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Successful Rural Plays 
 
 A Strong List From Which to Select Your 
 Next Play 
 
 FARM FOLKS. A Rural Play in Four Acts, by Arthur 
 Lewis Tubes. For five male and six female characters. Time 
 of playing, two hours and a half. One simple exterior, two 
 easy interior scenes. Costumes, modern. Flora Goodwin, a 
 farmer's daughter, is engaged to Philip Burleigh, a young New 
 Yorker Philip's mother wants him to marry a society woman, 
 and by falsehoods makes Flora believe Philip does not love her. 
 Dave Weston, who wants Flora himself, helps the deception by 
 intercepting a letter from Philip to Flora. She agrees to marry 
 Dave but on the eve of their marriage Dave confesses, Philip 
 learns the truth, and he and Flora are reunited. It is a simple 
 plot, but full of speeches and situations that sway an audience 
 alternately to tears and to laughter. Price, 25 cents. 
 
 HOME TIES. A Rural Play in Four Acts, by Arthur 
 Lewis Tubes. Characters, four male, five female. Plays two 
 hours and a half. Scene, a simple interior— same for all four 
 acts. Costumes, modern. One of the strongest plays Mr. iubbs 
 has written. Martin Winn's wife left him when his daughter 
 Ruth was a baby. Harold Vincent, the nephew and adopted son 
 of the man who has wronged Martin, makes love to Ruth Wmn. 
 She is also loved by Len Everett, a prosperous young farmer. 
 When Martin discovers who Harold is, he orders him to leave 
 Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
 covers she loves Len, but thinks she has lost him also. ihen 
 he comes back, and Ruth finds her happiness. Price 25 cents. 
 
 THE OLD NEW HAMPSHIRE HOME. A New 
 England Drama in Three Acts, by Frank Dumont For seven 
 males and four females. Time, two hours and a half. Costumes, 
 modern. A play with a strong heart interest and pathos yet rich 
 in humor. Easy to act and very effective. A rural drama ot 
 the "Old Homstead" and "Way Down East' type. Two ex- 
 terior scenes, one interior, all easy to set. Full /t^'^^ng sit- 
 uations and delightfully humorous passages The kind ot a play 
 everybody understands and likes. Price, 25 cents. 
 
 THE OLD DAIRY HOMESTEAD. A Rural Coniedy 
 in Three Acts, by Frank Dumont. For five males and four 
 females. Time, two hours. Rural costumes. Scenes rural ex- 
 terior and interior. An adventurer obtains a large sum of money 
 from a farm house through the intimidation of the farmers 
 niece, whose husband he claims to be. Her escapes from the 
 wiles of the villain and his female accomplice are both starting 
 and novel. Price, 15 cents. 
 
 A WHITE MOUNTAIN BOY. A Strong Melodrama in 
 Five Acts, by Charles Townsend. For seven males and tour 
 females, and three supers. Time, two hours and twenty minutes. 
 One exterior, three interiors. Costumes easy l^'f/^X?;.? 
 country lad, twice saves the life of a f "^^^^ ^ ^/^"S^;^^^'^' .^^^^^^^^ 
 results in their betrothal. A scoundrelly clerk has the banker 
 in his power, but the White Mountain boy finds a way to cluck- 
 mate his schemes, saves the banker, and wins the girJ. -trice 
 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
The Dress Rehearsal 
 
 A Parlor Comedy in One Act 
 
 By 
 
 Mrs. S. F. Carroll 
 
 and 
 
 Elizabeth C. Miller 
 
 PHILADELPHIA 
 
 THE PENN PUBLISHING COMPANY 
 1918 
 
Copyright 1906 by the Penn Publishing Company? 
 
 riie Dress lit'hearsal 
 
^^^^^ 
 
 The Dress Rehearsal 
 
 CAST OF CHARACTERS 
 
 The Telephone, . which is responsible for all the trouble, 
 Nancy Blythe, . . a double-barreled heroine, 
 Agnes Middleman, .... peacemaker. 
 Miss Cavendish, . otherwise known as Aunt So- 
 j phronia,^^ Fritn^ proper and precise, 
 
 ip Lucy, - a colored mammy of the old fashioned type, 
 ^ Tom Travers, - - for whom a little listening is a 
 j'j^ dangerous thing, 
 
 Dick Dunder, - who rushes in where angels fear to tread 
 V Harold Huntington, - otherwise Cousin Nat,^^ who 
 
 never appears. 
 
 d - — _ — — 
 
 COSTUMES, MODERN 
 
 tP 
 
 Time in Representation : — One Hour. 
 
 3 
 
The Dress Rehearsal 
 
 SCENE. ^ — Library at Fair Oaks, the Blythe country hone. 
 Mission furniture^ busts and engravings of fa77ious au- 
 thors. Fireplacey l. corner, back. Telephone, back c. 
 Doors, R. and L., near front. The hour is J. 00 P. M. 
 of a January day. The curtain rises showing stage va- 
 cant. Telephone bell rings. Enter Miss Cavendish, l., 
 carrying a piece of embroidery on hoops. Goes to tele- 
 phone, takes receiver from hook. 
 
 Miss Cavendish. Well? Yes, this is the Blythe 
 
 residence Yes No; but I am Miss Blythe's 
 
 aunt, and I will tell her What? Oh, you are the 
 
 scenery people? Well {severely') I don't know a thing about 
 it. (Enter Nancv, walking slowly, reading from a book.) 
 1 shall have to call my niece. 
 
 Nancy. Who is it, Aunt Sophronia, Brush and Bramble ? 
 Well, it's about time. {Takes receiver. Miss Cavendish 
 
 sits near table and sews.) Hello ! Mr. Brush ? 
 
 Yes, indeed. I've been expecting your wagon all afternoon. 
 Can you send out those rocks right away ? You see we 
 have our dress rehearsal this evening, and I was so afraid 
 
 What? ...The trees? Yes, they're fine; in fact 
 
 they're just what we wanted. And you'll be sure to send 
 
 out those rocks right away? Very well ; thank you, 
 
 Mr. Brush Yes, that'll be all right Good-bye. 
 
 {Hangs up receiver, and turns, clasping her hands.) Oh, 
 Aunt Sophronia, it's such fun ! don't you wish you were 
 in it ? 
 
 Miss Cavendish. No, indeed, nothing could induce me 
 to make a fool of myself. Private theatricals indeed ! I 
 don't see where the pleasure comes in. 
 
 Nancy {laughing). Why, it's all pleasure. 
 
 ( Walks over and leans on her aunfs chair.) 
 Miss Cavendish. All I've seen so far has been a lot of 
 
 5 
 
6 
 
 THE DRESS REHEARSAL 
 
 work for everybody in the house; the telephone ringing 
 every five minutes ; the servants rushing wildly about ; the 
 whole third story in a state of chaos ; and you yourself so 
 preoccupied that when I ask you the time of day, or remark 
 that it looks like rain you absent-mindedly answer : 
 
 Avaunt, villain ! " {tnakes dramatic gesture), or some- 
 thing of that sort. 
 
 Nancy {laughing). But, Aunt Sophronia, nobody says 
 
 Avaunt villain 1" in our play. 
 
 {Imitates her aunf s gesture?) 
 
 Miss Cavendish {waving her aside). Well, there are 
 many things equally foolish. 
 
 Nancy {coming roimd in front of her aunt). Nothing of 
 the sort. {Hurriedly tur?is a few pages in her book.) 
 Listen to this ! The heroine — that's I — is telling the hero 
 • — that's Cousin Nat — that she can't marry him. She says: 
 {reads dra77tatically) *<Alas, dear Harold! The time has 
 come when our two knitted souls must rend their bonds and 
 part forever. Honor points a path for each which the other 
 may not tread." 
 
 Miss Cavendish {contemptuously). Nonsense I 
 
 Nancy {airily). Wait till you hear me say it to-morrow 
 night. 
 
 (^Moves toward door, consulting book and repeating in an 
 undertone : * ' Alas^ dear Harold ! etc. ' ') 
 
 Miss Cavendish {suggestively). Wait till Tom hears you 
 to-morrow night. 
 
 Nancy {pauses in doorway and laughs over her shoul- 
 der). Oh, he won't care. 
 
 {Exit Nancy, l. Miss Cavendish left alone, continues to 
 embroider. Telephone bell rings. Miss Cavendish 
 sighs, lays her embroidery on table and resignedly goes to 
 telephone and takes down receiver.) 
 
 Miss Cavendish. Well? Yes, this is Fair Oaks. 
 
 Whom do you wish to speak to? Oh, is this you, Mr. 
 
 Dunder ! I will call Nancy What? Oh, your 
 
 automobile ! Ikoken down ! How dreadful ! 
 
 Nancy will be so distressed. She luis been exj)ccting you 
 for some time, I believe ; isn't it nearly the hour for your 
 dress rehearsal? Who did you say is with you, Mr, 
 
THE DRESS REHEARSAL 
 
 7 
 
 Dunder ? A scene-shifter and a stage carpenter and 
 
 Oh, is Agnes there too! Well, this is too 
 
 bad ""isn't there something we can do ?— Is your motor 
 broken past repair? Yes, Nancy's chauffeur is some- 
 where about the place, I'm sure Send him with what? 
 
 ^ fire plug ! What? Oh, a spark plug. 
 
 Anything else? Very well. I'll have him sent down 
 
 at once. Where did you say you are? Opposite the 
 
 Rankin farm ? Very well ....Yes, you shall have assist- 
 ance right away Not at all Good-bye. (^^gf 
 
 up receiver. Turns azvay. In exasperated tones.) Ha t 
 the theatrical troupe stranded down the road ! What will 
 happen next, I wonder. 
 
 {Exit, R. Enter Nancy, l., studying from book, making 
 gestures as she recites?) 
 
 Nancy. How fair shines the pale moon to-night. How 
 soft, serene th' illumined sphere glides over yonder hilltop ! 
 4h, a cloud obscures the radiant disk !— even so a mist of 
 jrouble darkens my sad heart. Oh, for owt— {telephone bell 
 rings. Nancy goes abstractedly to 'phone, takes up re- 
 ceiver, and continues speaking into telephone) gloom^dispell- 
 
 ing glance from those dear eyes ! {Starts,) What ? 
 
 Oh, beg pardon. Hello! ,,.Yes, this is Nancy 
 
 Cousin Nat? Oh, my, yes! isn't it a good thing it 
 
 happened to be you ; any one else would have thought cen- 
 tral had connected him with the insane asylum 
 
 Yes, Cousin Nat Oh, I forgot— Harold, I mean. I 
 
 must get used to caUing you Harold, mustn't I ? 
 
 What? You can't come! Oh, but you must, Nat; 
 
 it's the dress rehearsal, and that important scene of ours 
 
 didn't go at all well last time— you know it didn't 
 
 Oh, no ! we must have the play to-morrow. You know 
 Tom gets back to-morrow night, and I've set my heart on 
 
 surprising him with it {Laughs.) Oh, no; Tom 
 
 won't be jealous of you Well, I don't know; maybe 
 
 if your name were really Harold he might — on account of 
 
 Harold McGrath, you know Yes, Tom has always 
 
 been a little sensitive in that quarter Well, all right ; 
 
 but I think it's a shame you can't come. And, Nat, don't 
 you think we'd better rehearse that last scene just once more ? 
 
 {Laughs.) Over the telephone ! All right; I'll do 
 
 it.'.* No, I'm not letter-perfect either. I'll tell you— 
 
8 
 
 THE DRESS REHEARSAL 
 
 you call up again in about half an hour, and in the mean- 
 time ril study up, and you must, too Well, then, 
 
 you'll telephone later on ? All right, Nat. Good-bye! 
 
 {Hangs up receiver. Exit, l., reading: Alas, dear 
 Harold ! etc'' Stage vacant for a moment. Telephone 
 rings. Enter Lucy, r., bustling and important.^ 
 
 Lucy. Huh, dis bell am faihly gettin' hoarse — it ring so 
 often. Des keep somebody a-scramblin' all de time. 
 
 (Takes receiver,') Hullo, suh ! Yas, suh, dis am 
 
 Mistah Blytheses res'dunce Yas, suh, Wby, 
 
 how'd you know 'twuz me ! Oh, lawsy, dat you, Mis- 
 tah Tawm? Yas, suh, we-all's well^ how's youse'f? 
 
 No, suh. Miss Nancy didn' 'low you'd be home 
 
 till to-morrer night — huh'd huh tell Miss Sophie so. Jest 
 wait a minute, I'll fetch Miss Nancy How dat, Mis- 
 tah Tawm? You don' want Miss Nancy? .^Law, 
 
 honey, you don' mean fur to say it's me you wants to talk 
 
 to ! O you don' want anybody to know you'se got 
 
 home? All right, suh; I won't tell 'em ef you say so 
 
 Oh, of co'se — you want to 'sprise 'em. All right, 
 
 honey; I won' say a wo' d : I'll des be on de lookout an' 
 sneak you in by de side do'. Law, suh, my baby sholy am 
 gwine ter be glad to see you agin ; she done miss you a 
 
 whole lot Oh, no, suh ! I won' furgit. I'll be on 
 
 han' 'Bout twenty minutes? Yas, suh. All 
 
 right, Mistah Tav^m Good-bye. {Hangs up receiver ; 
 
 walks toward door talking to herself,) Wondah when 
 Miss Nancy an' Mistah Tawm gwine git married. Mighty 
 han'some couple dey'll make. ( Telephone bell rings, Lucy 
 turns back.) Fob de lan's sakes ! Wha'd I tell you? 
 You an' me's gwine to have trouble yit, Mistah Telephome, 
 ef you don' keep yo' mouf shet ! {Takes receiver.) 
 
 Hullo! Yas, suh Wha'd you say? Miss 
 
 Blytheses wig? Oh, yas, suh No, suh, it ain' come 
 
 yit. Miss Nancy's gittin' mighty anxious 'bout dat wig. 
 She say she gwine call you-all up an' fin' out wha' de 
 
 trouble Oh, den I guess it'll be along all right. Ef 
 
 you sent it by de train it could n' git shere yit noway 
 
 All right, suh. Good-bye. {Exit, r., soliloquizing.) 
 Miss Sophie mighty neah right when she fuss 'bout de 
 trouble (kse shere th'nticles makes. But, lawsy, ef de 
 young folks enjoy dcyselves, I ain' complainin'. 
 
THE DRESS REHEARSAL q 
 
 [Enter Nancy, l., reciting fro7n book?} 
 
 Nancy. Oh, welcome twilight, swiftly come, and with 
 your darksome shadows hide the falsely smiling face of day 
 from mine afflicted eyes ! {Strikes a tragic attitude,^ 
 Oh, stars of night, look softly down from out your azure 
 
 deeps and shine upon {Enter Dick Dunder and 
 
 Agnes Middleman in elaborate motoring costume y their 
 arms full of various-sized bundles, Nancy looks up, 
 pauses y then strikes another attitude. Dramatically.^ 
 Aha, they come, perfidious pair ! (Stifles a giggle,) 
 
 Dick [suddenly dropping all the bundles and stretching 
 an impassioned arm toward Nancy). Odds blood ! 'Tis 
 Miriam! [Turns to Agnes.) She is as basely false as 
 she is divinely fair, and 
 
 Agnes [interrupting, in soft plaintive tones). Oh, that 
 I should have lived to see this day ! 
 
 [All then burst out laughing, and Nancy embraces Agnes.) 
 
 Nancy. I thought you would never come ! Did Jenkins 
 get to you with the spark-plug ? — but of course he did or 
 you wouldn't be here now. And [pointing to bundles on 
 floor) you have brought all your things for the dress re- 
 hearsal, haven't you ? How splendid ! 
 
 Agnes [catching sight of scattered bundles). Oh, Dick, 
 see what you have done — my beautiful court costume strewn 
 all over the floor ! 
 
 (Dick turns hurriedly and puts his foot on bundle.) 
 
 Nancy and Agnes [excitedly). Don't step on it ! 
 
 Dick [resuming tragic manner, dropping on knees and 
 gathering up bundles). Alas ! what have I done? 
 
 Nancy [ivaving away Dick's remark). Do you know 
 your parts ? [Helps Agnes to take off her cloak.) 
 
 Agnes. Why — why, I think so. 
 
 Dick [dropping everything he has picked up and speaking 
 very earnestly). Oh, surely ! er — that is — we almost do. 
 You see Agnes says it took so much time to make her cos- 
 tume, and I had to run all over town to find this. ( Takes 
 large black moustache from pocket and affixes it to lip, still 
 kneeling among bundles. Both girls laugh,) And so, of 
 course, there wasn't much time left to polish up on our 
 parts. [Resumes work among bundles.) But we know 
 them pretty well; don't we, Agnes? [Suddenly stretches 
 
10 
 
 THE DRESS REHEARbAL 
 
 forth arms, dropping bundles, and recites with fervor. ) 
 Oh, star of my existence, shed one kindly ray upon my 
 darkened heart ! 
 
 Agnes {decidedly'). Pick up those bundles, Dicky, and 
 don't be a goose. We'll hear you rehearse later on. {Titrns 
 to Nancy.) I do wish we were better prepared for the final 
 rehearsal ; there are some of my lines that I am still rather 
 doubtful about. 
 
 Nancy (laughiiig). I'll venture both of you know the 
 love scenes down to the last w^ord. I told Cousin Nat it 
 was a mistake to give an engaged couple the love parts you two 
 have in this, but he said it was nonsense, it stood to reason 
 you could act all the more realistically. Now, Nat and I, 
 most prosaic of cousins, have our love-scenes dowai so fine 
 that when I say {clasping her hands a7id raising her eyes 
 ceiling-ward), <^ Alas, dear Harold! The time has come 
 when our two knitted souls must rend their bonds and p^t 
 forever," the audience will be able to hear my heart break- 
 ing quite distinctly, 1 know. 
 
 Agnes {slyly). But if it were Tom instead of your 
 <cousin who had the part of Harold 
 
 Nancy (with elaborate carelessness). Oh, I shouldn't 
 be able to do it half so well ! 
 
 (Dick, who has been alternately liste^iing and pickifig up 
 bmidles, now rises, his arms full of the^n, the C07itents 
 overflowing and trailing over his shoulders.) 
 
 Dick. Where do you girls want this stuff? 
 
 Nancy. Yours in the guest-room, Dick. Agnes is to 
 dress in my room, and she had better do it right away {con- 
 sults watch) ; there's only half an hour before the rehearsal. 
 (Agnes and Dick move toward door, r., Dick dropping 
 bundles and Agnes following him, picki?ig them up.) 
 And if you get any time, study your parts. Meanwhile, I 
 will study mine. {Exeunt Dick and Agnes, r. Nancy 
 resumes her book, lualking up and down and gesturing as 
 she studies.) Oh, treacherous unkind Fate, must I be thus 
 pursued, by night, by day, in sleeping and in waking hours, 
 by the horror of this hopeless love? Ah, cruel Destiny! 
 (Telephone rings. She lualks to7vard telephone still read- 
 ing.) Tet welcome Death combine witli thee to overthrow 
 
 the n-.igcdy of my existence, and say to all the world 
 
 (flakes up receiver,) Hello ! Oh, Nat I— or Harold, 
 
THE DRESS REHEARSAL 
 
 If 
 
 rather Yes; did you call up to rehearse? Well, 
 
 I'm glad of that; I've been studymg diligently, but it is so 
 
 hard to remember the cues unless we rehearse together 
 
 Yes, I'm so sorry you can't be here for the dress rehearsal. 
 
 Isn't your cold any better ? It's really too bad. Tom 
 
 gets home to-morrow in time for the performance and of 
 
 course I want to shine Why ? Well, you see, he has 
 
 always scoffed at amateur theatricals and called them stupid, 
 but 1 told him I was sure I could act a little and some 
 day I would show him, so if we could have our play good 
 — really splendid, you know, why, why (^Indig- 
 nantly.^ No, I wouldn't say I told you so !...o Oh, I'm 
 
 not huffy. A girl doesn't pay much attention to what a mere 
 
 cousin says, you know, my dear Nat Well, yes; I 
 
 suppose we had better rehearse that last scene, only it seems 
 
 awfully silly to do it over the telephone No, you begin 
 
 first. Don't you know {consults book), you say: **0h, 
 
 beloved ! one last embrace before I die." Yes, that's 
 
 right. Go on Ah, say not so, dear heart of mine ! 
 
 But Harold, cannot we force Fate — cause gentle 
 
 Nature to interfere in our behalf, and by the removal of 
 tiose who stand between us, bind our souls in closest union 
 forever and forever ! Miss Cavendish, r. , who listens 
 
 with eyes and mouth opened wide in astonishment.) Oh, 
 dear one, forget the wicked words I've spoke, — 'tis Love, 
 gentle Love, drives these dreadful thoughts to my fevered 
 brain. {Exit Miss Cavendish, l., enlightened but scorn- 
 ful.) Ah, how sweetly sounds thy voice, dear Harold, 
 when naught but love words it breathes into mine ear ! 
 {Enter Agnes, r., powdered wig in one hand, book in 
 other.) Tell me again, my King, the words my enchanted 
 soul so pines to hear ! {Exit Agnes, l., laughing.) Oh, 
 Prince of men, is it only Death that will assuage our hurts, 
 and by a bloody separation here, unite us in the great 
 beyond? {Enter Lucy, r., carrying artificial tree.) My 
 sweet, was ever gentle Love subjected to such trials ! 
 
 Lucy {scandalized ). Foh de Lo'd's sake ! 
 
 Nancy. You say aright, beloved ! there's naught but 
 self-sought death remains for us. {Exit Lucy, r., pre- 
 cipitately.) Death, the soundest, dreamless sleep of Life ! 
 
 {Enter Dick, r., mumbling. Nancy continues reciting 
 lines from play into telephone, and Dick mutters his part 
 at the same time, striding up and down the room. 
 
 u, OF lu. ua 
 
12 
 
 THE DRESS REHEARSAL 
 
 Dick. Curse him ! An hundred thousand evils pursue 
 him, for he has stolen from me that most priceless gift of 
 Life, the love of woman. Come, dire disaster, horrid Death, 
 and wipe his baneful presence from the suffering earth ! 
 
 Nancy {simultaneously,^ Ah, loved one, would that we 
 might tether Time, and in the arrested hours live out the 
 years of Life in the brief moment of our making ! {Exit 
 Dick, r.) But such ecstatic rhapsodies are but the idle 
 words of a love-diseased brain. This tethering of Time to 
 gain a glorious moment for our ill-fated love may not be ! 
 {Enter Tom, r., in traveling coat, suit- case, umbrella and 
 hat in hands. He stands in the doorway and listens with 
 lowering brows, while Nancy continues at telephoiie un- 
 conscious of his presence. Agnes peeps in, l., unnoticed 
 by either. She realizes the situation, stands i?t agitated in- 
 decision for a moment, then disappears. Nancy continues 
 uninterruptedly at telephone.^ You are right, my love. 
 Alas, dear Harold ! The time has come when our two 
 knitted souls must rend their bonds and part forever. 
 Honor points a path for each which the other may not 
 tread No, dearest, he entertains not the slightest sus- 
 picion, nor shall he ever hear it from my lips. (Tom starts, 
 and frowns with increasing fierceness.^ Duty is henceforth 
 all that remains to me. {Exit Tom, r., furiously.^ So, 
 fare thee well, my love, my prince, my king 1 — a long, a 
 
 long farewell 1 There, that will do, Nat ; we got along 
 
 very nicely, don't you think so?... .....And, Nat, you must 
 
 be very careful of my make-up when we act out that long 
 {laughs) that long farewell. You know my wig is fright- 
 fully powdered, and if you get any on your black velvet 
 robe, it will be a comedy instead of a tragedy, I'm afraid 
 
 Yes. And, oh, Nat, when you come to-morrow 
 
 night, go to the side entrance and straight up to the ball- 
 room and stay there. Tom will be here at seven, and he 
 isn't to know a thing about it till the very moment of the 
 
 performance, — you won't forget ? Yes ....All right. 
 
 Good-bye. 
 
 {Hangs up receiver. Exit, L.) 
 
 {Enter Dick dragging 1\)M, r. Enter Agnes, l., who 
 hides wig behind her on seeing Tom.) 
 
 Dick. Say, old man, this won't do. What are you 
 
THE DRESS REHEARSAL 
 
 13 
 
 sliding out for like this? You are just in time to help us 
 
 with 
 
 Agnes {loudly). Ahem ! Why Tom, when did you 
 get back? I'm awfully glad to see you. 
 
 {Frowns at Dick, who looks puzzled^ then suddenly re- 
 members.) 
 
 Dick {aside). Suffering Rachel! I nearly gave the 
 whole thing away ! 
 
 {Turns away and begins studying from book, making 
 gestures from time to time.) 
 
 Tom {abstractedly). How do you do, Agnes? 
 
 Agnes {aside). Poor fellow ! {Aloud.) Come and sit 
 over here and tell us about your trip. (Agnes Dick 
 pull Tom to sofa and sit down, Tom between them. Agnes 
 animatedly.) We've all missed you dreadfully, Tom, 
 especially Nancy. 
 
 Tom {grimly). Yes, I dare say. 
 
 {Puts his elbows on his knees y his chin in his hands, star- 
 ing at carpet.) 
 
 Agnes {vivaciously). Yes, indeed ; she hasn't been the 
 same girl since you left. Do you know, we had a hay-ride 
 last week (Dick stares at her. She gasps, then con- 
 
 tinues hurriedly?) A sleigh-ride, I mean, of course. 
 
 Dick {in injured tones). I didn't hear of it ! 
 
 Agnes {aside to Dick). Oh, hush ! {To Tom.) Yes, 
 a sleigh-ride, and Nancy wouldn't go because you weren't 
 there ! 
 
 Dick {starting up). I call all the inhabitants of this 
 
 region to witness that we haven't had snow since 
 
 {h.Gm.% frowns furiously and Dick subsides upon sofa.) 
 
 Agnes {with increased animation). And then the 
 Weatherby's dance, and Mrs. Stone's box party, and— a— 
 and— a— -oh, a lot more that was going on (Dick gives it up 
 and falls to studying)— ^d^wzy wouldn't go anywhere with- 
 out you 1 {Triumphafttly.) 
 
 {A short silence ensues ; Agnes taps her foot impatiently ; 
 Tom glares absorbedly at carpet; Dick studies and 
 gestures.) 
 
THE DRESS REHEARSAL 
 
 Dick (muttering). And if Fate bring thee into my path, 
 
 Lord Huntington (Agnes pwches Dick behind Tou,) 
 
 Oh ! (^Co7?i7nences to study silently,) 
 
 Agnes (talking very fast), I saw your mother yesterday, 
 Tom ; she said she was expecting you on the evening train 
 to-morrow without fail. I thought she was looking awfuU)/ 
 well, and so was Evelyn, — Evelyn was with her. How fast 
 that child grows, doesn t she ? 
 
 Tom (absently), I beUeve so. 
 
 Dick ( pulling moustache from pocket and sticking it on 
 his lip). Say, Agnes, do you really think this makes me 
 look ferocious ? 
 
 \ Gazes mildly at audience,) 
 
 Agnes (rising). There's nothing you could wear that 
 would make you look anything but the stupid you are 1 
 
 {Frowns, and Dick hastily pockets moustache. Enter 
 Nancy, l.) 
 
 Nancy. Tom ! (Runs toward him ; he stands looking 
 coldly at her ; she stops and holds out her hands.) Aren't 
 you glad to see me? (He turns slightly aivayy and she 
 gazes at him in bewilderment, Agnes pulls Dick's sleeve^ 
 and they tiptoe out, l. Nancy clasps her hands,) Oh, 
 what has happened ! 
 
 Tom (pacing the roo7n, hands i?i pockets). Nancy, you 
 should have been more open with me. You know no man 
 is going to hold a girl to her word when he finds she has 
 changed to him. 
 
 Nancy (mystified). Changed? I? 
 
 Tom. Yes, changed, for no one could make me believe 
 you had been deceiving me all along. I know that when I 
 went away, you belonged to me, and (bitterly) I have my 
 good friend to thank for this. (Stops before her,) It's 
 hard lines on a fellow when his best friend plays him such a 
 trick. 
 
 (Absently picks up book fro?n table,) 
 
 Nancy. But, Tom, I haven't the least idea what you are 
 talking about. 
 
 Tom. Nancy, don't try to keep that up. Honesty is 
 the only way out of this. I supi)ose you wonder how I have 
 found out the secret you are so kindly hiding from me — out 
 
THE DRESS REHEARSAL 
 
 15 
 
 of compassion for me, I suppose, but, unfortunately, I hap- 
 pened to enter this room a short time ago, and to overhear 
 a conversation over the telephone which can bear but one 
 interpretation. 
 
 Nancy (starting). You mean when I was talking to 
 Cousin Nat ? 
 
 Tom. It wasn't Nat you were talking to when I came in. 
 I distinctly heard you say, Harold, you and I must 
 part," and then a lot about honor. 
 
 Nancy {gasps). Oh, Tom ! 
 
 (Turns to audience, shaking with suppressed mirth.) 
 
 Tom (more gently). Don't cry about it, Nancy. You 
 see, it's no use, and it isn't kindness, either, to try to keep 
 this up when it no longer means anything to you. I hope 
 I can take what's coming to me like a man, but (he savagely 
 bangs the book he holds on the table) I shall have something 
 to say to Mr. Harold McGrath when I see him ! 
 
 Nancy {sinking on sofa). Tom, Tom, what a dreadful 
 mistake ! 
 
 (Buries her head in cushions.) 
 
 ■ ToM. A mistake that was found out in time, Nancy, and 
 there's only one way to set it right. If it's Harold Mc- 
 Grath you care for, I give you up to him without hesitation, 
 for I cannot share your love with any one. 
 
 Nancy (suddenly sitting up and gazing ^ at him angrily). 
 Tom Travers, I think you are the most disagreeable man I 
 ever knew ! A lovely way to come home to your fiancee ! 
 (Chokes back a sob.) Wouldn't speak to me, though you 
 hadn't seen me for two whole weeks (chokes again), then 
 begin to accuse me of having changed ; won't let me say a 
 word in explanation » 
 
 Tom. Explanation ! 
 
 Nancy (going on tumultuously without heeding him). 
 And then show how much you care by cheerfully giving me 
 up to the first man you fancy would like to take me off your 
 hands. (Rises and moves toward door.) I am glad, ]\Ir. 
 Travers, that I have discovered in time how much you value 
 me, and what great confidence you place in me ! 
 
 {^Bursts into tears and exit, l. Tom strides gloomily up 
 and down. Telephone bell rings. He pays no heed ; 
 continues muttering agitatedly. After repeated rings, he 
 angrily walks to telephone and takes up receiver.) 
 
i6 
 
 THE DRESS REHEARSAL 
 
 Tom {in uncompromising tones). Hello. Yes, this 
 
 is Forest 892 Oh, indeed ! (with infinite sarcasm) so 
 
 this is Harold, is it ? (Aside,) And, my dear Harold, you 
 are caught red-handed this time. (Suddenly breaking 
 down.) Oh, to think — Harold McGrath, of all people — 
 and Nancy — it's too much ! {Aloud.) Oh, go on, Harold ; 
 shout hello till you burst your jugular vein — I wish you 
 
 would 1 Whom did you say you want? Nancy? 
 
 Yes, that's right, just keep on incriminating yourself as fast 
 as you can. It's all I want ! And what about that path 
 
 that honor bids you tread? No, this isn't Dick — no 
 
 such luck as that for you Rehearsing? Yes, you 
 
 might call it rehearsing — I hadn't thought of that. Of 
 course ; you are right ; this is the rehearsal, and (with sud- 
 den fierceness) the performance will take place just as soon 
 as I can get down to the other end of this telephone wire, 
 
 Mr. Harold McGrath, — do you understand? Not 
 
 Harold McGrath ? Oh, no ; of course not ! There are so 
 many of Miss Blythe's admirers named Harold, that this is 
 
 doubtless one of the numerous others Crazy ? Maybe ; 
 
 but not as crazy as the man that will take the risk of making 
 
 love to another man's fiancee over the telephone Send 
 
 some one else to the 'phone ? Not on your life, my dear 
 Harold, — not on your precious life, which (with savageness) 
 at the present moment wouldn't be worth a plugged penny 
 if I had my hands on you. (Pauses.) Hello ! Hello ! 
 {Hangs up the receiver viciously and turns away.) Just as 
 1 thought ; a coward as well as a sneak. 
 
 (Enter Dick, l., book in hand, rehearsing as he strides up 
 and downy trying to stick moustache on his lip. He is 
 unconscious of Tom, who stands near telephone^ scowlifig 
 fiercely.) 
 
 Dick. I see it all now. She is as basely false as she is 
 divinely fair, "and 'tis Harold, curse him I Harold the 
 hypocrite, who has won her heart. 
 
 Tom (thunderstruck). What ! 
 
 Dick (continuing). Others have thought her love was 
 theirs, but 'twas mine, I swear, until this smooth dissembler 
 crossed my path. 
 
 Tom (wildly). Is there no end to her deception ! Now 
 it is Dick who 
 
 (Dick notices him for the first time and stares abstractedly.) 
 
THE DRESS REHEARSAL 
 
 Dick. Oh, you here ? 
 
 Tom {with forced calmness). Yes, Fm here, Mr. Dick 
 Dunder. {He pauses a7id glares steadfastly at T>\q,y^.') I'm 
 here, and you're there ; but {with sudden exasperation^ in 
 about one-sixteenth of a minute I'm going to move from 
 
 here to there, and then {Strides toward Dick, who runs 
 
 behind chair in alarm. 1 cm follows and Dick dodges be- 
 hind table. After a few minutes of the pursuit^ Dick bolts 
 through doory r., and Tom drops upon sofa and rocks to and 
 fro in wrath.) Could that have been a lock of her hair he 
 was waving about I I swear I saw him put it to his lips ! 
 
 {Enter Miss Cavendish, l.) 
 
 Miss Cavendish. Why, how do you do, Tom? I'm 
 glad to see you. {Shakes hands. Telephone bell rings. 
 Miss Cavendish goes to answer it and Tom starts to leave 
 the room.) Wait a minute, Tom, I want to talk to you. 
 
 {Turns to telephone and takes receiver.) Well ? Yes, 
 
 this is Mr. Blythe's residence. (Tom listens intently) 
 
 Is that you, Nat ? (Tom loses interest and paces up and 
 downy head bent and hands in pockets.) You want to find 
 
 out what ? Who answered the telephone a while ago ? 
 
 Why, I don't know, I'm sure. It might have been almost 
 
 anybody What! a crazy man, you say? ....Oh, 
 
 my dear nephew, you are joking, aren't you ? Some- 
 body very angry about — that must have been Dick Dunder ; 
 it sounds like him. He goes around all the time spouting 
 nonsense, — this foolish business the girls are getting up you 
 
 know Yes, I forgot, you are in it; — something I can 
 
 hardly understand in a sensible man like you either 
 
 Well, depend upon it, Nat, it's just some of Mr. Dunder's 
 nonsense. I'm sorry about your cold. Nancy tells me we 
 shall see you to-morrow Well, all right, good-bye. 
 
 {Hangs up receiver.) 
 
 Tom (who has been waiting impatiently). Miss Caven- 
 dish ! 
 
 Miss Cavendish. What is it, Tom ? Come and sit 
 down, I want to ask you how your mother is, and 
 
 Tom {stopping her with a gesture). Miss Cavendish, I 
 should like to ask you what has been going on in my ab- 
 sence. 
 
 Miss Cavendish {puzzled). In your absence? — here? 
 
THE DRESS REHEAkSAL 
 
 Well, things have been going on pretty much as usual, al- 
 though 
 
 Tom. What I really want to know is, what is all this 
 between Nancy and — Harold ? {Hesitates,) 
 
 Miss Cavendish {smiling indulgently). Why, you know, 
 —surely some one has told you by this time — you see, 
 
 Harold is Nancy's lover, and {Telephone bell rings, 
 
 Tom leans dejectedly on mantelpiece, gating into fire. Miss 
 Cavendish goes to telephone,) Oh, dear, this bell is never » 
 silent for five minutes together. {Takes receiver,) Well? 
 
 Mr. Blythe's residence Oh, yes; it came a 
 
 little while ago It is? Well, I will tell my niece 
 
 Very well. Good-bye. 
 
 {Hangs up receiver ^ bustles out.) 
 
 Tom {trying to stop her). Wait a minute. Miss Caven- 
 dish ! 
 
 Miss Cavendish {from doorway). FU be back in just 
 a moment ; I have an important message for Nancy. 
 
 {Exit, R. Enter Agnes, l., studying from book.) 
 
 Agnes {looking up). Oh, you here, Tom ? 
 Tom. Yes, but I'm on the point of leaving. 
 
 {Starts toward door.) 
 Agnes {looking troubled and stretching out Jur hand). 
 But, Tom ! 
 
 (Tom turns suddenly and notes her agitated manner.) 
 
 Tom. You know, then ? 
 Agnes {hesitatingly). About? 
 
 Tom {sorrowfully). About Dick and {Hesi- 
 tates.) 
 
 Agnes. And whom? 
 
 Tom. Can it be that you don't know that it is Nancy 
 who 
 
 Agnes {bewildered). Nancy! What do you mean, 
 Tom ? 
 
 Tom {cofning back to centre). Why, I thought you 
 knew, or I shouldn't have mentioned it. Dick and Nancy 
 are — well, it seems that while 1 have been gone, Nancy has 
 been receiving attentions and {angrily) serious ones, too, 
 not only from Dick, but 
 
THE DRESS REHEARSAL 
 
 19 
 
 Agnes {interrupting hifii). From Dick! But, Tom, 
 that's absurd. 
 
 Tom (seriously). The proof, Agnes, came from Dick's 
 own lips. I was sitting here a few minutes ago, trying to 
 gather myself together after the shock of learning Nancy's 
 first defection, when in comes Dick, head bent, a book of 
 poetry in one hand, and a lock of Nancy's hair in the other, 
 and 
 
 Agnes. Good gracious ! 
 
 Tom. It passes my belief that my absence of two weeks 
 can have brought about such changes in every one I most 
 trusted. 
 
 Agnes. Tom, I know you are mistaken. How could it 
 be ? What did he say that you could construe in such a 
 way? 
 
 Tom. Well, he said But here comes Dick now ! 
 
 {sternly) we wiU let him speak for himself. 
 
 {Enter Dick, rehearsing; so absorbed that he fails to notice 
 Tom and Agnes.) 
 
 Dick. I see it all now. She is as basely false as she is 
 divinely fair, and 'tis Harold, curse him ! Harold the 
 hypocrite, who has won her heart ! 
 
 Tom. There, poor girl, you have heard it for yourself. 
 
 (Dick looks up startled, Agnes bursts out laughing,) 
 
 Agnes. Oh, Tom, Tom ! what a comedy of errors. 
 Dick, what do you suppose ? We have all been rehearsing 
 our parts so realistically and so well that Tom has taken it 
 ^11 in tragic earnest ; and Nancy is very nearly in reality 
 the heart-broken heroine she has been representing. 
 
 Dick {ruefully). And I've very nearly been the back- 
 broken villain I've not been representing. What's it all 
 about, anyway? 
 
 Agnes. Tom, it's all been a ridiculous mistake. I saw 
 your face as you listened to Nancy at the telephone, and I 
 wanted to explain right away, but Nancy forbade it. 
 
 Tom. Explain ! How could such a thing be explained ! 
 
 Agnes. There ! I don't wonder at Nancy's resentment. 
 You might trust her a little. Can't you see that we are all 
 rehearsing a play ? 
 
 ToM {skeptically). Over the telephone ? 
 
 Agnes {eagerly). Yes \ our leading man, Mr. Nat 
 
20 
 
 THE DRESS REHEARSAL 
 
 Cavendish, couldn^t come, and he and Nancy were going 
 over their parts by wire just as you came in. 
 
 Tom {doggedly), Agnes, it was Harold McGrath at the 
 other end of that wire ! 
 
 Dick (exploding). Ha, ha ! that's one on you, old man. 
 Harold McGrath nothing 1 That was Sir Harold Hunting- 
 ton, the hero of our play, a part most ably undertaken by 
 Nancy's innocent and unoffending Cousin Nat. Harold 
 McGrath ! Gee, that's a good one ! (Slaps his knee,) 
 
 (Tom stares, still a little bewildered.) 
 
 Agnes. Tom, don't you see? It's all a play ! 
 
 Dick. Yes, p-l-a-y, play, circus, show,~anything ; and 
 (hastily donning moustache, and striding tragically across 
 the room), ! am the deep and dastardly villain who (re- 
 verting to book) never knows his lines ! 
 
 (Tom, gradually becoming enlightened, gazes from one ti 
 the other, and finally sinks, relieved, upon the sofa,) 
 
 Tom (.faintly). Oh, what an ass I've been ! 
 Dick (^pulling off his moustache). Exactly, old man, 
 exactly ; so you have. 
 
 {Enter Nancy, l., wiping her eyes^ while she studies half- 
 heartedly from book.) 
 
 Nancy (dispiritedly^ in a weak monotone). Alas, deaf 
 Harold! The time has come when our two knitted 
 souls 
 
 (Suddenly becomes conscious of the presence of the others, 
 and dabs at her eyes, retreating toward door. Agnes 
 rushes to her and embraces her.) 
 
 Agnes. Oh, my dear, my poor dear, it's all right now. 
 I just had to tell him. 
 
 Nancy {without interest, and looking from one to the 
 other). Oh, he knows, does he? 
 
 Tom (^coming to her, and trying to take her hand). 
 Nancy, won't you try to forgive me? 
 
 Agnes (impulsively). Oh, do forgive him, Nancy. 
 
 Dick (earnestly). Yes, do forgive him, Nancy. 
 
 Agnes (leading Dick aside), 'Sh, you'll spoil it all I 
 
THE DRESS REHEARSAL 
 
 21 
 
 (Nancy and Tom retire toward fireplace^ talking in low 
 tones, Tom very earnestly and with gestures, Nancy 
 shakes head in negative at first but finally gives him her 
 hand and apparently surrenders, ) 
 
 {Enter Miss Cavendish.) 
 
 Miss Cavendish. Well, are all you young people in 
 here ? I thought you would be up-stairs having your dress 
 rehearsal. 
 
 Agnes {smiling). We had almost forgotten about the 
 dress rehearsal. 
 
 {Telephone-bell rings. Enter Lucy, who goes to 'phone 
 and stands there until curtain, trying, in pantomime^ to 
 communicate with some one,) 
 
 Dick. Yes, how about that rehearsal, Nancy? 
 
 Nancy {coming forward shyly). I guess it is about time 
 we were having \\. 
 
 Agnes {mischievously). But who will take the part o£ 
 Harold Huntington ? 
 
 Tom {grinning sheepishly). Suppose you try me I 
 
 CURTAIK 
 
Unusually Good Entertainments 
 
 Read One or More of These Before Deciding on 
 Your Next Program 
 
 GRADUATION DAY AT WOOD HILL SCHOOL. 
 
 An Entertainment in Two Acts, by Ward Macauley. For six 
 males and four females, with several minor parts. ^ Time of 
 playing, two hours. Modern costumes. Simple interior sccnet; 
 may be presented in a hall without scenery. The unusual com- 
 |»ination of a real "entertainment," including music, recitations, 
 .etc., with an interesting love story. The graduation exerciser 
 -include short speeches, recitations, songs, funny interruption^ 
 ^and a comical speech by a country school trustee. Price, 15 
 cents. 
 
 EXAMINATION DAY AT WOOD HILL SCHOOZn 
 
 An Entertainment in One Act, by Ward Macauley. Eight mal« 
 and six female characters, with minor parts. Plays one hour. 
 Scene, an easy interior, or may be given without scenery. Cos- 
 tumes, modern. Miss Marks, the teacher, refuses to marry a 
 trustee, who threatens to discharge her. The examination in- 
 cludes recitations and songs, and brings out many funny answers 
 to questions. At the close Robert Coleman, an old lover, claims 
 the teacher. Very easy and very effective. Price, 15 cents. 
 
 BACK TO THE COUNTRY STORE. A Rural Enter- 
 tainment in Three Acts, by Ward Macauley. For four male 
 and five female characters, with some supers. Time, two hours. 
 Two scenes, both easy interiors. Can be played effectively with- 
 out scenery. Costumes, modern. All the principal parts are 
 sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
 a country store, aspires to be a great author or singer ^ and 
 decides to try his fortunes in New York. The last scene is in 
 Quig's home. He returns a failure but is offered a partnership 
 in the country store. He pops the question in the midst of a 
 surprise party given in his honor. Easy to do and very funny. 
 Price, 15 cents, 
 
 THE DISTRICT CONVENTION. A Farcical Sketch 
 in One Act, by Frank Dumont. For eleven males and one 
 female, or twelve males. Any number of other parts or super- 
 numeraries may be added. Plays forty-five minutes. No special; 
 scenery is required, and the costumes and properties^ are all/ 
 easy. The play shows an uproarious political nominating con- 
 vention. The climax comes when a woman's rights cham« 
 pion, captures the convention. There is a great chance to bur- 
 lesque modern politics and to work in local gags. Every 
 part will make a hit. Price, IS cents. 
 
 SI SLOCUM'S COUNTRY STORE. An Entertainment 
 in One Act, by Frank Dumont. Eleven male and five female 
 characters with supernumeraries. Several parts may be doubled. 
 Plays one hour. Interior scene, or ma}^ be played without set 
 scenery. Costumes, modern. The rehearsal for an entertain- 
 ment in the village church gives plenty of opportunity for 
 specialty work. A very jolly entertainment of the sort adapted 
 to almost any place or occasion. Price, 15 cents. 
 
 THE PENN PUBUSHING COMPANY 
 
 PHILADELPHIA 
 
Unusually Good Entertainments 
 
 Read One or More of These Before Deciding on 
 Your Next Program 
 
 A SURPRISE PARTY AT BBIHKLEY'S. An En- 
 tertainment in Oae Scene, by Ward Macauley. Seven male and 
 seven female characters. Interior scene, or may be given with- 
 out scenery. Costumes, modern. Time, one hour. By the 
 Euthor of the popular successes, "Graduation Day at Wood Hill 
 School," ''Back to the Country Store," etc. The villagers have 
 planned a birthday surprise party for Mary Brinkley, recently 
 graduated from college. They all join in jolly games, songs^ 
 conundrums, etc., and Mary becomes engaged, which surprises 
 the surprisers. The entertainment is a sure success. Price, 15 cents, 
 
 JONES VS. JINKS. A Mock Trial in One Act, by 
 Edward Mumford. Fifteen male and six female characters, with 
 supernumeraries if desired. May be played all male. Many of the 
 parts (members of the jury, etc.) are small. Scene, a simple 
 interior; may be played without scenery. Costumes, modern. 
 Time of playing, one hour. This mock trial has many novel 
 features, unusual characters and quick action. Nearly every 
 character has a funny entrance and laughable lines. There are 
 many rich parts, and fast fun throughout. Price, 15 cents. 
 
 THE SIGHT-SEEING CAR. A Comedy Sketch in One 
 Act, by Ernest M. Gould. For seven males, two females, or 
 may be all male. Parts m.ay be doubled, with quick changes, so 
 that four persons may play the sketch. Time, forty-five minutes. 
 Simple street scene. Costumes, modern. The superintendent 
 of a sight-seeing automobile engages two men to run the 
 machine. A Jew, a farmer, a fat lady and other humorous 
 characters give them all kinds of trouble. This is a regular g^t- 
 ling-gun stream of rollicking repartee. Price, 15 cents. 
 
 THE CASE OF SMYTHE VS. SMI'TH. An Original 
 Mock Trial in One Act, by Frank Dumont. Eighteen males 
 and two females, or may be all male. Plays about one hour. 
 Scene, a county courtroom ; requires no scenery ; may be played 
 in an ordinary hall. Costumes, modern. This entertainment is 
 nearly perfect of its kind, and a sure success. It can be easily 
 produced in any place or on any occasion, and provides almost 
 Hny number of good parts. Price, 15 cents. 
 
 THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
 tainment in One Act, by Louise Latham Wilson. For thirteen 
 females and one male. The male part may be played by a 
 female, and the number of characters increased to twenty or 
 more. Time, forty minutes. The play requires neither sceneryj 
 nor properties, and very little in the way of costumes. Can, 
 easily be prepared in one or two rehearsals. Price, 25 cents. 
 
 ' BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
 
 Entertainment in One Act, by Edward Mumford. For five males 
 and ten females, with supers. Interior scene. Costumes, mod- 
 ern. Time, thirty minutes. The characters and the situations 
 which arise from their endeavors to bny and sell make rapid-fire 
 fun from start to finish. Price, 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
Successful Plays for All Girls 
 
 In Selecting Your Next Play Do Not Overlook This List 
 
 YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
 by Mrs. E. J. H. Goodfellow. One of the most popular 
 plays for girls. For nine female characters. Time in 
 playing, thirty minutes. Scenery, ordinary interior. Mod- 
 ern costumes. Girls in a boarding-school, learning that a 
 young doctor is coming to vaccinate all the pupils, eagerly con- 
 sult each other as to the manner of fascinating the physician. 
 When the doctor appears upon the scene the pupils discover that 
 the physician is a female practitioner. Price, 15 cents. 
 
 SISTER MASONS. A Burlesque in One Act, by Fr^wn-k 
 DuMONT. For eleven females. Time, thirty minutes. Costumes, 
 fantastic gowns, or dominoes. Scene, interior. A grand expose 
 of Masonry. Some women profess to learn the secrets of a 
 Masonic lodge by hearing their husbands talk in their sleep, 
 and they institute a similar organization. Price, 15 cents. 
 
 A COMMANDING POSITION. A Farcical Enter- 
 tainment, by Amelia Sanford. For seven female char- 
 acters and ten or more other ladies and children. Time, one 
 hour. Costumes, modern. Scenes, easy interiors and one street 
 scene. Marian Young gets tired living with her aunt, Miss 
 Skinflint. She decides to "attain a commanding position." 
 Marian tries hospital nursing, college settlement work and 
 school teaching, but decides to go back to housework. Price, Id 
 cents. 
 
 HOW A WOMAN KEEPS A SECRET. A Comedy 
 in" One Act, by Frank Dumont, For ten female characters. 
 Time, half an hour. Scene, an easy interior. Costumes, modern. 
 Mabel Sweetly has just become engaged to Harold, but it's "the 
 deepest kind of a secret." Before announcing it they must win 
 the approval of Harold's uncle, now in Europe, or lose a possible 
 ten thousand a year. At a tea Mabel meets her dearest friend. 
 Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
 But Maude lets out the secret in a few minutes to another 
 friend and so the secret travels. Price, 15 cents. 
 
 THE OXFORD AFFAIR. A Comedy in Three Acts, 
 by Josephine H. Cobb and Jennie E. Paine. For eight female 
 characters. Plays one hour and three-quarters. Scenes, inter- 
 iors at a seaside hotel. Costumes, modern. The action of the 
 play is located at a summer resort. Alice Graham, in order to 
 chaperon herself, poses as a widow, and Miss Oxford first claims 
 her as a sister-in-law, then denounces her. The onerous duties 
 of Miss Oxford, who attempts to serve as chaperon to Miss 
 Howe and Miss Ashton in the face of many obstacles, furnish 
 an evening of rare enjoyment. Price 15 cents. 
 
 THE PENN PUBLISHING COMPANY 
 
 PHILADELPHIA 
 
The Power of Expression 
 
 Expression and efficiency go hand in hand. 
 
 The power of clear and forceful expression brings confi- 
 dence and poise at all times — in private gatherings, in public 
 discussion, in society, in business. 
 
 It is an invaluable asset to any man or woman. It can often 
 be turned into money, but it is always a real joy. 
 
 In learning to express thought, we learn to command 
 thought itself, and thought is power. You can have this 
 power if you will. 
 
 Whoever has the power of clear expression is always sure 
 of himself. 
 
 The power of expression leads to: 
 
 The ability to think "on your f eef 
 
 Successful public speaking 
 
 Effective recitals 
 
 The mastery over other minds 
 
 Social prominence 
 
 Business success 
 
 Efficiency in any undertaking 
 
 Are these things worth while? 
 
 They are all successfully taught at The National School of 
 Elocution and Oratory, which during many years has de- 
 veloped this power in hundreds of men and women. 
 
 A catalogue giving full information as to how any of these 
 accomplishments may be attained will be sent free on request 
 
 THE NATIONAL SCHOOL OF 
 ELOCUTION AND ORATORY 
 
 17 14 De Lancey Street Philadelphia 
 
UNIVERSITY OF ILLINOIS-URBANA 
 
 3 0112 041565430