H3^-B | PRICE CENTS. m— =0 'TVs DE WITT’S ACTING PLAYS. e|S ( Numbei 1 143.) Lodgers & Dodgers A FARCE, IN ONE ACT. By FREDERIC HAY, j Author of u Our (Domestics ,” 11 beautiful Forever,” li ' Ghojps of the Channel,” a Fhotoqraphic Fix,” 11 Caught by the Cuff (< fL Fame Excuse,” ° Cupboard Dove,” Sfc., 8fc* AS FIRST PERFORMED AT THE STRAND THEATRE LONDON, UNDER THE MANAGEMENT OF MRS. SWANBOROUGH, ON SATURDAY, MAY lgTII, 1871. TO WHICH A U 1C A1)1)K1) A description oftlie Costume— Cast of the Characters — Entrances ami Exits- Relative Positions of the Performers* on the Stage, and the whole of the Stage Business. IN'ew York: ROBERT M. DEWITT, PUBLISHER, No. 33 Rose Street. no i r IEADT. THE BELLS. A Romantic Moral I^rama, in Three Acts. By Henry L.i Williams, Jr, Price Fifteen Cents. DOLLARS AMD CENTS. An Original American Drama, in Thre^H Acts. By L. J. Hollenius. Price Fifteen Cents. 1 LODGERS AND DODGERS % $vxtt t IN ONE ACT. BY FREDERIC HAY, Author of “&ur Domestics y ” “ Beautiful Forever ,” “ Chops of the Channel ,” “Photo- graphic Fixf “ Caught by the Cuff” “A Lame Excuse “ Cupboard Love” etc etc . AS FIRST PERFORMED AT THE STRAND THEATRE, LONDON, UN- DER THE MANAGEMENT OF MRS. SWANBOROUGH, ON SATURDAY, MAY 13, 1871. T® WHICH ARE ADDED, A ©ESC RTPTION OF THE COSTUMES — CAST OF THE CHARACTERS — EN* TRANCES AND EXITS — RELATIVE POSITIONS OF THE PER* FORMERS ON THE ST GE, AND THE WHOLE OF THE STAGE BUSINESS* NEW YORK: ROBERT M. DE WITT, Published, No. 38 Rose Street. 2 LODGERS AND DODGERS. CAST OF CHARACTERS. Strand Tlitatre . London , May 13, 1871. Mr. Singleton Sudbury, out of everything —except debt (Light Comedy) .. Mr. Edward Terry. Hezekiah Plumber, in everything -except society (Low Comedy) Mr. H. Paulton. Pate, a Lodger— in the background (Utili- ty)..... Mr. Kinghorne. Mrs. Stickers, out of temper (Old Wo- man) Mrs. F. Raymond. Julia Juniper, in love (Chambermaid) Miss Jennie Lee. Porter, all trunk and no head (Utility) Mr. West. SCENERY. Sitting-room in 3d grooves. ...... Boor Window. * — Cupboard, * Door. Table. : *• Cupboard. Door. * : Table. : * Chairs. 7- • r. Carpet down in centre. Common engravings on flats. All the doors practicable. Cupboards r. c., against flat, and r. against side flat. Small dressing table up u side *, large table r. c, front ; chairs. Curtains to window . COSTUMES. All of the Present time, except Plumper, who wears an extravagant country- man’s best 3uit. PROPERTIES. Portmanteau-trunk— plates— knives— forks— pie to be eat— beer-bottle labelled “ Beware— Pate’s !” — comb— brush — looking- glass — raziy — shaving - brush — bill on paper — hat-box— high boots — long pipes— iron screw — bottle of water — pair of clogs —coin for Plumper. TIME OF PLAYING.— TWENTY-FIVE MINUTES. [For Stage Directions and Synopsis see pages 11 and 12.] ' ' ■ ■ : - /rr & LODGERS AND DODGERS. Scene. — Furnished Apartment in 3 >’d grooves. Discover Sudbury looking out of room , r. e. ; he is in his shirt sleeves, < nd h<>8 shaving brush , razor , etc., in his hand; his face is coveted with lather. Sudbury. Nobody ! I’ll compl te the operation in Tail’s ro’om. {brings gloss to table , r c. — comes to it. of table) There’s only one window in my room, and that’s behind a bureau. I’ve spoken to Mrs. Stickers, but words have no effect, [vflecs) Perhaps money might — L have not 6poken to Stickers about that, [shoving) I’ve tried soft soap, but it’s no go. This isn’t the first scrape I ve he n in. Ten o’clock. Julia won’t be long, as this is the only opportunity we may have of meeting. Dear girl ; a model of constancy. She’s willing to wait till 1 get to the top of the lather — ladder 1 mean. Our prospects at present are not encour- aging. Her uncle, Jeremiah Juniper, objects to me, without knowing me ; and my uncle, Hezekiah Plumper, abhors her without the pleasure of her acquaintance; in fact, there’s a feud between Juniper and Plum- per. Enter Mrs. Stickers, with bill , c. d. £ • x' ■ -O o Mrs. Stick krs [aside). Drat his impudence! — lie’s in here again. [aloud) Mr. 'bait’s been complaining about your using his room, sir. Sud. ImpO'sible, Stickers ! What, Tait object to my having a a t6te- &-tete without Tait ! Mrs. S. Yes ; and Mr. Pate says his pastry was took yesterday. Sud. Did he though 'l I’ll punch Pate’s tete — Pate’s pat *, I mean, if he doesn’t confine himself to the truth. That was Tait’s patato pie I demolished. Mrs, S. But as they live together, Mr. Pate pays for half, Sud. Then he ought to mark it. 1 don’t want it. I am quite con- tented with Tait’s half, [aside) I think she’s got the bill. (r< sunns shaving.) Mrs. S. Being the first of the month, please, sir, I’ve brought up your bill. Sud. Thank you, Stickers, [whist es) Fine weather for the wasps. Mrs. S Would you like to run your eye through the liitems. Sud. No, thank you, Stickers ; my optics not being gimlet eyes. Mrs S. [advancing with bill). I’d rather you’d look hover it. Sud (i declining bill). I will this time; but don’t do it again. Mrs. S [forcing bill into his hand). I’ll wait for the money, sir [sitting down . ) Sud. I think it’s very likely, Stickers, [looks at bil) Whew ! Mrs. S There’s three months due ; that’s what makes it s<> heavy. Sud. The dews have been heavy lately, Stickers, [rends) “ To bill de- livered — ” To Bill — to Bil! — Suddenly) Stickers, you must be related to Bill Stickers, who is always in a state of prosecution, [reads) “ Thirty 4 LODGERS AND DODGERS. pounds, ten and tenpence halfpenny.” Quite right. ( wiping his razor on bill ) i’ll wipe tills off one of these days. Mrs. S. (rising) Well I never ! If he ain’t using it for shaving paper! (Sudbury puls on coat , wipes face on iowd) I won’t stand it no longer ! — for I tells you plain, I’ve let your room to a gent as is coming up from the country. Sud. Let my room ? (aside') And Julia expected every minute! j Mrs. S. Yes, I have. He’s coming up for the quinine show; thougli what they sees in the bark of dog, as acts on me like tonics, I don’t know. Sud. Let my room 'l Mrs. S. Yes ; and out you go to-night. Sud. (asid''). Awkward ! {aloud) Tell Shivers I want her. Mrs. S. And so you may, as she left me last night, through her nasty pride, and not liking to sleep in that beautiful back kitchen, with a ’and pump as would be a horuament to any parlor. Sud. Shivers left ? Mrs. S. Yes ; and me single-handed, though expecting a young ’ussy from Peckliam, as ought to have been here — drat her ! (takes glass off table) Mind, liout you goes, and I’ll County Court you for the bill, I will. [ Exit, o. d. Sud. Pleasant old party ! Here’s a dilemma — ejected on the only day Julia could consent to an interview. If she dosen’t come soon, I mightn’t even be a tenant of that dreary dungeon. I wonder what Pate and Tait had for breakfast, (got s to cupboard— takes out pie) Pie ! I’m partial to pie. (puts it on table , with plates , etc.) It’s getting horribly con- fusing ; I never know Tail’s half from Pate’s half; to a man of my del- icacy of perception there’s something revolting in uncertainty, (takes out beer bottle) Now, that’s Pate’s porter; I know that, because lie’s tak- en the trouble to indicate the same, (drinks) Now I know what I’m about. That’s the worst of Tait; he never individualizes his property, (eats and drinks) Old Plumper’s check should arrive to-day. As a last resource, I wrote and told him that, in accordance with his wish, I’d abandon Julia. Hollo ! somebody coming up -stairs, (jumps np.) Enter Julia Juniper, c. d. Julia ! Julia (l.). Singleton! (they embrace) Oh, Singleton, I feel so guilt}'. If papa knew of this — why, wliat’s the matter ? You’re looking deject- ed. Sud. Ejected, you mean. Bill Stickers has stuck the bill up again. Julia. I don’t understand you. Sijd. She’s let my room — kicked me out. Julia. Let it! Oh, where will you go? Sud. Mad ! It’s about the cheapest entertainment out. Julia, is it possible you can love a scapegrace like me 1 Julia. Yes, Singleton; and I look forward to the day when my con- stancy and your good conduct will turn your uncle’s resentment into reason. Sud. Julia, it’s quite cheering to hear you go on in that way. Julia. I can’t stay long; but I’ll just take off my bonnet. Where’s your room ? Oh ! there. ( crosses , k . — until s bonnet , and thiows it into room, r. d. e.) Now, let’s consult, (sits r. of table) We’d better form ourselves into a committee of ways and means. Sud (s^'ifrd l. of table). We’d better turn our attention to means first. Julia. Why, dear me! you’re living like a Pasha — pigeon pie! Sud. (a sul). 'tail’s. LODGERS AND DODGERS. 5 Julia. And porter. Sud. Pate’s Julia. This extravagance will never do — has your uncle sent you a remittance ? Sud. No, and I’ve descended to actual meanness to get one — I — I — don’t start — 1 told him I’d give you up — ( buries face in his hands cn ta le , digging his ,/h>w into pw) Oh ! Julia. Oh, Singleton, how could you ? Sud. Dm’t upbraid me, Julia -Stickers was inexorable, and although 1 a ways go halves with Tail — ( aside ) his halt — {aloud) he d> dined to ne- go Lite any more of my paper on the Rialto— driven to despair I wrote to my uncle, I despise myself for it now ; but i othing shall separate us — (starts) Halloa ! — a cab ! — [goes to window) support me! it’s II zekiah Plumper, my uncle! he’s coming up — stop — if he finds you here — there would be a check on — no, there wouldn’t be any check — quick — ( takes colored apron ft om chair, fastens it on her) on with this, it’s Shivers’ apron — Julia. Shivers, who’s Shivers ? Sud. The late slavey — you mu*t take her place! quick! Julia. But, Singleton— -remember Sud. (crosses her to r.). Yes, I’ll remember thee ! — in here — quick — make haste now, there’s a dear — l hear him coming — [he pushes her into room, r. 2 e.) I wonder how he found me out; I always date my letters from the Charing Cross Hotel. I must compose myself, [sits r. of table.) Enter Plumper c. d , dressed like a farmer, followed hij a Porter with trunk and hat box. Plump Porter). Put ’urn down here — f zay, this be third vloor, beaut it '? (Porter pu's down luggage. Plumper pays him, and he exits, c. d.) These cheops in Liinnon cuts into a man’s purse worse than a maggot into a mangold, yiiot seeing Sudbury) Be all out in the vields, I suppose — l zay, measter ! Hi! holloa! (Sudbury turns) Why darn my old wigs, Zingletou ! * Sud. Uncle, you here ! (th c y shake hands.) Plump. Aye ! Oi be here vast enough — be come up for Dog Show. Th’ old Squire zeed ’vertisement in paper about rooms, so I took ’em. But what brings thee here, my loid 1 Sud. Well, l — that is — in fact — I lodge here, now. Plump Lodge here ! lodge here, now ! that be zimonta eons going zideways. I ar’ gloid o’ that, ’cause I ar’ gotten summit to zay to thee, loid. Where be zarvant gal then ? Hi, holloa ! (calling.) Sud. [aside). Here’s a dilemma, [calls) Anna Maria ! En'er Julia from door , r. 2 e. Julia (with hesitation , going to Plumper). Did you call, sir ? Plump, {admiring her — aside). Be tidiest maid I’ve zeed. [aloud) Doant *ee bo skeered, lass. Where be my room ? Hast nought t’hold woman told ’ee ? Julia (alarm d). Your room — I — I - that is — your room is Plump, (c ). Aye ! My room? Julia (aside, l.). Whatever shall T s y ? Sud. [crossing at back to l. of Julia — whispering). Let him Mr. Pates’s, (indicatina room, l. 1 e. ) Thirty shillings a- week. Julia. Please, sir, that’s it; [pointing, l.) and Mrs. Stickers said it was thirty’ shillings a-week. Plump. Thirty boob a-week ! 0 LODGEUS AND DODGERS. Sud. (// side to her). And paid in advance. Julia {rep eat ivy). And paid in advance, {aside) Oil clear ! what will be- come of me ! Sun. That’s quite right, uncle ; and Anna Maria has orders to take the ni »uev. {pushes Julia over io Plumper.) Julia Oli, Singleton ! how cau you go on so? Plump, (sitting at table, palls out leather purse, and pays money with his left hand, enabling Sudbury to take it without his seeing him). We i, i sup- pose I iiiun pay it z >oner or later, {aside) Be tidiest lass I’ve zeed for zuin time ! (chucks her under chin, gives money % Sudbury takes it from him U 'perceiv d.) Sud. (aside to Julia). Put away these things. Pate will be in directly. (Julia removes pit to cupboard.) Plump. 1 zay, my loicl, now thou hast pitched that Juniper gal out o’ wagon, I mean to do zummut handsome for thee, I do. S pd. Thank you, uncle, {aside) This will end in a blow-up. Plump, (chucking Julia under chin, who has retu ned to table for plates, e'c. — to Sudbury, as Julia turns indignantly away). Be tidy gal ! — that be myzoart! — be zound on her stalks! — Be a cut above Zal Zlum, down wi’ us ! Sun. {aside). Confound his comparisons! Plump. ( o Julia). Young ’ooman, put thick’ee trunk in room, will’ee 1 Julia. Yes, sir. {taking trunk and hat box into room, L.) Oh, dear, oh, dear! 1 wish I was out of this. [Exit, l. d. Plump, {slaps Sudbury on back). He, he ! — haw, haw ! Darn my old wigs, Zingleton ! Sud. Confound him ! (aloud) Yes, Anna Maria’s a nice girl. I’ve a great regard for her myself. Plump. She bee. Look’ee here, Zingleton, P*1 tell’ee what, Pd rather you’d have married that young ’ooman than a Juniper gal. Sud. I can’t understand your objecting to Julia — you don’t even know her. Plump. No, I ain’t zeed her; but I don’t care for that. I tell’ee my objection is like the laws of the Swedes and Parsnips, and never alters. Sud. But on what grounds 1 Plump What ground ? — what grounds, loid ! Why, old Juniper woted ’gin Squire Zuarl in 1860, ’cause I woted wee ’em ; and when I woted ’gin Squire in 1862, darn my wig if he didn’t wote wi’ ’em 1 Flesh and blood couldn't stand conduct loike that! so we had it out iu Varmer Stubble’s vour-acre field. Sud. You mean you fought'? Plump. Aye ! we did, you could’na zee his vaee for boomps and bru ses — leastwise, Varmer Stubbie zaid so, for I could’na zee nought for vour weeks mysen ; but talking be dry work, loid. Enter Julia, l. d. Hnst gotten a moog o’ gin ? Julia (l. ). I’m out of spirits — I mean I’m in a gin — no. please, sir, we don’t keep — but the room s ready, sir. (aside) 1 can’t support this much longer. Plump. Tliank’ec. I say, coom here. (Julia advances to him) This be my nevey, ha, ha, ha! wee inun drink his health, (giving money) Run thee out, lass, for a bottle o’ gin, and two churchwardens. Julia (l., aside). Churchwardens. Is he going to consent to our mar- riag<*. Sud. (r.). Pipes, he means pipes, Anna Maria, {aside) Here’s a crisis } LODGERS AND DODGERS, l Plump, (c.). Aye, pipes, churchwardens and a screw, and tliec niun keep the change — now run along, lass, (pushes her out, c. D., kissing her — Sudbury interposing) Zingletou, {going , l.) I’ll lay down in my litter a b.t, whilst gal be gone for swizzle, {goes into room, l. d.) Sud Oh, do, uncle — here’s a mess ! — Pate expected back every minute, and the future Mrs. Sudbury gone out for two churchwardens and a screw. I’d better take a bird’s-eye view of my position before -he conies b ck with the Dacca. (Plumper throws hi* boots out — startled) Oti, uncle’s Cinderellas ! What a fool I was not to let him Tail's room — lie starts for Amsterdam to-d iy on a week’s holiday — here’s his trunk already packed — he's no business leaving bis traps about in Pate’s drawing room. {puts box into room) I’ll go and get this room ready for uncle. [Exit, R. 1 E. D. Enter Julia, c., with pipes, gin, and an iron screw . Julia ( c .). I shall never survive this humiliation. Where is lie? I've the pipes, and here’s the screw; {showing it) though what they want it for I don’t know, i’ve often heard Singleton say something about his uncle being a little screwed, so ( suppose lie must be iu the ironmongery line, {comes tn front of table , and pu's things on it .) Enter Pate, c. d. ( she turns to r.) Mr. Pate — oh ! Pate. You’re the new slavey, are you? Come at last, Susan ! {chucks her under chin.) Julia {crossing to l , indignantly ). Sir, I don’t understand this conduct. Pate. Bah ! They all say that. What’s your name ? Juiaa. Anna Maria. Pate. Well, Anna Maria, if you crib my bacon like Shivers did, I’ll stop 3mm* Christmas tip, mind, {going towards l. d.) Call me at four o'clock. Julia ( trying to stop him). Yes — yes — sir. {aside) I’m lost! (Pate crosses, L.) Pate {secs Plumper’s boots , covered with mud — takes them up). I say, who’s been wearing my boots ? I suppose I must have left ’em out this morning. That’s just like Mrs. Stickers’ conduct, {hands them to Julia) Here, Anna Maria, polish these, and if you don’t there will be a shine. [Exit, l. D. Julia [going up stage , c.). Oh, Singleton, Singleton! Where will this end ? [Exit, c , D. Pate [heard off , l. 1 e.). Come, off with you. I say it isn’t 1 Plump, [ditto). I zay it is! Pate. I t’s mine ! Plump. It bean’t ! Pate. You’re an impostor! Plump. You’re another ! I ziy it be my trunk. (Plumper is pushed through door — he is without his boots , and in his shirt-sleeves — they struggle for a moment at door) I zay it are mine. Pate {at door). Then take it. { pitches trunk and hat-box out, and slams door. ) Plump. Where be my boots — I be going mad — where be my boots ? Enter Julia, c., with boots. Julia. It’s no use, I can’t find the brushes ( throws boots down , and takes trunk and hat-box and places it front of door , r. 1 e.) 8 LODGERS AND DODGERS. Plump, {putting on boots , in nl with rage). Darn ray wig, measter, wait till I get mun on — I’ll coora doon on thy mazzard like a Hail on a (fresh- ing floor. Julia ( crosses to l.). What have they done ? Plump, (r.). Stand baek, lass, till I get at him. Julia. Scop, stop ! perhaps there’s a mistake. I ain’t used to lettiug and I — I — I’m afraid I’ve let the wrong room. Plump. Let the wrong room ! Sudbury enters , r. 1 e. d. Sud {treading on hat-box). The storm’s burst, {aloud) Of course she did. Anna Maria, you’ll be getting yourself into trouble if you go on in this way. Stickers particularly said you were to let the other, {aside to her) Le*t him Tait’s. Julia [aside). Well, Singleton’s coolness must be the result of educa- tion, and I’m telling libs with a„confidence that is perfectly awful. Plump. Where be to the r room then 1 But I mun get at that chap. Julia. Stop, do ! it’s all my fault — forgive him for my sake. Plump. Well, well, lass, I mun do it for your sake, but ( chucks her under chin — pokes Sudbury in ribs.) Sud. Anna Maria ! None of that with the lodgers, you know. Plump. Where be room, then ? Julia. Mrs. Stickers said you were to have the — Mister— that one. ( points to r. 1 e.) Sud. ( aside to her). Forty shillings. Julia. And if you please it’s ten shillings more, [aside) Whatever will become of me ? Plump. Forty boob ! that be dearish ! Julia. It’s attendance included. Plump. If you be the ’tendance it bean’t dear, {gives her money) Why, darn me, Zingleton ! I’ll bet Juniper’s gal bean’t no more to be com- pared to she than a zack of woats is to a crab-apple ! Sud. {aside). If he goes ou in this way, I shall get his consent directly. {aloud) Come and have a look at your room. (Plumper winks at Julia) Anna Maria ! [to Plumper) Come along, {aside) 1 must look after this amorous old cuss. Come along, {drags him into r. 1 e.) Julia. Where will this end ? I’ll leave the money here and escape before they come back. If he discovers who I am, Singleton’s last chance will be gone, {puts money on table) Aud now for my bonnet. [Exit, R. 2 E. Pate {calls). Anna Maria ! Julia {outside). Coming ! Enter Julia, r., with bonnet on. Pate [appearing at door). Anna Maria, here’s another pair, and mind I'm particular about the uppers, [hands Julia pair of fisherman's boots , and shuts door — Mrs. Stickers heard outside .) Enter Mrs. Stickers, with scrubbing brush and large coarse apron on — pair of dogs. M RS. S. Drat that girl ; as left Peckham* at nine and ain’t here yet. (se s Julia) Oh! you’ve come at last, have yon— shinon and all, eh? been a promenading in the Regency Parks, up to your larks already, have you, and me a scrubbing the wash’us ! What are you doing with them hoots ? t LODGKKS AN I) DODGERS. 9 Julia (aside). I declare she takes me for tlx* new servant. (aland) 1 am going to clean them, they belong lo that gentleman* (points, l* 1 i<: ) Mrs. S. Oli, Mr. Pate’s in, eh ? and expects to have his bouts cleaned twice a day, do he ? And yon was a-going to do it ! {looking suspiciously at Julia) If I catches you skylarking with the lodgers, Miss Slyboots, I’ll stop your beer, mind. Julia. I shouldn’t think of it, mum. Mrs*. S. Oh, I dare say. What’s this? (sees gin.) Julia. It’s gin — for my — for Mr. Sudbury. Mrs. S. You’ve been for gin, have you ? Let me catch you waiting on him again, that’s all. He can pay for gin, but he can’t pay for lodgings. I’ll take change of that, drat him — don’t stand staring there, (unties apron — gives Julia clogs ) Put on my clogs and wash up the wa.-h’us. {ties her apron on Julia.) Yes, and I declare a terry velvet bonnet on as is almost good enough for your missus. What are you trembling at 1 It’s my belief you’re getting boots on the brain. (Plumper puts boots ou f , r. 1 e. d ) Julia {still holding booti). I — I — am afraid I won’t suit, ma’am. Mrs. S. Won’t suit. You’ll have to suit, that’s all. Why — why you are shaking like a hash -pan. Has Mr. Sudbury been kissing you ? he generally do the new maids. Julia. Generally kisses the new maids! Oh, my ! Mrs. S. What’s the matter how 'l Julia. Nothing, (aside) Singleton — I’ll have an explanation ! Mrs. S. Then get on with your work. Think I’m going to pay extra- vagant wages for nothing ? (pushes her to c . — she drops brush , then boots , etc ., until off.) Julia (aside). Kisses the maids! Oh, Singleton, Singleton! [Exit, c. Mrs. S. There’s a nice chit for a maid-of-all-work. Holloa! Two pipes and a screw. Why that gal and Mr. Sudbury was a-going in for a baccy-nail-in organ. Drat the pipes ! Oh, I was forgetting the gin. ( takes bottle — sees Plumper’s trunk , R.) And I declare, Mr. Tail’s trunk ain’t been took away yet. Man enters , c. Oh, you’ve come for ’em at last, have you 1 Well, be sharp about it, that’s all. [Exit, c. Man. Hold hedgehog ! (takes trunk , hat-box , and boots , belonging to Plumper) Here’s the lot for Hamsterdam. [Exit with luggage , c. Enter Sudbury and Plumper, r. 1 e. — Plumper wears slippers . Sud. (aside). I’ve done it, I think. Plump. But you dunna mean it, Zingleton ! — in loof we little zarvant gal ? Sud. I do, uncle. You don’t know what a superior girl she is. Plump. Aye, I zee that — be different zoart fram Juniper gal. Sud. Very ! Plump. Then, why doan’t thee marry her ? Sun. What, you really mean it ? Plump. Aye, oi do— if she be good girl as she zeems, and as you guv up Juniper gal for my znke, and as time be a winnowing my thatch — I should like to zee thee zettled. Sud. And I have your consent to my marrying a servant girl ? Plump. Zarvant gal — why, loid, the Plumpers bean’t much to boast on, there were a terrible heap on ’em went off \vi* assize fever — take her, I zay. 10 LODGEl.S AMJ DODGERS Sud. I’ve your word. Plump. Aye, loid, as unalterable as the Swedes and Parsnips there. Doan’t’ee thank me. Pm zure she’ll vind a corner for Ih old man. Sud She will — we will. Plump, {aside). I muu get a wisp o’ straw, for darn my wig if 1 hean’t snivelling loike. [ hxit, n. 1 k. Sud 1 must trust to Julia’s charms to overcome the deception L have practised ; but when he sees her attired in Julia enters with long boots in her hands, and comes close to Sudbury. Julia. It’s no use, the uppers won’t polish. Sud. Julia, what’s the meaning of this, why darling! {approaching her.) Julia. Keep off, sir! (pu's down boots) You take me for the maid! 1 know their perquisites now. Sun. You don’t mean to say that Pate — Julia, dear, take a seat, {gives her chair and sits on boots , they collapse) Oh ! Julia. I’ve got to wash up the wash’us, sir. Sud. Wash up! Julia. The wash’us. Mrs. Stickers insists that I shall wash up the washTis. Oh, Singleton, where will this end ? Sud. {kissing her). In marriage. My uucle consents. Julia. Consents to your marrying a Juniper. Sud. That’s the beauty of it. He takes you for Anna Maria. Julia. But this deception! Sud. Take off those things. Let him see the graceful girl I have chosen, and I’ll bet he consents. Quick! — I hear him coming! In my room! I’ll prepare him. {puts her in room , r. 2 e.) Julia ( puts head out of door). Tell Mr. Pate the uppers won’t polish. [ Exit. Plumper enters , r.1e. Sud. Uncle, you’ve made her so happy ! She’s coming to thank you. Plump. Is she V Then I mun put on my coat. Where be my trunk ? — i zay, where be my trunk 'l Sud. Trunk I Stop ! — Pm going mad ! I see it all— they’ve taken for Tait’s. Plump. Taken it where ? Sud. To — to Rotterdam it! Oh, lord ! ( sinks into chair.) Plump. Rotterdam it! WJiere be boots too? I — I am going mad too 1 Give me mv boots ! {s^es long boots } takes one , pulls out collars , fronts , hair-brush etc. — Pate opens L. d.) Pate {calling). Anna Maria! (Plumper throws boot at him ; Pate shu's door . ) Plump. Darn my old wig ! {putting leg into boot) I’ll stop un. {running off c. — Julia enters , c. — stops him) Doan’t thee stop me. I’m off. Julia. Where 1 Plump. To Rotterdam it! My trunk gone — my head gone — one of my legs going too. Julia. I can save you the journey ; for seeing your name on the things, I made the porter leave them below. Plump. You’re an angel ! You’ve saved my leg a journey. Zingle- ton, take her. Sud. {kissing Julia). Yes, a single one. (kissing her again.) Enter Mas Stickers, c. LODGERS AND DODGERS. 11 Mrs. S. Hoity-toity ! What’s the meaning of this? Hcre’6 the gal from Peckham downstairs. Sud. Sold ! Julia We can’t conceal our secret any longer. Mrs. S {to Julia). Who are you, you hussy ? Plump. Be my future niede. Mrs. S. And who are you ? Plump. I he Varrner Plumper. Mrs. S. I hope you’ll like your room, sir. Downstairs, sir! Plump. What, another! Why, I paid Anna Maria for this ’un — ’tend- ance included. Mrs. S. Paid her — for Mr. Tait’s room ! Oh, you imposter, you ! Who are you? Plump. Take care, she be my future niece, I zay. Sud And my future wife. Julia. And Jeremiah Juniper’s present daughter. Plump. Well, I’m — done. Zingleton. Julia. Uncle, forgive him ; we were led into this deception — 1 came to see him ; you arrived — afraid of your anger, I assumed the place of a domestic — and — you dear old — ( kissing him.) Sud. Uncle, can you stand that appeal ? Plump. I can’t— and I s’ pose I mun shake hands wi’ t’hold Juniper, and bury our differences. Pate {at door). Anna Maria ! are those boots coming ? Plump, {throwing hoot at him). Yes — that’s a relief ! {aloud) I’m glad it’s all zettl d. Mrs. S. Yes. But who’s going to settle this? {shewing hill.) Sud. Oh, the bill ! I don’t think we can do better than to leave the settlement in the hands of our friends, who I hope will carry it unani- mously in favor of Plump. “ Lodgers and Sud. “ Dodgers.” CURTAIN. STAGE DIRECTIONS. R. means Right of Stage, facing the Audience ; L. Left; C. Centre ; R. C. Right of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across the back of the Stage ; C. D. F. Centre Door in the Flat ; R. D. F. Right Door in the Flat; L. C. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door ; 1 E First Entrance; 2 E. Second Entrance; U. E. Upper Entrance; 1, 2 or 3 G-. First Second or Third Groove. B. R. C. C. R. C. L. The reader is supposed to be upon the stage facing the audience. U. OF ILL Li A 12 LODGRRS AND DODGERS. SYNOPSIS, Mr. Singleton Sudbury, a young gentleman out of everything except debt, re- ceives notice to vacate his apartments, which, his landlady informs him, she has rented to a provincial individual coming to London to witness the canine show. Single- ton is engaged to be married to Julia Juniper, whose uncle objects to the union without knowing his niece’s suitor personally, while his own uncle, Hezekiah Plumper, abhors the intended bride without having her acquaintance. While in a sad quandary, Singleton is visited in his room by his betrothed, when the new lodger arrives, and proves to b3 Uncle Hezekiah. To avoid a possibility of Julia’s being recognized as the niece of Juniper, between whom and Plumper a feud exists, the young man insists upon his beloved one’s assuming the character of a new servant, momentarily expected by the landlady. In this capacity she acts so artlessly, still naively, as to win the admiration of Plumper, who promises that, should his nephew wed her instead of the Juniper girl, he would receive the young couple into his good graces. To this proposition Singleton accedes, whereupon Julia undertakes the task of undeceiving the country gentleman as to her personality. This work she accomplishes in so agreeable a manner that Singleton’s uncle not only fully for- gives the constant pair, but resolves upon burying the hatchet with the rest of her kindred. These points, interwoven with some truly ludicrous situations, constitute the thread running through this effective and amusing dramatic trifle. DE WITT’S ACTING PLAYS. »> Please notice that nearly all the Comedies, Farces and Comediettas in the following List of “ De Witt’s Acting Plays ” are very suitable for representation in small Amateur Theatres and on Parlor Stages, as they need but little extrinsic aid from complex scenery or expensive costumes. They have attained their deserved popularity by their droll situa- tions, excellent plots, great humor and brilliant dialogues, no less than by the fact that they are the most perfect in every respect of any edition of plays ever published either in the United States or Europe, whether as regards purity of text, accuracy and fullness of stage directions and scenery, or elegance of typography and clearness of printing. In ordering please copy the figures at the commencement of each piece, which indicate the number of the piece in “ De Witt’s List of Acting Plays.” Any of the following Plays sent, postage free, on receipt of price — Fifteen Cents each. JCSST The figure following the name of the Play denotes the number of Acts. The figures in the columns indicate the number of characters— M. male; F. female. M. F. 75. Adrienne, drama, 3 acts • • 7 3 231. All that Glitters is not Gold, comic drama, 2 acts 3 3 308, All on Account of a Bracelet, come- dietta, 1 act 2 2 114. Anything for a Change, comedy.l act 3 3 167. Apple Blossoms, comedy, 3 acts. . . 7 3 93. Area Belle, farce, 1 act 3 2 40. Atchi, comedietta, 1 act 3 2 89. Aunt Charlotte’s Maid, farce, 1 act. 3 3 258. Aunt Dinah’s Pledge, temperance drama, 2 acts 6 3 237. Bachelor’s Box (La Petite Hotel), comedietta, 1 act 4 1 166. Bardell vs. Pickwick, sketch. 1 act. 6 2 310. Barrack Room (The), comedietta,2a. 6 2 41. Beautiful Forever, farce, 1 act 2 2 141. Bells (The), drama, 3 acts 9 3 223. Betsey Baker, farce, 1 act 2 2 67. Birthplace of Podgers, farce, 1 act.. 7 3 36. Black Sheep, drama, 3 acts 7 5 279. Black-Eyed Susan, drama, 2 acts. . . 14 2 296. Black and White, drama, 3 acts. ... 6 3 160. Blow for Blow, drama, 4 acts 11 6 179. Breach of Promise, drama, 2 acts. . 5 2 25. Broken-Hearted Club, comedietta. . 4 8 70. Bonnie Fish Wife, farce, 1 act 3 1 261. Bottle (The), drama, 2 acts 11 6 226. Box and Cox, Romance,^ act 2 1 24. Cabman No. 93, farce, 1 act 2 2 199. Captain of the Watch, comedietta, 1 act 6 2 1. Caste, comedy, 3 acts 5 3 175. Cast upon the World, drama, 5 acts.ll 5 65. Catharine Howard, historical play, 3 acts 12 5 69. Caught by the Cuff, farce, 1 act 4 1 80. Charming Pair, farce, 1 act. 4 3 65. Checkmate, comedy, 2 acts 6 5 68. Chevalier de St. George, drama, 3a. 9 3 2J9. Chimney’ Corner (The), domestic drama, 3 acts 5 2 76. Chops of the Channel, farce, 1 act.. 3 2 205. Circumstances alter Cases, comic operetta, 1 act 1 1 149, Clouds, comedy, 4 acts 8 7 12 L Comical Countess, farce, 1 act 3 1 M. F. 222. Cool as a Cucumber, farce, 1 act.. . . 3 2 248. Cricket on the Hearth, drama, 3 acts 8 6 107. Cupboard Love, farce, 1 act 2 1 152. Cupid’s Eye-Glass, comedy, 1 act . . 1 1 52. Cup of Tea, comedietta, 1 act 3 1 148. Cut Off with a Shilling, comedietta, 1 act 2 1 113. Cyril’s Success, comedy, 5 acts .... 10 4 20. Daddy Gray, drama, 3 acts 8 4 286. Daisy Farm, drama, 4 acts 10 4 4. Dandelion’s Dodges, farce, 1 act... 4 2 22. David Garrick, comedy, 3 acts 8 3 275. Day After the Wedding, farce, 1 act 4 2 96. Dearest Mamma, comedietta, 1 act.. 4 3 16. Dearer than Life, drama, 3 acts.... 6 5 58. Deborah'(Leah), drama, 3 acts 7 6 125. Deerfoot, farce, 1 act 5 1 71. Doing for the Best, drama, 2 acts. . 5 3 142. Dollars and Cents, comedy, 3 acts. . 9 4 204. Drawing Room Car (A). comedy, 1 act 2 1 21. Dreams, drama, 5 acts 6 3 260. Drunkard’s Warning, drama, 3 acts 6 3 240. Drunkard’s Doom (The), drama, 2a.l5 5 263. Drunkard (The), drama, 5 acts 13 5 186. Duchess de la Yalliere.play, 5 acts.. 6 4 242. Dumb Belle (The), farce, 1 act 4 2 47. Easy Shaving, farce, 1 act 5 2 283. E. C. B. Susan Jane, musical bur- lesque, 1 act.. 8 1 202. Eileen Oge, Irish drama, 4 acts 11 3 315. Electric Love, farce, 1 act 1 1 297. English Gentleman (An), comedy- drama, 4 acts 7 4 200. Estranged, operetta. 1 act 2 1 135. Everybody's Friend, comedy. 3 acts 6 5 230. Family Jars, nmsical farce, 2 acts.. 5 2 103. Faust and Marguerite, drama, 3 acts 9 7 9. Fearful Tragedy in the Seven Dials, interlude, 1 act 4 1 128. Female Detective, drama, 3 acts 11 4 101. Fernande, drama, 3 acts 11 10 99. Fifth Wheel, comedy, 3 acts 10 2 262, Fj^teen Years of a Drunkard’s Life, melodrama, 3 acts 13 4 145. First Love, comedy, 1 act 4 1 102. Foiled, drama. 4 acts 9 3 88. Founded on Facts, farce, 1 act 4 2 DE WITT’S ACTING- PLAYS,— Continued. 259. 192. 74. 63. 73. 30. 131. 276. 306. 277. 206. 241. 28. 151. 8 . 180. 303. 19. 60. 191. 246. 301. 224. 187. 174. 211 . 64. 190. 197. 225. 252. 18. 116. 129. 159. 278. 282. 273. 243. 271. 244. 270. 274. 122 . 177. 100 . 299. 139. 17. 233. 309. 86 . 137. 72. 144. 34. 189. 253. 111 . 119. 239. 48. 32. 164. 295. 165. 228. M. F. Fruits of the Wine Cup, drama, 3 cts 6 3 Game of Cards (A), comedietta, la.. 3 1 Garrick Fever, farce, 1 act 7 4 Gertrude’s Money Box, farce, 1 act. 4 2 Golden Fetters (Fettered), drama, 3.11 4 Goose with the Golden Eggs, farce, lact ® ** Go to Putney, farce, 1 act 4 3 Good for Nothing, comic drama, la. 5 1 Great Success (A), comedy, 3 acts. . 8 6 Grimsliaw, Bagshaw and Bradshaw, farce, 1 act •••*••• t ? Heir Apparent (The), farce, 1 act... 6 1 Handy Andy, drama, 2 acts 10 3 Happy Pair, comedietta, 1 act 1 1 Hard Case (A), farce, 1 act. 2 Henry Dunbar, drama, 4 acts 10 3 Henry the Fifth, hist, play, 5 acts.. 38 5 Her Only Fault, comedietta, 1 act. . 2 2 He’s a Lunatic, farce, 1 act 3 2 Hidden Hand, drama, 4 acts 5 5 High C, comedietta, 1 act. 3 3 High Life Below Stairs, farce,2 acts. 9 5 Hiuko, romantic drama, 6 acts 12 7 His Last Legs, farce, 2 acts 5 3 His Own Enemy, farce, 1 act 5 1 Home, comedy. 3 acts 4 3 Honesty is the Best Policy, play, 1. 2 Household Fairy, sketch, 1 act. ... 1 1 Hunting the Slippers, farce, 1 act. . 4 1 Hunchback (The), play, 5 acts 13 2 Ici on Parle Fraucais, farce, 1 act... 3 4 Idiot Witness, melodrama, 3 acts. . . 0 1 If I had a Thousand a Year, farce, 14 3 I’m not Mesilf at all, Irish stew, la. 3 2 In for a Holiday, farce, 1 act 2 3 In the Wrong House, farce, 1 acr. . . 4 2 Irish Attorney (The), farce, 2 acts.. 8 2 Irish Broom Maker, farce, 1 act. ... 9 3 Irishman in London, farce, 1 acts. . 6 3 Irish Lion (The), farce, 1 act 8 3 Irish Post (The), drama, 1 act 9 3 Irish Tutor (The), farce, 1 act 5 2 Irish Tiger (The), farce, 1 act 5 1 Irish Widow (The), farce, 2 acts 7 1 Isabella Orsini, drama, 4 acts 11 4 I Shall Invite the Major, comedy, 14 1 Jack Long, drama, 2 acts 9 2 Joan of Arc, hist, play, 5 acts 26 6 Joy is Dangerous, comedy, 2 acts. . 3 3 Kind to a Fault, comedy, 2 acts .... 6 4 Kiss in the Dark (A), farce, 1 act 2 3 Ladies’ Battle (The), comedy, 3 acts 7 2 Lady of Lyons, play, 5 acts 12 5 L’ Article 47, drama, 3 acts 11 6 Lame Excuse, farce, 1 act 4 2 Lancashire Lass, melodrama, 4 acts. 12 3 Larkins’ Love Letters, farce, 1 act.. 3 2 Leap Year, musical duality, l act — 1 1 Lend Me Five Shillings, farce, 1 act 5 3 Liar (The), comedy, 2 .acts 7 2 Life Chase, drama, 5 acts 14 5 Limerick Bov (The), farce, 1 act 5 2 Little Annie’s Birthday, farce, 1 act.. 2 4 Little Rebel, farce, 1 act 4 3 Little Ruby, drama, 3 acts 6 6 Little EmTv, drama, 4 acts 8 8 Living Statue (The), farce, 1 act 3 2 Loan of a Lover (The), vaudeville,!. 4 1 109. 85. 87. 143. 212 . 291. 210 . 163. 154. 63. 249. 208. 39. 7. 49. 15. 46. 51. 302. 184. 250. 312. 234. 108. 188. 169. 216. 236. 193. 267. 130. 92. 218. 140. 115. 2 . 57. 104. 112 . 298. 185. 84. 117. 171. 14. 300. 269. 268. 173. 227. 176. 254. 33. 3. 90. 170. 289. 97. 66 . 209. 172. 94. 45. 155. 178. M. F Locked in, comedietta, 1 act 2 Locked in with a Lady, sketch 1 1 Locked Out, comic bcene 1 1 Lodgers and Dodgers, farce, 1 act. . 4 2 London Assurance, comedy, 5 acts. 10 3 M. P., comedy, 4 acts 7 2 Mabel’s Manoeuvre, interlude, 1 act 1 3 Marcoretti, drama, 3 acts 10 3 Maria and Magdalena, play, 4 acts.. 8 6 Marriage at any Price, farce, 1 act. . 5 3 Marriage a Lottery, comedy, 2 acts. 3 4 Married Bachelors, comedietta, la.. 3 2 Master Jones’ Birthday, farce, 1 act 4 2 Maud’s Peril, drama, 4 acts 5 3 Midnight Watch, drama, 1 act 8 2 Milky White, drama, 2 acts 4 2 Miriam’s Crime, drama, 3 acts 5 2 Model of a Wife, farce, 1 act 3 2 Model Pair (A), comedy, 1 act 2 2 Money, comedy, 5 acts 17 3 More Blunders than One, farce, la. 4 3 More Sinned against than Sinning, original Irish drama, 4 acts 11 Morning Call (A), comedietta, 1 act. 1 1 Mr. Scroggins, farce, 1 act 3 3 Mr. X., farce, 1 act 3 3 My Uncle’s Suit, farce, 1 act 4 1 My NeighbQr's Wife, farce, 1 act. . . .3 3 My Turn Next, farce, 1 act 4 3 My Walking Photograph, musical duality, 1 act 1 1 My Wife's Bonnet, farce, 1 act 3 4 My Wife’s Diary, farce, 1 act 3 1 My Wife’s Out, farce, 1 act .2 2 Naval Engagements, farce, 2 acts. . . 4 2 Never Reckon your Chickens, etc., farce. 1 act 3 4 New Men and Old Acres, comedy, 3 8 6 Nobody’s Child, drama, 3 acts 18 3 Noemie, drama, 2 acts., 4 4 No Name, drama, 5 acts 7 5 Not a bit Jealous, farce, 1 act 3 3 Not if I Know it, larce, 1 act 4 4 Not so bad as we Seem, play, 5 acts.] 3 3 Not Guilty, drama, 4 acts 10 6 Not such a Fool as he Looks, drama. 3 acts 5 4 Nothing like Paste, farce, 1 act 3 1 No Thoroughfare, drama, 5 acts 13 6 Notre Dame, drama, 3 acts 11 8 Object of Interest (An), farce, 1 act. 4 3 Obstinate Family (The), farce, 1 act. 3 3 Off the Stage, comedietta, 1 act 3 3 Omnibus (The), farce, 1 act. . . ... 5 4 On Bread and Water, farce, 1 act.. . 1 2 One Too Many, farce, 1 act 4 2 One Too Many for Him, farce, 1 act 2 3 £100,000, comedy, 3 acts 8 4 Only a Halfpenny, farce, 1 act 2 2 Only Somebody, farce, 1 act 4 2 On the Jury, drama, 4 acts 5 5 Orange Blossoms, comedietta, 1 act 3 3 Orange Girl, drama. 4 acts 18 4 Othello, tragedy, 5 acts 16 2 Ours, comedy, 3 acts 6 3 Our Clerks, farce, 1 act 7 5 Our Domestics, comedy-farce, 2 acts 0 G Our Heroes, military play, 5 acts. . .94 5 Out at Sea, drama, 6 acts 17 5 DE WITT’S ACTING- PLAYS, -Continued, M. F. 147. Overland Route, comedy, 3 acts 11 5 305. Pair of Shoes (A), farce, 1 act 4 3 285. Partners for Life, comedy, 8 acts 7 4 156. Peace at any Price, farce, 1 act 1 1 82. Peep o’ Lay, drama, 4 acts 12 4 127. Peggy Green, farce, 1 act 3 10 23. Petticoat Parliament, extravaganza, 1 act 15 24 293. Philomel, romantic drama, 3 acts.. . G 4 62. Photographic Fix, farce, 1 act 3 2 61. Plot and Passion, drama, 3 acts. ... 7 2 138. Poll and Partner Joe, burlesqe, la.. 10 3 217. Poor Pillicoddy, farce, 1 act 2 3 110. Poppleton’s Predicaments, farce, la. 3 6 50. Porter’s Knot, drama, 2 acts 8 2 59. Post Boy, drama. 2 acts 5 3 95. Pretty Horse-Breaker, farce 3 10 280. Pretty Piece of Business (A), come- dy, 1 act . . 2 3 181. 182. Queen Mary, drama, 4 acts 37 9 196. Queerest Courtship (The), comic operetta, 1 act 1 1 255. Quiet Family, farce, 1 act 4 4 157. Quite at Home, comedietta, 1 act. . . 5 2 132. Race for a Dinner, farce, 1 act 10 237. Regular Fix (A), farce, 1 act 6 4 183. Richelieu, play, 5 acts 12 2 38. Rightful Heir, drama, 5 acts 10 2 77. Roll of the Drum, drama, 3 acts .... 8 4 316. Romeo on the Gridiron (A), mono- logue, for a lady 1 195. Rosemi Shell, burlesque, 4 scenes.. 6 3 247. Rough Diamond (The), farce, 1 act. G 3 194. Rum, drama, 3 acts 7 4 13. Ruy Bias, drama, 4 acts 12 4 229. Sarah’s Young Man, farce, 1 act 3 3 158. School, comedy, 4 acts, 6 6 201. School for Scandal, comedy, 5 acts. .13 4 264. Scrap of Paper (A), comic drama, 3a. 6 6 79. Sheep inWolf’s Clothing, drama, la. 7 5 203. She Stoops to Conquer, comedy, 5a.l5 4 37. Silent Protector, farce. 1 act 3 2 35. Silent Woman, farce, 1 act 2 1 213. Single Married Man (A), comic ope- retta, 1 act. 6 2 43. Sisterly Service, comedietta, 1 act.. 7 2 6. Six Months Ago, comedietta, 1 act.. 2 1 221. Slasher and Crasher, farce. 1 act... 5 2 10. Snapping Turtles, duologue, 1 act. . .1 1 26. Society, comedy, 3 acts 16 5 207. Sold Again, comic operetta, 1 act... 3 1 304. Sparking, comedietta, 1 act 1 2 78. Special Performances, farce, 1 act. . 7 3 215. Still Waters Run Deep, comedy, 3a. 9 2 256. Sweethearts, dramatic contrast, 2a.. 2 2 232. Tail (Tale) of a Shark, musical mon- ologue, 1. scene 1 31. Taming a Tiger, farce, 1 act ... 3 150. Tell-Tale Heart, comedietta. 1 act.. 1 2 120. Tempest in a Teapot, comedy, 1 act 2 1 m. r, 257. Ten Nights in a Bar Room, drama, 5 acts 8 2 146. There’s no Smoke without Fire, comedietta, 1 act 1 2 83. Thrice Married, personation piece, 1 act 6 1 245. Thumping Legacy (A), 1 act 7 1 251. Ticket of Leave Man, drama, 4 acts. 9 3 42. Time ami the Hour, drama, 3 acts. 7 3 27. Time and Tide, drama, 4 acts 7 5 133. Timothy to the Rescue, farce, 1 act 4 2 153. ’Tis Better to Live than to Die, farce, 1 act 2 1 134. Tompkins the Troubadour, farce. 1. 3 2 272. Toodles (The), drama, 2 acts 10 2 235. To Oblige Benson, comedietta, 1 act 3 2 238. Trying It On, farce, 1 act 3 3 29. Turning the Tables, farce, 1 act. . . 5 3 214. Turn Him Out, farce, 1 act 3 2 168. Tweedie’s Rights, comedy, 2 acts. . 4 2 126. Twice Killed, farce, 1 act 6 3 234. ’Twixt Axe and Crown, play, 5 acts. 24 13 198. Twin Sisters, comic operetta. 1 act. 2 2 265. Two Bonnycastles, farce, 1 act 3 3 220. Two Buzzards (The), farce, 1 act 3 2 56. Two Gay Deceivers, face, 1 act 3 123. Two Polts, farce, 1 act 4 4 288. Two Roses (The), comedy, 3 acts. . . 7 4 292. Two Thorns (The), comedy, 4 acts.. 9 4 294. Uncle Dick’s Darling, drama, 3 acts 6 5 162. Uncle’s Will, comedietta, 1 .act 2 1 106. Up for the Cattle Show, farce, 1 act 6 2 81. Vandyke Brown, farce, 1 act 3 3 317. Veteran of 1812 (The), romantic mil- itary drama, 5 acts 12 2 124. Volunteer Review, farce, 1 act 6 6 91. Walpole, comedy in rhyme 7 2 118. Wanted, a Young Lady, farce, 1 act. 2 1 231. Wanted, One Thousand Spirited Young Milliners for the Gold Re- gions, farce, 1 act 3 7 44. War to to the Knife, comedy, 3 acts 5 4 311. What Tears can do, comedietta, la.. 3 2 105. Which of the Two? comedietta, la.. 2 10 266. Who Killed Cock Robin? farce, 2a.. 2 2 98. Who is Who? farce 3 2 12. Widow Hunt, comedy, 3 acts 4 4 213. Widow (The), comedy, 3 acts 7 6 5. William Tell with a Vengeance, bur- lesque 8 2 o-.. ( Window Curtain, monologue. . . 1 6 1 Circumstantial Evidence “ .... 1 136. Woman in Red, drama, 4 acts 6 8 161. Woman’s Vows and Masons’ Oaths, drama, 4 acts 10 4 11. Woodcock’s Little Game, farce. 2a.. 4 4 290. Wrong Man in the Right Place (A), farce, 1 act 2 3 54. Young Collegian, farce, 1 act 3 2 A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACT- ING PLAYS AND DE WITT’S ETHIOPIAN AND COMIC DRAMAS, containing Plot, Costume, Scenery, Time of Representation, and all other informa tion, mailed free and post paid on application. Address DE WITT, 33 Bose Street, New York. DE WITT’S DRAWING-ROOM OPERETTAS. ®*TO MUSICAL AMATEURS, ga The number of Musical Amateurs , both ladies and gentlemen, is not only very large , but is constantly increasing, and very naturally, for there is no more re - fined and pleasant mode of spending leisure hours than in singing and j olaying the choice productions of the best Composers. Hitherto there has been an- almost total iick of suitable pieces adapted to an evening's entertainment in Parlors by Amateurs, Df course whole Operas, or even parts of Operas, require orchestral accompani- ments and full choruses to give them effect, and are therefore clearly unfit for Amateur performance, while a succession of songs lacks the interest given by a plot and a contrast of characters. In this series {a list of which is given below) we have endeavored to supply this want. The best Music of popular Composers is wed- ded to appropriate words, and the whole dovetailed into plots that are effective as mere petite plays, but are rendered doubly interesting by the appropriate and beau- tiful Music , specially arranged for them . LIST OF DE WITT’S MUSICAL PLAYS. PRICE 15 CENTS EAGH. LEAP YEAR — A Musical Dual- ity. By Alfred B. Sedgwick. Mu- sic selected and adapted from Of- fenbach’s celebrated Opera, “ Gene- vieve de Brabant .” One Male, one Female Character. THE TWIN SISTERS , — Comic Operetta, in One Act. The Music selected from the most popular num- bers in Le Cocq’s celebrated Opera Bouffe, “ Girofle Giroflaf and the Libretto written by Alfred B. Sedg- wick. Two Male, Two Female Characters. SOLD AGAIN AND GOT. THE MONEY. — Comic Operetta, m One Act. The Music composed and the Libretto written by Alfred B. Sedg- wick. Three Male, One Female Character. THE QUEEREST COURTSHIP. —Comic Operetta, in One Act. The Music arranged from Offenbach’s celebrated Opera, “ La Princesse de Trebizonde ,” and the Libretto writ- ten by Alfred B. Sedgwigk. One Male, One Female Character. ESTRANGED.— An Operetta, in One Act, The Music arranged from Verdi’s celebrated Opera, “ II Trov - atore and the Libretto adapted by Alfred B. Sedgwick, Two Male, One Female Character, CIRCUMSTANCES ALTER CASES.— Comic Operetta, in One Act. The music composed and the Libretto written by Alfred B. Sedg- wick, One Male, One Female Char- MY WALKING PHOTOGRAPH. — Musical Duality, in One Act. The Music arranged from Le Cocq’s Opera, “La Fille de Madame Angot , M and the Libretto written by Ar freb B. Sedgwick. One Male, One Fe- male Character. A SINGLE MARRIED M&N- Comic Operetta, in One Act. The Music arranged from Offenbach’s celebrated Opera Bouffe, “ Madume V Archiduc," and the Libretto writ- ten by Alfred B. Sedgwick. Six Male, Two Female Characters. MOLLY MORIARTY. . — An Irish Musical Sketch, in One Act. The Music composed and the Dialogue written by Alfred B. Sedgwick. One Male, one Female Character. Suitable for the Variety Stage. THE CHARGE OF THE HASH BRIGADE.— A Comic Irish Musical Sketch. The Musie composed and the Libretto written by Joseph P. Skelly. Two Male, two Female Character Suitable for the Variety Stage. _ GAMBRINUS, KING OF LAGER BEER. — A Musical Ethiopian Bur- lesque, in One Act. Music and Dia- logue by Frank Dumont. Eight Male, one Female Character. Suita- ble for the Ethiopian Stage. AFRICAFUS BLUEBEARD.— A Musical Ethiopian Burlesque, in One Act. Music and Dialogue by Frank Dumont. Four Male, four Female Characters. Suitable for the Ethio- pian Stage. DE WITT’S ETHIOPIAN AND COMIC DEAMA.— Continued, M. F. 33. Jealous Husband, sketch 2 1 94. Julius the Snoozer. burlesque, 3 sc. 6 1 103. Katrina’s Little Game, Dutch act, 1 scene 1 1 1. Last of the Mohicans, sketch 3 1 36. Laughing Gas, sketch, 1 scene 6 1 18. Live Injun, sketch, 4 scenes 4 1 60. Lost Will, sketch . . 4 37. Lucky Job, farce, 2 scenes 3 2 90. Lunatic (The), farce, 1 scene 3 109. Making a Hit, farce, 2 scenes 4 19. Malicious Trespass, sketch, 1 scene. 3 149. ’Meriky, Ethiopian farce, 1 scene. . . 3 1 151. Micky Free, Irish sketch, 1 scene.. 5 96. Midnight Intruder, farce, 1 scene . 6 1 147. Milliner’s Shop (The), Ethiopian sketch, 1 scene 2 2 129. Moko Marionettes, Ethiopian eccen- tricity, 2 scenes 4 5 101. Molly Moriarty, Irish musical sketch, 1 scene 1 1 117. Motor Bellows, comedy, 1 act 4 44. Musical Servant, sketch, 1 scene — 3 8. Mutton Trial, sketch, 2 scenes .... 4 119. My Wife’sVisitors, comic drama, lsc. 6 1 49. Night in a Strange Hotel, sketch, lsc. 2 132. Noble Savage, Ethi’n sketch, 1 sc. .. 4 145. No Pay No Cure, Ethi’n sketch, 1 sc. 6 22. Obeying Orders, sketch, 1 scene.... 2 1 27. 100th Night of Hamlet, sketch 7 1 125. Oh, Hush ! operatic olio 4 1 30. One Night in a Bar Room, sketch . . 7 114. One Night in a Medical College, Ethiopian sketch, 1 scene 7 1 76. One, Two, Three, sketch, 1 scene. . 7 91. Painter’s Apprentice, farce, 1 scene. 5 87. Pete aud the Peddler, Negro and Irish sketch, 1 scene 2 1 135. Pleasant Companions, Ethiopian sketch, 1 scene 5 1 92. Polar Bear (The), farce, 1 scene 4 1 9. Policy Players, sketch, 1 scene 7 57. Pompey’s Patients, interlude, 2 sc.. 6 65. Porter’s Troubles, sketch, 1 scene.. 6 1 66. Port Wine vs. Jealousy, sketch 2 1 115. Private Boarding, comedy, 1 scene. 2 3 14. Recruiting Office, sketch, 1 act 5 105. Rehearsal (The), Irish farce, 2 sc. . . 3 1 45. Remittance from Home, sketch, 1 sc. 6 55. Rigging a Purchase, sketch, 1 sc. . . 3 M. F. 81. Rival Artists, sketch, 1 scene 4 26. Rival Tenants, sketch 4 138. Rival Barbers’ Shops (The), Ethio- pian farce, 1 scene 6 1 15. Sam’s Courtship, farce, 1 act 2 1 59. Sausage Makers, sketch, 2 scenes.. 5 1 21. Scampini, pantomime, 2 scenes 3 3 80. Scenes on the Mississippi, sketch, 2 scenes 6 84. Serenade (The), sketch, 2 scenes 7 38. Siamese Twins, sketch, 2 scenes 5 74. Sleep Walker, sketch, 2 scenes 3 46. Slippery Day, sketch, 1 scene 6 1 69. Squire lor a Day, sketch 5 1 56. Stage-struck Couple, interlude, 1 sc. 2 1 72. Stranger, burlesque, 1 scene 1 2 13. Streets of New York, sketch, 1 bc. . . 6 16. Storming the Fort, sketch, 1 scene. 5 7. Stupid Servant, sketch, 1. scene 2 121. Stocks Up ! Stocks Down ! Negro duologue, 1 scene 2 47. Take It, Don’t Take It, sketch, 1 sc. 2 54. Them Papers, sketch, 1 scene 3 100. Three Chiefs (The), sketch, 1 scene. 6 102. Three A. M., sketch, 2 scenes 3 1 34. Three Strings to one Bow, sketch, 1 scene ... 4 1 122. Ticket Taker, Ethi’n farce, 1 scene. 3 2. Tricks, sketch 5 2 104. Two Avvfuls (The), sketch, 1 scene.. 5 5. Two Black Roses, sketch 4 1 28. Uncle Eph’s Dream, sketch, 2 sc. . . 3 1 134. Unlimited Cheek, sketch, 1 scene.. 4 1 62. Vinegar Bitters, sketch, 1 scene 6 1 32. Wake up, William Henry, sketch. . . 3 39. Wanted, a Nurse, sketch, 1 scene... 4 75. Weston, the Walkist, Dutch sketch, 1 scene 7 1 93. What shall I Take? sketch, 1 scene. 7 1 29. Who Died First? sketch, 1 scene.. . 3 1 97. Who's the Actor? farce, 1 scene 4 137. Whose Baby is it? Ethiopian sketch, 1 scene 2 1 143. Wonderful Telephone (The), Ethio- pian sketch, 1 scene ... 4 1 99. Wrong Woman in the Right Place, sketch, 2 scenes 2 2 85. Young Scamp, sketch, 1 scene.. 3 116. Zacharias’ Funeral, farce, 1 scene.. 5 A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT’S ACT- ING PLAYS AND DE WITT’S ETHIOPIAN AND COMIC DRAMAS, containing Plot, Costume, Scenery, Time of Representation, and all other informa- tion, nailed free and post paid on application. Address DE WITT, Publisher, 33 Rose Street, New York. An Miswsalile Boot for Aiatenrs. how to umm AMAOTB THEATRICALS, Being plain instructions for construction and arrangement of Stage, making Scenes, getting up Costumes, “ Making Up” to represent different ages and characters, and how to produce stage Illusions and Effects. Also hints for the management of Amateur Dramatic Clubs, and a list of pieces suitable for Drawing Room Performances. Hand- somely illustrated with Colored Plates. Price , 25 Cents . DE WITT’S SELECTIONS FOR AMATEUR AND PARLOR THEATRICALS. Nos. 1, 2, 3 & 4. , Being choice selections from the very best Dramas, Comedies and Farces. Specially adapted for presentation by Amateurs, and for Parlor and Drawing Room Entertainments. Each number , 25 Cents. PANTOMIME PLAY, “HUMPTY DUMPTY.” The celebrated Pantomime, as originally played for 1,000 nights by the late George L. Fox. Arranged by John Denier, Esq. Eight m;« four female characters. Price , 25 Cents ,