, by Phillip Moeller; The Shadowed Star, by Mary Macmillan; lie, by Eugene O'Neill; The Nursery Maid of Heaven, by T. W. Stevens; Three Travelers Watch a Sunrise, by Wallace Stevens; Sham, by Frank G. Tompkins; The Medicine Show, by Stuart Walker; For All Time, by Rita Wellman; The Finger of God, by Percival Wilde; Yiddish— Night, by Solomon Ash; Forgotten Souls, by David Pinski. Smith, Alice M., Short Plays by Bepresentative Authors. Macmillan. Contains the following plays: The Hraun Farm, by Johann Sigurjonsson; The Merry Merry Cuckoo, by Jeanette Marks; The Locked Chest, by John Masefield; The Post Office, by Rabindranath Tagore; Six Who Pass While the Lentils Boil, by Stuart Walker; The Silver Lining, by Constance d' Arcy Mackay; By Ourselves, by Ludwig Fulda; The Bider of Dreams, by Ridgley Torrence; Spreading the News, by Lady Augusta Gregory; The Swan Song, by Anton Tchekoff; The Man on the Kerb, by Alfred Sutro; The Shadowed Star, by Mary MacMillan. Walker, Stuart, Portmanteau Plays. Stewart. Contains The Trimplet, Nevertheless, The Medicine Show, The Six Who Pass While the Lentils Boil. LONG PLAYS Yeats, William Butler, The Hour Glass. Macmillan. Contains The Hour Glass, Cathleen ni Houlihan, A Pot of Broth. Baker, George P., Modern American Plays. Harcourt. Contains the following plays: As a Man Thinks, by Augustus Thomas; The Beturn of Peter Grimm, by David Belasco; Bomance, by Edward Sheldon; The Unchastened Woman, by L. K. Anspacher; Plots and Playwrights, by Edward Massey. Eliot, Samuel A., Jr., Little Theatre Classics (Three Volumes). Little. Contains the following classics adapted for production in Little Theatres: Volume 1: Polyxena; A Christmas Miracle-Play; Doctor Faustus; Bicardo and Viola; The Scheming Lieutenant. Volume 2: Patelm from Maitre Pierre Pathelin, by Guillaume Alecis; Abraham and Isaac from the Book of Brome and the Chester Cycle of Miracles; The Loathed Lover from The Changeling of Middleton and Rowley; Sganarelle or Imaginary Horns from Moliere. Volume 3: PLAYS FOR HIGH SCHOOL 35 Bushido, by Izumo; Old Wife’s Tale, by Peele; Pericles; The Duchess of Pavy, adapted from Ford's Love’s Sacrifice. Moses, Montrose J., Representative British Dramas. Victorian and Modern. Little. Contains the following plays: Virginvus, by James Sheridan Knowles; Black-Ey’d Susan, by Douglas Jerrold; Richelieu, by Sir Edward Bulwer-Lytton; London Assurance, by Dion Bouccicault; A Blot in the ‘Scutcheon, by Robert Browning; The Ticket-of-Leave Man, by Tom Taylor; Caste, by T. W. Robertson; E. M. S. Pinafore, by W. S. Gilbert; Becket, by Alfred Tennyson; The Masqueraders, by Henry Arthur Jones; The Importance of Being Earnest, by Oscar Wilde; The Gay Lord Quex, by Arthur Wing Pinero; The Silver Box, by John Galsworthy; The Cassilis Engagement, by St. John Hankin; The Madras House, by H. Granville Barker; The Tragedy of Pompey the Great, by John Masefield; Cathleen Ni Houlihan, by William Butler Yeats; The Workhouse Ward, by Lady Augusta Gregory; Riders to the Sea, by John M. Synge ; Thomas Muskerry, by Padraic Colum; The Gods of the Mountain, by Lord Dunsany. Quinn, Arthur Hobson, Representative American Plays. Century. Contains the following plays: The Prince of Partliia, by Thomas Godfrey; The Contrast, by Royall Tyler; Andre, by William Dunlap; Superstition, by James Nelson Barker; Charles the Second, by John Howard Payne and Washington Irving; The Triumph at Plattsburgh, by Richard Penn Smith; Pocahontas or the Settlers of Virginia, by George W. P. Curtis; The Broker of Bogota, by Robert Montgomery Bird; Tortesa the Usurer, by Nathaniel Parker Willis; Fashion, by Anna C. M. Ritchie; Francesca da Rimini, by George Henry Boker; Lenora or the World’s Own, by Julia Ward Howe; The Octoroon or Life in Louisiana, by Dion Boucicault; Rip Van Winkle, as played by Joseph Jefferson; Hazel Kirke, by Steele Mackaye; Shenandoah, by Bronson Howard; Secret Service, by William Gillette; Madame Butterfly, by David Belasco and John Luther Long; Her Great Match, by Clyde Fitch; The New York Idea, by Langdon Mitchell; The Witching Hour, by Augustus Thomas; The Faith Healer, by William Vaughn Moody; The Scarecrow, by Percy Mackaye; The Boss, by Edward Sheldon; He and She, by Rachel Crothers. 36 UNIVERSITY OF IOWA EXTENSION BULLETIN PUBLISHERS AND AGENTS Key Address American —American Book Company, 100 Washington Square, New York City. American Flay —American Play Company, 33 West 42d St., New York City. Baker —Walter H. Baker and Co., 5 Hamilton Place, Boston, Mass. Boni —Boni and Liveright, 106 West 40th St., New York City. Brentano —Brentano’s, Fifth Av. and 27th St., New York City. Century —The Century Company, 353 Fourth Av., New York City. Dodd —Dodd, Mead and Co., Fourth Av. and 30th St., New York City. Doran —George H. Doran Co., 224 Madison Av., New York. Doubleday —Doubleday, Page and Co., Garden City, N. Y. The Drama —The Drama, 59 East Van Buren St., Chicago, Ill. Dramatic Pub. Co. —Dramatic Publishing Co., 542 S. Dearborn St., Chicago, Ill. Duflield —Duffield and Company, 211 East 19th St., New York City. Dutton —E. P. Dutton and Company, 681 Fifth Av., New York City. 47 Workshop —47 Workshop, Harvard University, Cambridge, Mass. French —Samuel French, 28-30 West 38th St., New York City. Harcourt —Harcourt, Brace and Co., New York City. Harper —Harper and Brothers, Franklin Square, New York City. Holt —Henry Holt and Co., 19 West 44th St., New York City. Houghton —Houghton Mifflin Company, 4 Park St., Boston, Mass. Huebsch —B. W. Huebsch, 116 West 13th St., New York City. Eauser —Alice Kauser, 1402 Broadway, New York City. Kennerly —Mitchell Kennerly, Park Av. and 59th St., New York City. Lane —John Lane Co., New York City. Little —Little Brown and Co., 34 Beacon St., Boston, Mass. Luce —John W. Luce and Company, 212 Summer St., Boston, Mass. Macmillan —The Macmillan Company, 66 Fifth Av., New York City. Penn —Penn Publishing Company, 925 Filbert St., Philadelphia, Pa. Putnam —G. P. Putnam’s Sons, 2 West 45th St., New York. Band —Rand, McNally and Company, Rand McNally Bldg., Chicago, Ill. Sanger —Sanger and Jordan, 1432 Broadway, New York City. Scott —Scott Foresman and Co., 623 South Wabash Av., Chicago, Ill. Scribner —Charles Scribner’s Sons, 597 Fifth Av., New York City. Stewart —Stewart and Kidd Co., 121 East Fifth Av., Cincinnati, Ohio. Stokes—Frederick A. Stokes Company, 443 Fourth Av., New York City. Swartout —Norman Lee Swartout, 28 Blackburn Road, Summit, New Jersey. Theatre Arts —Theatre Arts, Inc., 7 East 42d St., New York City. Walker —Stuart Walker, 304 Carnegie Hall, New York City. Washington Sq. —Washington Square Book Shop, 17 West 8th St., New York City. Witmark —M. Witmark and Sons, 86 Witmark Bldg., New York City. COSTUME HOUSES Cameron Costume Co., Inc., 29 West Randolph St., Chicago, Ill. Chicago Costume Works, Inc., 116-120 North Franklin St., Chicago, III. Joseph C. Fisher, 255 South 9th St., Philadelphia, Pa. Fritz Schoultz and Co., 58 West Lake St., Chicago, Ill. New York Costume Co., 137 North Wabash Av., Chicago, Ill. Robert Schmidt, 206 and 208 South 4th St., St. Louis, Mo. Schmidt Costume and Wig Shop, 920 Clark St., cor. Locust St., Chicago, Ill. Van Horn and Son, 921 Walnut St., Philadelphia, Pa. Waas and Son, 226 North Eighth St., Philadelphia, Pa. EXTENSION BULLETINS (continued from second page of cover) 51. The study of Americanization 52. Iowa Patriotic League, plans for 1919-1920 53. Iowa sprlling scale, for grades II, III and IV 54. Iowa spelling scale, for grades TV, V and VI 55. Iowa spelling scale, for grades VI, VII and VIII *56. Suggestions to teachers of French and Spanish 57. Diet for the school child *58. Fourteenth annual announcement of the Iowa High School Debating League 59. Physical growth of the school child 60. Great charters of Americanism *61. Income tax problems 62. Character in newspapers *63. Answers to income tax questions 64. Answers to income tax questions 65. Feeding the baby 66. Outlines for the study of great American problems 67. Service in public health education 68. Minimum essentials of English composition 69. School finance in Iowa cities 70. The school lunch *71. Fifteenth annual announcement of the Iowa High School Debating League 72. Income tax and business efficiency papers 73. Correspondence course (1921) 74. Iowa high school public speaking contests 75. Eow to measure the merit of an advertisement 76. Parent and teacher 77. Measure your school 78. Plays for high schools * THE STATE UNIVERSITY OF IOWA IOWA CITY, IOWA The University embraces the following: Graduate College College op Liberal Arts College of Law College of Medicine College of Dentistry College of Pharmacy College of Applied Science College of Education College of Commerce School of Music School of Nursing School of Public Health Nursing Child Welfare Research Station Summer Session, including The Lakeside Laboratory at Okoboji The School for Library Training Extension Division, including Correspondence Courses Correspondence is invited. For catalogues, illustrated bulletins, and other information, address: The Registrar, Iowa City, Iowa iversity