812 BG77 m Digitized by the Internet Archive in 2016 https://archive.org/details/manabouttownnegrOObowe E MAN ABOUT ^WALTER H. BAKER 5 CO. NS25 WINTER. STREET^ y BOSTON, A COPYRIGHT, 1893, BY WALTER H. BA BAKER’S DARKEY PLAYS Edited and arranged for publication from the well-known repertoire of “ SCHOOLCRAFT AA D COES ” with all their original “gags” and "•stage business.” BY GEO. H. COES. Price ..... 15 cents each. “Luke Schoolcraft” and “George Coes” are too well known to admirers of Negro Minstrelsy to require comment, and the following selections from their admirable repertory of pieces have no need of other recommendation. No one Avho has seen these artists in any of the following list of sketches needs assur- ance of their humor and good acting quality. Twelve are now ready, and others will follow as the demand arises. Mrs. Didymus’ Party. In One Scene. Two male characters. Scene, a plain room. An immensely humorous trifle. Plays twenty minutes. Music VS. Elocution. In One Scene. Two male characters. Scene, a plain room. Always very popular. Plays fifteen minutes.. Mistaken Identity. In One Scene. Eight male and one female characters. Can be played in “white face” if desired. Plays fifteen minutes. Oh, Well, It’s No Use. In One Scene. Three male characters. A very funny sketch, full of genuine darkey humor. Plays twenty minutes. Here She Goes, and There She Goes. In One Act. Eight male and one female characters. An uproariously funny piece of great popularity. Plays twenty-five minutes. A Finished Education. A Finale for the “First Part” of a Minstrel Entertainment. Three speaking characters. No change of scene Black Blunders. In Two Scenes. Nine males and three females. Scenery simple; costumes eccentric. Very lively and amusing. Plays twenty-five minutes. The Old Parson. A “First Part Finish” for a Minstrel Enter- tainment. Six speaking characters. No change of scene. Sublime and Ridiculous. In One Scene. Three male characters. Scenery and costumes very simple. A sure hit for a good burlesque comedian. Plays twenty minutes. Everyday Occurrences. A “First Part Finish” for a Minstrel Entertainment. Three speaking characters. No change of scene. Badly Sold. In Two Scenes. Four male characters and supers. A very funny piece. Can be played “white face” with equally good effect. Plays twenty minutes. Our Colored Conductors. In Two Scenes. Three male char- acters and ten supers. This is an uproariously funny “ skit” and a sure hit. Plays twenty minutes. Catalogues describing the above and other popular entertainments sent free on application to WALTER H. BAKER & CC THEATRICAL PUBLISHERS, ;et - BOSTON, ' THE MAN ABOUT TOWN S Negro jFnrcc tn ©tie Set By E. BOWERS BOSTON 1894 CHARACTERS. Joshua Seeds, a tobacconist. Orlando Shortcut, who would be his son-in-law. Peter Pipes, the Man about Town. Joe Bitters. Virginia Seeds, Seeds's daughter. Copyright, 1894, by Walter H. Baker & Co. PROPERTIES. Cane for Seeds. Two letters for Peter. Spectacles. Gun for Seeds. Gum-drops. Saw, hammer, etc., for Seeds. One stovepipe bonnet. Dummy sign figure. Box for figure to stand on. Long counter. Bundles, cigar- boxes, broom, etc., for store. Jar with coffee, marked “ snuff.” //fat., THE MAN ABOUT TOWN. Scene I. — A street in one. ( Enter Orlando, l.) Orlando. I am more than half a mind to go before the mayor, and take an oath to burn and destroy all tobacconists in general, and old Seeds in particular. He has just refused me the hand of his daughter ; kicked me out of the house, and locked his daughter in her room. My only plan now is to run away with her and get married in spite of him. But how to get a letter to her telling her of my plan. Peter (sings outside l.). Halloa! there is my old friend Peter Pipes. He is just the man I want ; but then he looks so shabby. Never mind ; he can contrive some plan to get a note to her, Pm sure. (Calls Peter.) Isay, Peter! Peter! come this way. I wish to speak with you. (Enter Peter, l., singing .) Peter. Why, Shortcut, how are you ? You look as nice as a new barber’s pole. Orlando. Peter, where have you been this long time, and what makes you look so shabby? Peter. Why, I saved up four dollars to go into business with, when I busted. Orlando. What did you do with the four dollars? Peter. I put it in the bank — Faro Bank. Orlando. How did you succeed with your investment? Peter. First-rate. I got in the poorhouse the next day. Orlando. How did you get out of the poorhouse? Peter. I knocked down the keeper and run. Orlando. Well, Peter, I can put you in a way to make five dollars. Can I trust you ? Peter. I guess so ; that’s what they all do. Orlando. Oh, no ; I mean can I lodge a secret in your breast? Peter. Well, I think so; that is, if the lodging was paid for. Orlando. Why, have you no money — no blunt ? Peter. Blunt? What do you mean by blunt ? Orlando. Why money, — money is blunt. 3 A shilling is blunt. 4 THE MAN ABOUT TOWN. Peter. Oh, a shilling is blunt, is it ? Orlando. Yes. Now listen to me. I have a father. Peter. Well, some people do have fathers at some period of their lives. Orlando. I have a father who has threatened to cut me off with a shilling. Peter. But a shilling ain’t sharp enough. Orlando. Why ain’t a shilling sharp enough? Peter. Because it’s blunt. Ha, ha, ha ! Orlando. Never mind ; my father has threatened to cut me out of his will because I fell in love. Peter. Well, can’t you get up again? Orlando. No ; I have pledged my love beyond redemption. Peter. Redemption? I know him; he is a pawnbroker. Orlando. Before this threat of my father’s everything was all right; but the father of the girl I love heard of it, and to-day has kicked me out of the house, and locked his daughter in her room. Now, I wish to run away with her and get married, and I wish you to take a note to her. Will you assist me ? Peter. How much is the young lady worth ? Orlando. About forty thousand dollars. Peter. Has she got any sisters? Orlando. No; she is an only child. Why? Peter. Well, I was thinking of marrying into the family myself if she had a sister. Orlando. Well, well, will you assist me? Peter. Make it five dollars and a quarter. Orlando. Five dollars and a quarter be it, then. In the first place, I will write a note, which you must take to the young lady. But you must not let her father see you, and I think you will have to use stratagem to get into the house. Peter. Stuttering Jim? I know him. Orlando. Oh, no ; I mean you will have to be very careful and not let her father see you. Peter. Has the house got a door ? Orlando. Of course the house has got a door. Peter. Then all I’ve got to say is, she will get the note. Orlando. Then come this way, and I will instruct you further. (. Exeunt both , L.) Scene II. — A chamber in two . ( Enter Old Seeds and Virginia r. and L., meeting .) Seeds. Well, my child, here you are, thinking of Mr. Orlando Shortcut, no doubt. I can tell you one thing, you never shall marry him. Virginia. But, father, why object to him ; he is a dear, sweet man. THE MAN ABOUT TOWN. 5 Seeds. Sweet or sour, he don’t get you. You must marry some one out of the common way. Virginia. But people who are out of the common way are not at all in my way. Seeds. No, no ; your husband must be rich and a man of taste. Virginia. His taste I sha’n’t dispute, for his love for me wijpi prove his taste. (Peter knocks l.) Seeds. * Go see who is at the door. ( Enter Peter, l.) Well, whoever it is, he is coming in without waiting for an invitation. (Peter has a letter which he tries to make Virginia notice .} Seeds. Well, sir, what do you want? Peter. Does Mr. Cadwallader live here ? Seeds. No; Mr. Cadwallader don’t live here. (Peter makes signs to Virginia which she does not see. Seeds keeps his back towards Peter as much as possible.} Peter. A man told me this was his house. Seeds. Mr. Cadwallader don’t live here, and this is not his house ; and if that is all you want, the sooner you get out of this house the better, or I will have you kicked out. (Peter pretends to cry , rushes towards Virginia, tries to have her see the note. She turns her back.} Seeds. What is the matter with you? Why do you look thus wildly at my daughter, and burst into tears? Peter. A man told me Mr. Cadwallader lived here, and I want to see Mr. Cadwallader, because if I see Mr. Cadwallader, Mr. Cad- wallader will — (Aside.} I wish the gal would take this letter. (During this Old Seeds has been watching Peter. Peter holds the letter towards Virginia, when Old Seeds seizes Peter and the letter.} Seeds. What is this? A letter to my daughter, and from Or- lando Shortcut? And you are the carrier, are you ? Peter. Yes, I am the mail — I am the blackmail. Seeds. I’ll blackmail you. I’ll stop your carrying letters. Peter. It’s against the law to stop the mail. Seeds. Where is my gun — sword — pistol — anything ? Peter. Here is a shoestring. (Seeds gets his cane and beats Peter off l. ; then crosses to Virginia.) Seeds. So, so ; treason in my house, and you are at the bottom of it. I’ll lock you in your room, and you sha’n’t leave it until you are married, and married to please me. Virginia. But father, Mrs. Stitch, the dressmaker, will be here to-day. I hope you will allow me to see her. 6 THE MAN ABOUT TOWN. Seeds. I’ll think of it. Come, away to your room, you ungrate- ful daughter ! Come, in with you ! {Pushes Virginia off r., and exit r.) Scene III. — A street , same as first scene. Enter Orlando, r. & Orlando. Confound that fellow, how he stays ! (Looks off l.) Ah, here he comes at last. (Enter Peter, l.) Well, Peter, how does our game proceed? Peter. Our game’s played out. I had a bad hand, and was beaten. Orlando. Did not my letter reach the lady ? Peter. No; but the old man’s cane reached me, and I’ve reached here, and I’ve got the worst of the bargain. Orlando. In other words, you left his ca7ie while you were able. Peter. That’s what I was just on the eve of telling you. Orlando. Well, our bargain was, you were to deliver the letter, and I was to give you five dollars. Peter. And a quarter. Orlando. If you don’t deliver the letter, you don’t earn the money. Peter. Well, I’ll try once more, and if I fail this time, I’m no actor. Orlando. Actor? Why, are you a spouter ? Peter. Yes ; I spout everything I can get my hands on. Orlando. Well, come this way, and we will have another trial of your skill. (Exeunt both , L.) Scene IV. Chamber with window for Peter to jump through. (Enter Old Seeds, r.) Seeds. I have been watching to see if I could find any of the servants of Mr. Orlando Shortcut round here. The idea of his marrying my daughter! Why, the fellow has not got a penny in the world. What, marry the daughter of the Seeds family! Why, the fellow must be crazy. Ah, here comes my daughter. (Enter Virginia, r.) Well, my dear, I see you have at last gained strength enough to leave your room. Virginia. Yes, father ; but is it not strange Mrs. Stitch, the dressmaker, does not come ? Seeds. There you go again ! It seems to me you think of noth- ing but Mrs. Stitch and that puppy Shortcut. But you never shall marry him ; that you can be sure of. Virginia. But, father, you know that I love him, and — THE MAN ABOUT TOWN. 7 Seeds. Love him ! You fall in love with every man you see. There was Mr. Somerset. As soon as you saw him, you were dead in love. Virginia. Now, father, you know he was rich, and a man of taste. But you would not let me marry Mr. Somerset. Seeds. No. Do you think I wanted my daughter to turn a Somerset? Never. (Knock outside. Enter Peter dressed as Mrs. Stitch, with hoops, etc. In this scene Peter speaks in a female voice.) Peter. Good-day, my dear, will your brother have the kindness to leave us to ourselves ? Virginia. My brother ! Why, Mrs. Stitch, that is my father ! Peter. Excuse me ; he looks so young, I thought it was your brother. Seeds. That’s a very sensible dressmaker, and not bad look- ing. No, Mrs. Stitch, I could not leave the room. You must know that there is a young fellow pretends to love my daughter, and he has a low blackguard of a rascal engaged to bring letters to her, and I could not think of leaving. Besides, I could not think of leaving so beautiful, so charming, so interesting a lady as yourself without having some conversation with her. Peter (aside; natural voice). Pll have the old thief arrested for keeping a disorderly house. Seeds. I cannot leave the room, but I will turn my back. (Seeds looks out of window. Peter crosses r. to Virginia. During the following conversation , Peter has a tape and measures Virginia, as if for a dress.) Virginia. Ah, Mrs. Stitch, Pm not happy. I want a warm heart — Peter. A warm heart? You have got tongue enough, but you want more pluck. What will you have, a sheep’s tongue or a beefs heart — which ? Virginia. You don’t understand me. I want sympathy. Peter. I havn’t got any sympathy, but I’ve got some harts- horn, Virginia. Ah! You are an artless, innocent creature. Peter. Did you say you would have some hartshorn ? (Peter pulls up his dress , as if to get at his pants pocket. Old Seeds watching them. Virginia stops Peter and exclaims.) Virginia. Pray, Mrs. Stitch, remember decorum. Peter. De-co-rum. Yes; he is the one that told me to give the gal this note. ( Takes out note , Old Seeds watching.) Seeds. Hang me, if that dressmaker hasn’t got a note. I must watch them. (Peter goes up to Virginia to give her the note. He puts his hand on her shoulder , and is supposed to get pricked by a pin. Peter 8 THE MAN ABOUT TOWN. exclaims in his natural voice , “ Damn that pin!” Old Seeds rushes between them , seizes the note , then grabs Peter by the skirts , beats him round stage with cane ; the skirt tears off, leaving nothing on Peter but pants , hoops, waist, and bonnet. Peter mins for the window, jumps, and is caught with head out of window and heels in, Old Seeds beating him with cane as scene closes in.) Scene V. — Street, same as first. ( Enter Orlando, l.) Orlando. What can keep Peter so long? I suppose his last plan has failed with the rest. (Looks off l ; enter Peter, l, still in hoops.) Well, Peter, caught again? Peter. Yes ; caught again. I don’t understand these lover scrapes, so you must make some allowance. Orlando. Thus far everything is a failure. Peter. Well, I’ve got a plan to finish the job now. I want you to go down by the pump and wait until I come. (Exit Peter, l.) Orlando. 1 have not the least doubt but this will fail with the rest. Never mind, I’ll wait down by the pump. (Exit l.) Scene VI. — Exterior of a tobacco store. Sign over door “ Jacob Seeds.” A sign figure , size of life , stands before the door , with long white coat , white hat , red shirt and pants the same as Peter’s. (Enter Peter, l.) Peter. Here is old Seeds’s house ; but how to get in, that is the question. Let me see; I’ll take the clothes off this old fellow, put them on, and then see what kind of a sign I will make. ( Takes the figure off the box. Exit with it, l. ; puts on coat and hat the same as those on the figure ; enter immediately.) Now, I don t see but what I can make a good sign. I’ll just stand on this box. The young lady mav come out of the house or look out of the window ; then I can give her the letter. (Stands on box in the same position as the figure was.) There, I guess I make as good a sign as any in the city. (‘Old Seeds appears at upper window in flat with a gun.) Seeds. I wonder if there are any of the servants of Mr. Orlando Shortcut round here. If I see any of them, I’ll blow their brains out. Hallo, there is my sign figure out-doors yet. I say Joe, Joe, take in the sign and shut up shop. (Disappears from window. Enter Joe from house and takes Peter, who stands stiff, and car- ries him into house. Then returns and gets box , and exit into house.) THE MAN ABOUT TOWN. 9 Scene VII. — Interior of tobacco store; long coufiter with btmdles tied up ; three or four jars , one filled with ground coffee to repre- sent snuff ; a stove painted red to represent a very hot fire ; a broom ; a set window , l. 3 e. for Peter to jump through. Peter discovered standing on box near the stove; he is now rep- resenting the figure ; makes business about the fire in stove being hot. Peter. Well, I’m in here at last. That fellow thought he was bringing in that old sign figure. Now, if I can only fool the old man it will be all right. Ah, here he comes now. ( Strikes atti- tude on the box same as the figure was.) (Enter Old Seeds, l., Virginia, r.) Seeds. Now, Virginia, promise me that you will forget Mr. Orlando Shortcut, and I will give you a new bonnet, a new silk dress — and — Peter. A soup ticket. Seeds. Eh? what did you say about soup? Virginia. Soup? I said nothing about soup. Peter (aside). I wish she would put that old blower on this stove; it’s getting mighty hot here. Seeds. I’ll tell you what I am going to do with my sign figure. You know Mr. Brown the grocer, well, he has a Chinaman in his window with gas burning out of his mouth. Now, I’m a-going to take my sign figure there, bore a hole through him, put a gas-pipe into his head, stand him in my window, and light his nose. Peter (aside). Not as I nose — on, old fellow. Seeds. Now, Virginia, you stop here, and I will go and get my implements and commence the job to-night. (Exit Old Seeds, r.) Peter (trying to attract Virginia’s attention). Pst! pst ! say. Come here. (Virginia looks round bewildered ; Peter jumps off box; she screams.) It’s all right; don’t make any noise. Mr. Shortcut sent me here ; he is waiting for you down by the pump. Don’t stop to talk, but away with you. (Virginia exit, l. ; Peter looking round.) Well, Old Seeds has got a nice store here. (Goes tip to counter and puts some of the bundles up the back of his coat ; make any business here.) I must look out ; here comes the old man. (Gets in position on the box same as before; enter Seeds, r., with a hand-saw , hammer , etc.) Seeds. I do think when I get my sign figure in the window it will be a great curiosity. Peter (aside). You needn’t take so many panes about that win- dow ; it’s the last place I’ll go into. Seeds. I’ll commence the job at once. I’ll clear off this coun- ter and lay it down here. (Goes to arrange counter ; upsets the jar of coffee near the stove and under Peter’s nose ; business of Peter trying tiot to sneeze ; Seeds says). There goes a jar of my 10 THE MAN ABOUT TOWN. best snuff. I’ll just sweep it up a little. ( Gets broom and sweeps the coffee up by the box , under Peter’s nose ; Peter, business , etc.) Seeds. Why, I left my daughter here ; where can she be ? (Peter trying not to sneeze; Seeds calls.) Virginia, Virginia! Where are you ? {By this time Peter can hold in no longer ; he commences to sneeze ; Old Seeds looks at him thunderstruck ; Peter jumps off of box , and rims down l., sneezing ; Old Seeds stands trembling , looking at him, r.) Peter. It’s all right, old fellow ; I couldn’t stand it any longer. Seeds. Hang me, if that ain’t the dressmaker ! (Rushes Peter round stage ; Peter jumps out of window ; crash of glass, etc.; Old Seeds puffing and blowing, almost out of breath.) This is another plot to rob me of my daughter. Where the deuce can she be? (Calls.) Virginia ! Virginia ! (Enter Virginia and Orlando Shortcut, l*. ; they both hold out their hands to Old Seeds.) Virginia. Here we are, father, and want your blessing! (At this moment Peter puts his head in the window and exclaims.) Shortcut, where is that five dollars and a quarter? (Old Seeds seizes an armful of bundles from the counter ; Virginia and Or- lando cross to r. h . as curtain lowers ; Peter flits his head in and out of window ; Old Seeds throwing bundles at him; Peter laughing at him ; dodging the bundles , etc.) Curtain. FOR MALE CHARACTERS ONLY. JULIU5 C/CSAR. CONDENSED INTO TWO ACTS, AND ARRANGED FOR MALE CHARACTERS ONLY. By LESLIE WARREN. FROM THE WELL KNOWN SHAKESPEAREAN PLAY. Ten male characters. Costumes, Roman ; scene, the Forum, the same for both acts. This ingenious simplification of this popular play is expressly made for amateur perform- ance in schools and colleges. The plot and action of the original are carefully preserved, and all the celebrated declamatory passages and familiar scenes, but all the stage difficul- ties are eliminated, so that it can be presented without trouble or expense. Price 15 Cents. SHAKESPEARE FOR AMATEURS. MUCH ADO ABOUT NOTHING. CONDENSED INTO TWO ACTS FROM SHAKESPEARE’S COMEDY FOR AMATEUR PERFORMANCE. By LESLIE WARREN. Eight male and three female characters. Scene, a single easy exterior, the same for both acts. This version is expressly designed to bring this most brilliant and amusing of the Shakespearian comedies within the powers and capacities of amateur players. The delightful dialogue and sprightly action of the play are presented, unencumbered by objectionable incidents and passages, or mechanical stage difficulties. Price. 15 Cents. A NEW COMIC IRISH PLAY. FINNIGAN’S FORTUNE. AN IRISH STEW IN THREE ACTS. By CHARLES TOWNSEND, AUTHOR OF “RIO GRANDE,” “THE SPY OF GETTYSBURG,” “ THE JAIL BIRD,” “MOUNTAIN WAIF,” “THE MAN FROM MAINE,” “BORDER LAND,” “TONY THE TRAMP,” ETC. Five male, three female characters. Modern costumes. Scenery, two interiors. Time of playing, two hours and a quarter. This plav marks a new departure in Irish plays, and every dramatic club With a good Irish comedian is bound to have it. It depicts life among the middle classes of New York Citv with the same deft touches that Mr. Harrigan employs in his famous “ Mulligan Guard” series. It is full of breezv Irish wit, quaint lvuinor, bits of pathos, and the action is so rapid that it almost “ plays itself.” Larry Finmgan, tiie good-natured old mason, is a favorite role with the author, who plays it with marked success. Mrs. Fiiinigan, Dutch Jake, his daughter Katy, the rascally Count, — in short, all the characters, are first- class, as there is not a small part in the play. SYNOPSIS. ACT I. — The home in Finnigan’s Alley, New York. Mrs. Finnigan’s ambition. “ And me a-dvin’to see the Italian Operv ! ” An unwelcome visitor. Ilaffertv’s news. “ Me wife’s mother’s uncle’s aunt is dead!” On a strike. “ What for I dunno. They said strike, an’ we struck.” Rafferty in hot water. Finnigan’s song. 1 1 is opinion of dudes. Tammauv Hall. Pat the daintv. “He’ll be axin’ for pie next;” Katv’s reason. “ Taffy.” Katy gets mad. “ What a nice, quiet time I’m having the day.” The telegram. Fortune smiles. “Now I’ll lick the Dutchman! ” “ Is dot so ?” Tableau. ACT II. — Finnigan’s new home on Murray Hill. Mrs. Finnigan's trouble. How to speak “ Friuch.” Coney Island. The Count and Lady Hannah. A bit of scandal. Katv’s loyalty. “ Begorrv, the ould mon has wan friend left.” High society. Snubs all around. Father and son. The hank check. A bashful lover. 'I'he proposal. “ Don’t you dare kiss me! ” A pretty pair of swindlers. Lady Hannah’s advice. A dangerous game. More snubs. Poor Finnigan’s desperation. “ I’ll commit suicide av it costs me me life.” Good advice. Tempted. “ It looks like whiskey.” Finnigan’s assertion. A row. ACT III. — 'Flie next morning. Finnigan a wreck. “I’m a blowed-up steam- boat!” Husband and wife. Cold comfort. Jake brings startling news. The swindlers compare notes. Jake wants to fight. “ Luff me got at him ! ” Finni- gan steps in. “ I can do me own slugging.” The attempted murder. The surprise. Policeman Rafferty. Finnigan’s vow. Finale. Price 25 Cents. THE FAMILY ALBUM, AS EXHIBITED BY MRS. ALMIRA PEASE, OF HOCKANUM. % humorous ^Entertainment in ©nc &rt. By KATE F. ELLIS. The onlv speaker is the one who exhibits the “ pictures,” fifteen in number. These are shown in a frame constructed like an album, and reproduce, humorously, the usual assortment of family photographs. A novel and attractive variation of the tableau entertainment. Price. 15 Cents. B AKER’S SELECTED LIST OF JUVENILE OPERETTAS designed especially for Church, School, and other Amateur Organ- izations. Complete, with all the music and full directions for performance. randpa’s Birthday. In One Act. Words by Dexter Smith; music by C. A. White. For one adult (male or female) and three children; chorus, if desired. Price, 25 Cents. mmy, The Newsboy. In One Act. Written and composed by W> C. Parker. For one adult (male), and one boy. No chorus. Very easy and tuneful. Price, 25 Cents. le Four-leafed Clover. In Three Acts. By Mary B. Horne. For children of from six to fifteen years. Seven boys, seven girls, and chorus. Very picturesque. Price, 50 Cents. ;ans and Buttons. In One Act. Words by Wm. H. Lepere; music by Alfred. G. Robyn. Two male and two female characters; no chorus. Very comical and easy. Price, 50 Cents. nnt the Thimble. In One Act. Words by A. G. Lewis; music by Leo R. Lewis. Two male, two female characters and small chorus. Simple and pretty. Price, 50 Cents. id Riding Hood’s Rescue. In Four Scenes. Words by J. E. Estabrook ; music by J. Astor Broad. Three male, four female iharacters and chorus. Price, 50 Cents. ilden Hair and the Three Bears. .In Five Scenes. By J. Astor Broad. Three adults (2 m., 1 f.), eight children and chorus. Music s easy, graceful, and pleasing. Price, 75 Cents. E. Porter ; or, The Interviewer and the Fairies. In Three A.cts. Words by A. G. Lewis; music by Leo R. Lewis. Six male, ;ix female characters, and chorus. Very picturesque and pretty. Price, 75 Cents. rp, Junior. In Two Acts. Words by Earl Marble; music by D. F. Hodges. Two males, one female (adult), three children and fiiorus. Very successful and easily produced. Price, 75 Cents. ivinGray; or, The Sailor’s Return. In Three Acts. Written md composed by C. A. White. Ten characters, including chorus; ian be made more effective by employing, a larger number. Price, 75 Cents. "^gues describing the above and other popular entertain- ments sent free on application to LTER H. BAKER & CO., 'HEATRICAL PUBLISHERS, inter Street, - Boston, Mass. NEW OPERETTAS FOR CHILDREN. Odd Operas for Eventide. A Collection of Short and Simple Musical Entertainments for Children. By Mrs. C. N. BORDMAN, Author of “The Kingdom of Mother Goose,” “Motion Songs for the School- room,” “ The Temperance Clarion,” etc. Complete with all the music and full instructions for performance. This collection is ticabTt recommeil< ^ e< ^ ^ ol simplicity, originality of idea, tunefulness and perfect prac-T Price cents. COlTTEIsTTS. A GLIMPSE OF THE BROWNIES. A Musical Sketch for Chi!- 1 dren. For any number of boys. JIMMY GROW. A Recitation for a Little Girl. MARKET DAY. An Operetta for Young People. Seven speaking parts and chorus. QUEEN FLORA’S DAY DREAM. An Operetta for Children. Six speaking parts and chorus. THE BOATING PARTY. A Musical Sketch for Little Children. Thirty boys and girls. SIX LITTLE GRANDMAS. A Musical Pantomime for very Little Children. Six very little girls. A HOUSE IN THE MOON, A Recitation for a Little Girl. ROBIN’S SPECIFIC; OR, THE CHANGES OF A NIGHT. A Christmas Operetta in One LYct. Words by I Music by AMELIA SANFORD. i ADAM CIEBEL. For one adult and nine children from eight to sixteen years old, with eight very little boys and twelve little girls for Chorus. Three changes of scene, very easily arranged, costumes varied but simple and readily procured. Very effective and easily gotten np. Price 25 cents. Catalogues describing the above and other popular entertainments sent & WALTER H. BAKER & THEATRICAL PUBLISHERS, No. 23 Winter Street. - BOSTO