Manuscript, Archives,
and Rare nook Library
EMORY UNIVERSITY
ey¬
as.
to.
ind
ital
Id
The Corning Race.
Kenelm Chillingly.
The Parisians, 2 vols.
Falkland and Zicci.
Pausanias.
By JAMES GRANT.
Romance of War.
The Aide-de-Camp.
Scottish Cavalier.
Bothwell.
Jane Seton.
Philip Rollo.
Legends of the Black
Watch.
Mary of Lorraine.
Oliver Ellis.
Lucy Arden.
Fairer than a Fairy.
The Secret Dispatch.
One of the Six Hun¬
dred.
Morley Ashton.
Did She Love Him ?
The Ross-shire Buffs.
By G. P. R. JAMES.
The Brigand.
Morley Ernstein.
Darnley.
Richelieu.
The Gipsy.
Arabella Stuart.
The Woodman.
Agincourt.
Sir W. SCOTT.
Waverley.
Guy Mannering.
Old Mortality.
Heart of Midlothian.
Rob Roy.
Ivanhoe.
The Antiquary.
Brideof Lammermoor.
Black Dwarf and
Legend of M ontrose.
The Monastery.
The Abbot.
Kenilworth.
The Pirate.
Fortunes of Nigel.
Peveril of the Peak.
Published by George Routledge and Sons.
TWO SHILLING
Quentin Uurward.
St. Ronan's Well.
Red Gauntlet.
Betrothed and High¬
land Widow.
The Talisman and
Two L>iovers.
Woodstoi k.
Fair iviaid of Perth.
Anne of Geierstein.
Count Robert of Paris.
Surgeon's Daughter.
By Mrs. GORE.
The Money Lender.
Pin Money.
The Dowager.
Mothers & Daughters.
Cecil.
The Debutante.
W. H MAXWELL.
Stofits of Waterloo.
Brian O'Lynn.
Captain Blake.
The Bivouac.
Hector O Halloran.
Captain O'Sullivan.
Stories of the Penin¬
sular War.
Flood and Field.
Sports and Adventures
in the Highlands.
Wild Sports in the
West.
THEODORE HOOK
Peregrine Bunce.
Cousin Geoffry.
Gilbert Gurney.
Parson's Daughter.
All in the Wrong.
Widow and Marquess.
Gurney Married.
Jack Brag.
Maxwell.
Man of Many Friends.
Passion and Prinoiple.
Merton.
Gervase Skinner.
Cousin William.
Fathers and Sons.
Author of " Guy
Livingstone."
Guy Livingstone.
Barren Honour.
i BOOKS, continued.
Maurice Dering.
Brakespeare.
Anteros.
Breaking a Butterfly.
Sans Merci.
Sword and Gown.
EDMUND YATES.
Running the Gauntlet.
Kissing the Rod.
The Rock Ahead.
Black Sheep.
A Righted Wrong.
The Yellow Flag.
I mpending Sword.
A Waiting Race.
Broken to Harness.
Two by Tricks.
A Silent Witness.
H. K1NGSLEY.
Stretton.
Old Margaret.
The Harveys.
Hornby Mills.
Capt. ARMSTRONG
The Two Midshipmen.
The Medora
The War Hawk.
Young Commander.
By Capt. CHAM1ER.
Life of a Sailor.
Ben Brace.
Tom Btjwling.
Jack Adams.
HENRY COCKTON.
Valentine Vox.
Stanley Thorn.
By G. R. GLEIG.
The Light Dragoon.
Chelsea Veterans.
The Hussar.
By Mrs. CROWE.
Night Side of Nature.
Susan Hopley.
Linny Lockwood.
ALEX. DUMAS.
The Half Brothers.
Marguerite de Valois.
The Mohicans of Paris.
A. B. EDWARDS.
The Ladder of Life.
My Brother's Wife.
Half a Million of
Money.
By Miss FERRIER.
Marriage.
The Inheritance.
Destiny.
By FIELDING.
Tom Jones.
Joseph Andrews.
Amelia.
By GERSTAEKER.
A Wife to Order.
The Two Convicts.
Feathered Arrow.
Each for Himself.
By LANG.
Will He Mairy Her?
The Ex-Wife "
CHAS LEVER.
Arthur O'Leary.
Con Cregan.
By S. LOVER.
Rory O'More.
Handy Andy.
By MAYNE REID.
The Quadroon.
The War Trail.
By Captain NEALE.
The Lost Ship.
The Captain s Wife.
Pride of the Mess.
Will Watch.
Cavendish.
The Flying Dutchman.
Gentleman Jack.
The Port Admiral.
The Naval Surgeon.
ALBERT SMITH.
Marchioness of Brin-
villiers.
Adventures of Mr.
Ledbury.
Scatteruood Family.
Christopher Tadpole.
The Pottleton Legacy.
By SMOLLETT.
Roderick Random.
Humphrey Clinker.
Peregrine Pickle.
Mrs. TROLLOPE.
Petticoat Government.
One Fault.
Widow Rarnaby.
Widow Married.
Barnabys in America.
The Ward.
Love and Jealousy.
Published by George Routledge and Sons.
MissWETHERELL
The Old Helmet.
Ellen Montgomery's
Bookshelf.
Melbourne House.
The Two School Girls.
TWO SHILLING BOOKS, continued.
Wide, Wide World.
Queechy.
By the Author of
" Whitefriars."
Whitefriars.
Whitehall.
Caesar Borgia.
By VARIOUS AUTHORS.
Caleb Williams, by Godwin.
Scottish Chiefs.
Torlogh O'Brien. [Martineau.
The Hour and the Man, by Miss
The Prairie Bird.
The Rifleman, by Captain Rafter.
Salathiel, by Dr. Croly.
Francesca Carrara, by L. E. L.
The Bashful Irishman.
Deeds, not Words.
Secret of a Life. [Long.
Sir Roland Ashton, by Lady C.
The Greatest Plague of Life, with
Cruikshank's plates.
The Attach^, by Sam Slick.
The Green Hand.
Hajji Baba of Ispahan.
Whom to Marry, with Cruik¬
shank's plates.
Letter Bag of the Great Western.
Black and Gold.
Vidocq, the French Police Spy.
Gilderoy.
Singleton Fontenoy.
The Lamplighter.
Gideon Giles, the Roper.
Clives of Burcot.
The Wandering Jew.
The Mysteries of Paris.
Land and Sea Tales.
False Colours, by Annie Thomas.
Nick of the Woods.
Mabel Vaughan.
Banim's Peep o' Day.
Banim's Smuggler. [Norton.
Stuart of Dunleath, by Hon. Mrs.
Adventures of a Strolling Player.
Solitary Hunter.
Kaloolah, by Mayo.
Won in a Canter, by Old Calabar.
Mornings at Bow Street, with
plates by George Cruikshank.
Boscobel, by W. H. Ainsworth.
Blount Tempest, by J. C. Bellew.
Tom Bulkeley of Lissington.
Arctic Regions. P. L. Simmonds.
Owen Tudor.
Maid of Orleans.
Westminster Abbey.
Madeleine Graham.
Gold Worshippers.
Armourer's Daughter.
Dower House, by Annie Thomas.
Miss Forrester, by the Author of
'1 Archie LovelL "
The Pretty Widow, by Chas. Ross.
Recommended to Mercy.
Adventures of Dr. Brady, by Dr.
W. H. Russell. [Places.
Love Stories of English Watering
A Perfect Treasure, by Author of
" Lost Sir Massingberd."
Saved by a Woman, by the Author
of " No Appeal."
At His Gates, by Mrs. Oliphant.
Golden Lion of Granpere, by An-
thpny Trollope.
Murphy's Master, by the Author
of " Lost Sir Massingberd."
Manchester Rebels, by Ainsworth,
Helen, by Miss Edgeworth.
First Lieutenant's Story, by Lady
Long. [Charles Dickens.
Grimaldi, the Clown, Edited by
Rodenhurst; or, The Millionaire
and the Hunchback.
Clement Lorimer, by A. B. Reach.
Tom Cringle's Log, by M. Scott.
Private Life of an Eastern King.
Adventures of Captain Hatteras,
by Verne.
Twenty Thousand Leagues under
the Sea, by Verne.
Five Weeks in a Balloon, and a
Journey to Centre of the Earth.
Preston Fight, by Ainsworth.
My Love she's but a Lassie yet.
Cross of Honour, Annie Thomas.
The Girl he left Behind him, by
J. M.Jephson. [Colomb.
Hearths and Watchfires, by Col.
City of the Sultan, by Miss Pardoe
Jennie of the " Prince's."
Through the Mi^, Jeanie Hering.
Tales of the Coastguard.
Leonard Lindsay. Angus B. Reach.
Carletons Traits, ist series.
: and series.
Published by Gsorge Routledge and Sons.
CHILDREN'S THEATRICALS
Children's Theatricals
BEING A SERIES 0?
flqmkr Jairg titles
ADAPTED FOR REPRESENTATION IN THE DRAWING ROOM
WRITTEN BY
J. KEITH ANGUS
AUTHOR OF "A SCOTCH PLAY-HOUSE," "SO SINKS THE DAY-
STAR," ETC.
''To point a moral . .
LONDON
GEORGE ROUTLEDGE AND SONS
BROADWAY, LUDGATE HILL
NEW YORK ! 416 BROOME STREET
1879
AUTHORS PREFACE.
It is essential to arrange with some one, who has
time to devote to attending rehearsals, to act as
stage manager, and it is of almost equal import¬
ance that the choice should devolve upon one
with some practical stage knowledge. Erecting
a theatre in a drawing-room presents many dif¬
ficulties which can be overcome only by one
possessing the power of successfully "cutting
the coat according to the cloth."
To the performers it is to be remarked—acting
is not only saying, but doing. The words should
be slowly and clearly spoken, and the interest
BEAUTY AND THE BEAST.
Children's Theatricals
BEING A SERIES OF
flcrjmlax Jairg
ADAPTED FOR REPRESENTATION IN THE DRAWING ROOM
WRITTEN BY
J. KEITH ANGUS
AUTHOR OF "A SCOTCH PLAY-HOUSE," "SO SINKS THE DAY-
STAR," ETC.
"To point a moral > .
LONDON
GEORGE ROUTLEDGE AND SONS
BROADWAY, LUDGATE HILL
NEW YORK: 416 BROOME STREET
1879
AUTHOR'S PREFACE.
It is essential to arrange with some one, who has
time to devote to attending rehearsals, to act as
stage manager, and it is of almost equal import¬
ance that the choice should devolve upon one
with some practical stage knowledge. Erecting
a theatre in a drawing-room presents many dif¬
ficulties which can be overcome only by one
possessing the power of successfully "cutting
the coat according to the cloth."
To the performers it is to be remarked—acting
is not only saying, but doing. The words should
be slowly and clearly spoken, and the interest
vi PREFACE.
and attention of the player devoted to the
subject of the piece, and not to "looking for
friends" among the audience.
In the event of applause following the delivery
of certain lines, no continuance of speaking is
to be made until the same has subsided, else,
perhaps, the key to the story may be lost.
CONTENTS.
page
Beauty and the Beast ..... 9
Blue Beard 65
The Babes in the Wood .... 101
Ltttle Bed Biding ITood , , , • ,129
BEAUTY AND THE BEAST.
3Pr&mati0 fUrsoit;®.
Pasha, a Merchant.
Myra 1
Linda > Ills daughters,
Nina, surnamed Beauty )
The Beast, afterwards a Prmce.
The Fairy Queen, Moonbeam, with her attendant Fairies,
Crocus. Snowdrop.
Lily. Violet.
A Page, A Page,
and
A Character to recite the Prologue,
THE STAGE.
(3rd Entrance.)
(2nd Entrance.)
(ls£ Entrance.)
C.
(Centre.)
E. C.
(Right Centre.)
l. a
(Left Centre.)
(3rd Entrance.)
(2nd Entrance.)
(1st Entrance.)
Footlights.
SCENE I
Interim' of the Merchant's Cottage.
(This Scene should he allowed to drop immediately at the
hack of the first entrance; lehceen that and the foot¬
lights there will he ample room for acting. The audience
heing seated the stage manager will ring the first hell, on
which the orchestra will hegin an overture, and nothing
more appropriate could he chosen than a selection of
" Nursery Rhymes." This heing finished, a second hell
is to he rung, when the curtain, or scene—act-clrop as it
is termed—will he raised. For the incidental music a
piano will he sufficient, and the person who is to play will
need to have heen at all the rehearsals, and ought to have
the cues with the tunes arranged to he played, legihly
loritten out. The prologue is first to he spoken, and a
little girl capable of reciting well should he chosen for
this. She should he dressed in barrister's gown, hands,
and wig. Advancing from right-hand side of first
entrance to near the footlights, she unrolls a sheet of
paper, and pretends to read from it. The lines, how¬
ever, are to he learnt hy heart, and no reference to the
paper should in reality he made. The speech is to he
spoken slowly.")
14 CHILDREN'S THEATRICALS.
THE PROLOGUE.
Silence is golden, so some teacher said;
So, little friends, before it's time for bed,
Pray all keep hush'd, and see attention leans
To other little friends behind the scenes.
They're going to speak a tale: each takes a part;
One is the Beast (pause). His roar will make you start 1
Another takes the Fairy—when you dream,
'Tis fairy visions which like truth do seem.
(A little quicker.)
You know the story, "Beauty and the Beast."
You all have read it, or, I'm sure, at least,
Papa has told it, while upon his knee
Enrapt you sat, now frighten'd, now in glee.
(Slowly) Some little good it teaches, so to-night,
See that you keep your mind's eye clear and bright—
(As if explaining) Your other eye reflects down to your
heart
Those kindly, gen'rous thoughts which ne'er should part
From little children (pause). Do I seem too bold,
Thus telling you the good things I've been told 1
(Slowly and somewhat earnestly, the character speah
ing being supposed to be an elderly man.)
Believe me, little fairies hover round,
Though you can't see them, no, nor hear their sound;
BEAUTY AND THE BEAST.
Yet, flutt'ring through the air, with noiseless wings,
The message of " Goodwill" each fairy brings !
Goodwill from little sister to her brother,
Goodwill and kindly thoughts one for another.
No selfish theme for ever to remain,
No wicked deed, youth's spotless life to stain.
Be good! then you must prosper and do well.—
(Retiring two paces and changing 'tone of voice.)
Pray, list to what the players have to tell.
(Goes off at whichever side there is most room for
her to remain.)
THE PLAY.
(A third bell being rang, a few bars of " Boys and Girls
come out to Play" will bring Myra and Linda on to
the stage, walking rather quickly from first right entrance.
The music, during the playing of which the two sisters
should keep fanning themselves rather energetically,
having ceased.)
Myra, R.
And father ruin'd—'tis a monstrous shame
To bring dishonour on our noble name!
(Proudly) We who have rul'd as belles at every ball.
Linda, L.
And at whose feet countless boy-lovers fall;
Who, with our feathers, and (crossing her sister, who
goes to L.) our haughty train,
And our proud bearing—
i6 CHILDREN'S THEATRICALS.
Myra, L.
Both, as queens do reign 1
"While sister Nina
Linda, R.
As Miss Beauty known,
Apes a humility, and from a throne
Of high exalted virtue, scorns to pay
Homage to fashion and to fashion's sway.
Myra.
She thinks of washing dishes after tea,
Makes her own dresses
Linda.
Ah ! far nobler we,
Who scorn each menial office to evince,
(Slyly) A style which ought to gain a husband prince.
Myra (crossing to R.; Linda goes L.)
Beauty annoys me prating of her home,
And of her love, 'mid flow'rs and trees to roam,
For ever singing, at all times content—
Linda (pertly).
A silly, sentimental life she's spent 1
Myra.
But father ruin'd—now we're poor as mice,
(With vigour, as if denoting great hardships.)
We'll have to live on puddings made of rice—
BEAUTY AND THE BEAST. 17
(Fondly) No more the munching of soft macaroons,
No more pine-apples
Linda {sadly).
And no more stew'd prunes.
{Loudly) No carriage-drives to show our regal style,
But great thick boots {crosses to L.; Myra going R.,
stamping heavily on the floor) for trudging many a
mile.
Our jewelry, of course, we'll have to sell.
Myua.
How shall we to our friends our losses tell 1
They'll laugh and sneer, and cut us dead.
Linda.
Oh! I
Must ease my feelings with a soothing cry.
(Loth pretend to cry, using pocket-handkerchiefs freely,
The duration of this bye-play must not be overdone, but
sufficient made of it to amuse the juvenile audience.)
Linda {seizing her sister by the hand).
"We now must stop, not overdo the dose.
Are my cheeks red 1
Myra.
Yes, and your eyes and nose.
{Haughtily) Crying is lady-like, so I've been told,
And suits the young far better than the old.
a
'18 CHILDREN'S THEATRICALS.
(Both get towards L. of stage, and Fairy Moonbeam enters
R. She is disguised as an old woman with long Hack
cloak and hood hiding her fairy dress. She is bent, and
uses a walking stick, and, without making too much,
■ of it so as to speak indistinctly, assumes the tremulous
voice of an aged person.)
Moonbeam.
What, ladies in distress ! well, I am sure
Your kindly hearts will yearn to aid the poor.
I am so hungry, dears, and if you could,
Pray do my wants appease by giving food.
And I would bless you ofttimes while I live,
(Sadly) Poor thanks is all the gift I have to give.
Myra, C.
We're poor ourselves, why come you here to ask 1
Linda, L.
Refusing, as you know, is thankless task.
Myra.
And we?re not used to seeing beggars here,
We're proud as ladies should be
Moonbeam. '
Ah! you sneer
At these poor clothes of mine : there was a day
When I, like you, for richest gifts could pay ;
When I was young, like you, but never thought
BEAUTY AND THE BEAST. 19
That charity could e'er be sold or bought.
Hut times are chang'd, and not improv'd, I fear.
(To Myra) Come, change your mind: a little trifle, dear,
Just to assist a poor and lonesome dame,
"Whose hunger only would your bounty claim.
Linda.
Why won't you go ? we'll have no begging here.
Myra.
You ugly hag, come, quickly disappear !
Moonbeam.
Yes, I will go—but mark mo when I say,
You both shall rue the harshness of this day;
And when misfortune falls upon your heads,
And horrent dreams perplex you in your beds—
When some day you with hunger loudly cry—
Think of this hag whose wants you now defy.
For kindly acts, like seed sown in the earth,
In future blossom to perpetual worth.
(Moonbeam goes out R.; and the two sisters move to
wards centre of stage.)
Myra.
Father's to blame for this ; his getting poor
For us a life of insult must secure.
20 CHILDRENS THEATRICALS\
Linda.
Alas ! our future hopes are now forlorn,
Why ever,
Myra.
Ever,
LinDxY,
Ever,
Loth,
Were we horn?
Linda.
Come, let us cry, all other joys bereft.
Myra.
lied cheeks and swollen eyes are all that's left.
{Both go to L. and sob. Beauty enters B.).t
Beauty, b.
Come, sisters, you will aid me in my plan
To help our father; we'll do all we can.
We all can work, and so, just to begin,
We'll try and take the neighbours' sewing in :
We'll gain a little aid to help his purse.
Linda, C\
We can't do any good——
Beauty.
We might do worse:
BEAUTY AND THE BEAST. 21
Think what he's done for us, think what he's paid
On dress and education—we must aid
Kim, now he's poor : like fairy elves,
All must love him, as well as love ourselves.
Myra, L.
Prating of love, you never seem to tire
Linda.
But not the kind of love that we desire!
A fresh young nobleman with horses fine,
Myka.
And diamonds and jewels which brightly shine,
Linda.
Domestic love my heart could never hold.
Beauty.
Yes, love I fear grows young when age gets old.
Myra.
None of your saucy hints, pert miss, on ago,
Nor think by goody talk me to enrage ;
You're but a child, by childish fancies led.
Linda (quickly).
By rights, you should be whipp'd and sent to bed.
Beauty.
Did you ne'er note the flower twine round the trco
CHILDREN'S THEATRICALS.
IIow tile home-hive attracts th' industrious bee 1
How blossoms blow before the genial sun
Myra.
You'll preach a nice school essay ere you're done.
Linda (looking to B.),
But here comes father
Myra,
What a sweet relief 1
Beauty.
Be kind and cheer him in his woeful grief.
(Pasha enters R., and takes Beauty by both hands and
kisses her; passes to B. C., and does same to Linda
and Myra.)
Pasha, It. 0.
Well, children, for myself I do not care;
I feel for you who poverty must share :
And since you've liv'd so well in days of yore,
Of course you'll feel this come-down all the more.
Still, though unlucky, I'm in no disgrace,
So we must look misfortune in the face.
Linda, L. C.
They say needs must when
Myra, L.
Ahem I
BEAUTY AND THE BEAST.
Pasha (quickly).
Yes, when ill-luck drives.
Myra.
I always note that poverty contrives
To bring discomfort, not upon the one
Who causes error; but its work is done
In crushing those who never work'd the harm.
Linda (haughtily).
I never knew how trade could ever charm !
Beauty, R.
Regrets are vain—the crash has come, and now
We all must work, to duty's call must bow.
Pasiia.
Oh ! times may change and troubles disappear :
Work is the only potion life to cheer.
(Shakes hands as before and goes out R.)
Myra, L.
Now, Beauty, preach a sermon on that strain.
Beauty, R.
Advice to you, I fear, is spent in vain.
(Beauty crosses to L. ; Myra to R. ; Linda, R.
Linda, R. C.
Come, Myra, let us haste to fashion's walk,
Show ourselves once before the town does talk
24 children's theatricals.
Of our rash father : it's a monstrous shame
To cast dishonour on our worthy name.
Myra.
We are the victims, we who suffer, I
Come, Linda, come, and have another cry.
{Both go out I?., sobbing.)
Beauty {going towards L.).
So when the tide goes out, the shells on shoro
Are idly left and woo'd by sea no more,
Till sunlit fortune tips the crested main,
And lures the waves back for the shells again.
{Enter Fairy Moonbeam, R., again disguised as before.
As, on this occasion, this character has to be transformed
into a fairy, two plans suggest themselves for the quick
removal of the cloak. The cloak, loosely thrown over
the fairy dress, can be held together by one hand, and
then let loose. A ttached to the cloak, a thin line should
be fastened, and carried up to, and through a ring at
top of wing, R. The end of this being quickly pulled
would carry the cloak up to the top of stage, out of sight
—where it could easily be got again—and with capital
effect. The wand may be hid under the cloak. The
other plan woidcl simply be for Moonbeam to go to ex¬
treme R., and an "unseen" hand to clutch the cloak, as
she goes forward. The former should be adopted, but
must be practised, and not bungled at top of the stage in
view of the audience.)
BEAUTY AND THE BEAST,
Moonbeam, r.
Oh ! I'm so hungry, thirsty, nearly dead :
Give me some drink, one tiny crust of bread.
I've journey'd far, been thrust from door to door,
Life seems nigh finish'd—I can go no more.
Beauty, L.
Wait one brief minute, I'll your wants supply—
If I could save them, never poor should die.
Even this sad house where poverty holds sway,
Shall ne'er a beggar, unfed, turn away.
Moonbeam.
Ah ! you are good, and for your kindly thought,
Good luck shall follow where it's truly sought.
(Goes nearer) Hay, I'm not hungry—I am
(Cloak is here suddenly pulled away, as above described:
Beauty instantly goes on her knees.)
Beauty.
Mercy, pray!
Moonbeam.
A fairy who, on this red-letter'd day,
Has come to help you and your father's cause,
And on your deeds to raise the due applause.
But I must hie me to my forest-dell;
Moonbeam will not forget—so fare ye well.
25
CH1LDRENS THEATRICALS.
(On the lack-centre of this scene should be painted a; large
old-fashioned fireplace. The middle should be split
open, with painted fire-bars, sufficiently wide to let Fairy
Moonbeam " crush " her ivay through. The arrange¬
ment is very simple. If not adopted, however, the Fairy
must go out at the side, and the fairies, a pair on either
side, enter f rom icings. But the fireplace is effective )
Beauty.
(Still kneeling, ivhen Moonbeam goes cut, note rises, nils
her eyes and appears astonished.)
How strange I feel, how much dismay'd I seem !
Is this reality 1 (laughs) Ho, some idle dream.
(Beauty goes out, L. Moonbeam re-enters through fire¬
place : the four fairies, Crocus, Snowdrop, Viui.et,
Lily—being dressed appropriately in accordance with
their names—follow her, and take up positions thus:
Moonbeam
*
Ft. Crocus ® * Snowdrop L.
Lily * * Violet
(They should each have a basket of flowers in their hands,
and on taking up positions should kneel: those on the
right, with right knee on the floor : those on the left, on
the left knee, and hold their baskets, at arm's length
towards Moonbeam. Incidental music, " The Shadow
Vance" from "Dinorah," being played. On Moonbeam
waving her wand the four fairies rise, and, retaining
EeaUty And the beast. ^
their 'positions, hold their baskets in front. They must
not keep staring at the audience—it is the audience ivho
are to stare at them.
It will facilitate the icork of the rebmrsals if the
fairies be alluded to as Nos. 1, 2, 3, and L)
Moonbeam.
Fairies, to-day, our revels here must end,
For broken fortune needs our aid to mend:
You know the merchant Pasha—well, to-day
lie has grown poor, his riches fled away.
Crocus.
lie is the father of that little maid
"Who culls the flowers from off the forest glado.
Snowdrop.
Y»Tho, while she wanders, sings of happy home,
And 'mid sweet nature loves her days to roam.
Lily.
I've watch'd her—seen her in her homely dress,
Give alms to poor, and cheer those in distress.
Yiolet.
FTot like her haughty sisters, pert and rude-
She is, at heart, a jewel rare and good.
Moonbeam.
'Tis chiefly she whom I would like to aid,
For to my wants, though feign'd, she answer paid.
28 CHILDREN'S THEATRICALS.
And 'tis our mission to encourage those
Whose life is work, and not dead, dull repose ;
Who make home happy, and their parents tend.
{All the four fairies kneel, and speak together.)
Fairies.
To such, good mother, every good thing send.
{Fairies rise.)
{The twittering of a bird is heard outside—a toy bird-call
vcill answer the purpose—and a bird with a letter in
its mouth is to be lowered in front of Moonbeam, who
takes the letter. Violet goes off and immediately
returns—having left her basket on the floor—holding
her hands as if full of crumbs: she places them at the
bird's beak, standing at the side, so that the audience
may see; the string by which the bird is suspended
being gently jerked from behind the scenes, will have
the effect of making the bird appear to be eating. The
bird is then pulled away, and Violet resumes her
position.)
Moonbeam.
Here is a letter; take it—mind unseen,
It holds the plot contriv'd by me, your Queen—
And give it to the merchant.
Crocus.
All our power
Shall be ieveal'd to cheer his darksome hour.
BEAUTY AND THE BEAST„
Snowdrop.
xne sweetest words I'll whisper in his ear.
Lily.
The kindest words I'll breathe his heart to cheer.
And when our Queen commands, we quick obey.
Moonbeam.
Come, end your revels, and then haste away.
(The four fairies Jcneel, as before, and Moonbeam goes
out through fireplace. The fairies then rise and form
a line
Lily Crocus Snowdrop Violet
R. * * * * L.
They then advance to footlights and kneel—Lily and
Crocus on left knee, Snowdrop and Violet on right
—and hold up their baskets towards the audience.
Rising, they slowly resume their former positions, and
advance towards each other, place hands and baskets
behind their backs, bend their heads forward and kiss
in pair—then, walking backward, go out, Crocus and
Lily R., Snowdrop and Violet L. Incidental music
music during all this dumb shoiv, " The Minstrel Boy.")
Violet.
30
CHILDREN'S THEATRICALS.
SCENE II.
A Wood.
(The cottage scene-drop is pulled up, and behind it a land¬
scape scene is discovered. If there is room for wings to be
pushed in, good and well; if not, either strips of scene
may be rolled down the wings of cottage scene, or left.
Moonbeam enters—incidental music, " Sweet Spirit, hear
my Prayer"—and looking to P., waves her wand,
and Crocus enters and kneels at her position as before :
a icave to L., in same manner brings in Snowdrop :
to R., brings Lily, to L. again Violet—but there must
be no hurry. All being in position, Moonbeam sig¬
nifies with her wand that they are to rise, which they do,
and Moonbeam goes out R.
If, tested by rehearsal, it is proved thai the four fairies
could successfully go through the first part of a
Singing Quadrille—with nursery songs—an appropriate
chance now occurs for this. But there must be no
failure. It is one thing to sing thus, when rehearsing
among familiar friends, but another to' repeat it to a
stranger audience. Failing this, the four fairies are
to clance the first two figures of a Quadrille. At the
finish they advance to the footlights as before, but on
this occasion do not kiss—Moonbeam entering as they
have taken their positions and leaves them off in same
order as they came on.
I^IF In all cases of dumb show incidental music should
he softly played. The choice of this may be left
BEAUTY AND THE BEAST.
31
to the accompanist's discretion, but the idea aimed at is
appropriate airs to weave a meaning to the by-play, and,
at the same time, fill up the blanks when no talking is
going on. These remarks will apply to the whole of the
play.)
SCENE III.
Same as first.
{The Prompter will have a striking bell, and give one ring
for raising and letting down of the various scenes.
The act drop of Scene I. will now be lowered.)
Beauty {entering L.).
What can have happen'd to my father 1 he,
Instead of being downcast, seems in glee.
And yet his fortune lost, his ships all wreck'd—
Perhaps with joy assum'd his heart is deck'd.
lie sees me suffer, feels he is to blame,
Makes the best of it, bears himself the shame ;
Bears our young hearts on his, like eagle's wings,
Which do support their young till instinct brings
Enough of courage for themselves to fly,
And going, bid the parent-bird good-bye.
So with my sisters, now wealth's dream is cast,
They flutter off, and home is of the past.
CHILDREN'S THEATRICALS.
Myra, C. (<entering B., followed by Linda).
Musing again, Miss Beauty; what a child !
No civilis'd ambition
Linda, B.
She's a wild
Flower that creeps among the garden weeds,
And on the better blossoms lives and feeds.
Beauty, L. (crosses to C.; Myra going L.).
Am I a flower ? one of Dame Nature's eyes,
To gaze on trees and fields and sun and skies—
A flower, sweet incense breathing in the air,
Blooming content and beauty everywhere 1
Myra, L.
Yes, self-made poet, but there comes an hour
When blight falls on you from the passing shower,
When cruel winds and drear remorseless rain
Dash down your stems—
Beauty (quietly).
Yes, but they grow again.
Linda, B.
I like gay flowers, but not such shams as you
Those artificial ones, with glass-made dew,
Which need no sun
BEAUTY AND THE BEAST.
Myra (coquettishly).
Except a pretty face !
And last for ever in their homes of lace.
Linda.
I put them in my dress and in my hair
Beauty.
Have they no god-mother 1
Linda.
Yes, candle-glare
Myra.
And hoys, on holiday, with rapture cry,
" These roses never with our cheeks can vie."
{Enter Pasha, L.; passes Myra and gets L. C.)
Pasha, L. C.
Well, children, here's mysterious kind of news,
A summons, which I cannot well refuse—
A letter telling me that I must go
A long and tedious journey. I don't know
Prom whom the missive came.
Beauty (aside).
That fairy Queen—
But I'll keep silent; brighter days, I ween,
Are yet in store. (Aloud) I hope you may succeed ;
The letter, father, you had better read.
3
34
CHILDREN'S THEATRICALS.
Pasha {reads).
" Upon an island, under fairy sway,
Your ships and treasures have been cast away;
The rock-bound coast need not your thoughts alarm,
The Fairy Moonbeam keeps the freight from harm."
Beauty {aside).
Then what I saw and heard was not a dream:
The name the vision told me was Moonbeam.
Myra.
What are you mutt'ring at, I'd like to know 1
Beauty.
Oh, nothing. {To Pasha) Take advice from me, and
g°-
Pasha.
But let me in my reading now proceed.
{Reads) "Your ships, for safety, do your presence need,
So journey through the forest, o'er the main,
And your gold freight shall he restored again."
Lixda.
Should fortune he restor'd, pray don't delay,
Myra.
Your loss is not yet public—haste away.
BEAUTY AND THE BEAST. 3
Pasha.
I'll go at once, and if some lucky stroke
Of kindly fortune should my loss revoke,
I'll bring home presents
Linda.
Ah ! the sweetest thing
In diamond necklaces for me, please, briDg.
Myra.
I'll have some strings of pearls, but larger, pray,
Than those that bride had on the other day.
Linda (sarcastically).
Plowers will suffice, Miss Beauty, I suppose.
Beauty.
Tes, father, bring me back a red moss-rose.
Pasha.
Only a rose ! your taste is simple, child.
Myra (sarcastically).
A simple maid with simple tastes beguil'd !
Pasiia.
Well, kiss me ere I go; affections cling
Linda (interrupting).
You'll not forget my diamonds, pa, to bring.
3—2
36 CHILDREN'S THEATRICALS.
Pasha (to Myra).
Good-bye to you, and just one kiss I'd seize——
Myra.
See tbat my pearls are quite as large as peas.
Linda.
How kiss Miss Beauty's cbeeks, for on them grows
A blossom-emblem of her favourite rose.
Pasha (retiring).
Children, farewell, impatient I'm to roam
Linda (extending hands).
The diamonds
Myra (do.).
The pearls
Beauty (do.).
The rose——
All.
Bring home !
(Pasha goes out L.; the three follow him to wing.
Linda comes down to footlights, and, as if in confi¬
dence, addresses the audience, assuming a solemn tone
of voice.)
BEAUTY AND THE BEAST.
37
Linda.
Think when the next assembly shall come round,
And jealous girls shall in the dance be found,
My blazing diamonds their tale shall tell,
Pronouncing me to be the queenly belle.
{Clasps her hands under her chin, and, walking very
slowly, goes out B.)
Myra (coming down to footlights as above).
"When richest pearls my swan-like neck embrace,
I'll bear my mien with haughty air of grace,
And entranc'd suitors at my feet shall fall,
Pronouncing me the choicest gem of all.
(Goes off as above).
Beauty {comes down, as above, only assuming a shy air,
and before speaking keeps looking around the stage, as
if anxious not to be overheard).
When nestling in my hair the rose shall shine,
And trailing fern around my dress shall twine—
Some one will whisper, " Bloom through longest life,
My rosebud, blossom, summer-sun and wife !"
{Goes off slowly, toying with handkerchief).
38
CHILDREN'S THEATRICALS.
SCENE IV.
A Wood. {Same as Scene II.)
(Fairy Moonbeam enters and waves the four fairies on,
as in Scene II. They take up the same positions as
before).
Moonbeam {waving fairies to rise from kneeling posture):
Moonbeam
p ( Crocus '* # Snowdrop 1 r
j Lily * # Violet j
To-night the merchant journeys forth. So you
Must list to me, and learn what you've to do.
When in the forest glade he wends his way,
His progress westward you must haste to stay;
Attract, by covert means, his steps more east,
Thus turning him towards palace of the Beast;
There entertain him in most sumptuous style—
So to your revels for a little while.
All {kneeling).
We kneel obedient to our Queen's behest.
Moonbeam;
Be faithful to your parts—I'll do the rest.
{Fairies rise).
BEAUTY AND THE BEAST. 39
Crocus.
I will away, and in a blue-bell bide,
And murmur, " Eastward, where your treasures bide."
Lily.
I, like a bird, with twitter from the sky,
With wooing song towards east his steps shall hie.
Snowdrop {laughing).
I'll be a gnat, and sting his face and nose,
'Twill make him turn if he the wrong way goes.
Violet {advancing).
I'll be a little lady in his sight,
And flirt
All (laughing).
You flirt!
Violet.
Yes, flirt with all my might. {Goes bach).
Moonbeam.
Time slips along, so quick the plot advance ;
Lest start the mission with a fairy dance.
{Ilare should follow another figure or two from " The
Singing Quadrille," as before suggested. Failing this,
the four fairies should dance two figures from the
"Lancers." At the end, one by one advances to footlights
and blows a hiss to audience. Then run out, in succes¬
sion, two to II. two to L. Music continuing till the
stage is clear).
CHILDREN'S THEATRICALS.
SCENE V.
Interior of the Beasts Palace.
(The wood-scene drawing up discloses this, using up as
much depth of stage as can be got. At back, small
table with chair at each side. Prompter should have
an evergreen plant in pot beside him—red paper roses
being fastened on, with one blossom easily to be plucked
off—and simply pushes it in.
Pasha enters L. thoughtfully, and comes forward, moving
about while speaking).
Pasha.
Have I been dreaming ? let me see, I tried
To go one way, but always was defied.
The very blue-bells seem'd to whisper " East
Whilst, up above, of song the richest feast
I ever heard; and, ever in my face
Gnats seem'd to buzz and sting at every pace
I took—and then that lady lithe and small,
Whose little voice me to her aid did call,
Who always tripp'd away when I got near,
And so in her direction made me steer.
But now I'm here, and in this gorgeous hall,
(Looking about) To this my late lost fortune seems so
small.
I am so tired, and hungry, too, withal,
BEAUTY AND THE BEAST. 41
(Coming forward) If I should shout, would servants
hear my call,
And bring a sumptuous feast 1
{Unseen by Pasha, a tray with meat and drink is let
down on to table, being lowered from above).
{Turning round) What do I see 1
Already meats and viands spread for me.
{Rubbing his eyes) 'Tis well to rub the eyes, when one's
awake,
Else splendent dreams turn out a dire mistake.
Howe'er I'll eat—I'm on enchanted land.
{The fairies pop their heads in and say together).
Fairies.
Eat and be welcome ! {Retire quickly).
Pasha {looking round).
I don't understand.
{lie begins to eat and drink, and some amusement may
be got out of this. When finished he must see that
everything is put upon the tray, and the string for
haiding the tray up is in order. He advances to front).
Pasha.
That was a splendid dinner, no mistake;
I'd like a little sample home to take.
{While saying this, Crocus and Snowdrop enter behind
and wave the dinner away. The tray is pulled up, and
42
CHILDREN'S THEATRICALS.
fairies quickly retire. Pasha returns to table and finds
all gone: he looks under table, in Ids pockets, in fact,
to create fun, looks creryivhere, and then, advancing to
footlights, says in amazement),
Pasha.
I am amaz'd ! What, eaten plates and all 1
Knives, forks, and spoons, oh ! what a greedy haul.
Digested hones and all the silvern plate.
At home, what wonders I'll have to relate.
Here in profusion wild, should pearls abound—
Here diamonds cluster sparkling o'er the ground—
And there's (seeing rose tree) what Beauty wants, a red
moss-rose;
Ere I forget, I'll pluck it, now—here goes.
{As he plucks the blossom, loud roars are heard behind the
scenes on the side opposite to where he is, say L. A
ship's fog-horn will answer for this. Then the Beast
enters R. Any theatrical costumier will supply a skin
for this, which must be pulled over the Prince's dress,
saving boots, cap, and sword. The mouth can be so
arranged that the actor s voice will be distinctly heard.
It will at once suggest itself to the humour of the player,
or stage manager, that a feast of fun can be produced
by the Beast opening ancl shutting his mouth—done by
means of a string tied to the lower jaw—and by carry¬
ing his tail over his arm. But this bye-play, necessary
as it is, must not interfere with the dialogue).
BEAUTY AND THE BEAST.
Beast, R.
Speak, villain, slave, impostor, luckless cur
Pasha, L.
To all these epithets I must demur.
If you're the origin of all our race,
And we date hack to beasts—then, in your face,
I simply tell you, you are very rude.
Beast.
Beasons for anger you've not understood.
That rose is charm'd, and certain death to them
Most surely comes who pluck it from its stem.
Pasha.
Then shall I never leave these halls alive 1
Beast.
There is an antidote. Could you contrive
To find for me a wife; that breaks the spell.
Have you a daughter 1 Come, sir, quickly tell.
Pasha.
What adverse fate ! Beauty could ne'er suppose
Such mischief lay in plucking of a rose.
Beast.
You have a daughter then—Beauty her name.
Co forth and bring her hence. There is no shame
In wedding her to me. Though I'm a beast,
I keep my castle gay with rout and feast.
44 CHILDREN'S THEATRICALS.
Pasha (laughing).
My daughter -wed a beast 1 'tis too absurd.
Beast.
Go, dying man, nor waste another word.
[ hold the charm within that rose conceal'd,
And over life and death my power I wield
Pasiia.
I cannot listen
Beast.
One short week I give;
Bring here your daughter, Beauty, and you live.
Go hence, refusing, and my power defy,
At midnight of the seventh day you die !
(The Beast goes out 11.; roaring heard again).
Pasiia.
Well, I must go. Misfortunes follow fast.
When shall my miseries and woes he past?
(Goes out slowhj, L. Crocus enters II., and loolcing after
him).
Crocus.
I follow—blue-hells shining on your way.
(Goes out after hirnh,
BEAUTY AND THE BEAST. 43
Lilt (entering R.).
Above, I'll cheer you, with a song-bird's lay.
(Goes out after him).
Snowdrop (entering R.).
I'll buzz—your sorrowing thoughts distracting far.
(Goes out after him).
Violet (entering R.).
Your little angel, I—your guiding star !
(Goes out after him).
(During the entrances, speeches, and exits of the Fairies,
incidental music, " The Blue-bells of Scotlandis to be
played, very lightly, so as not to interfere with words
being heard. The action, also, of the Fairies must be
slow.
SCENE VI.
The Merchant's Cottage. (Same as Scene I.)
Pasha (entering L.)
"Will Beauty ne'er come back ? Alas ! poor child,
With madd'ning rage I fear I shall go wild.
If I could feel that she was safe from harm
46 CHILDREN'S THEATRICALS
Moonbeam {entering R.)
Fear no more, Merchant, and dispel alarm.
Pasha, L.
What do I see ? A fairy
Moonbeam, r.
Yes, 'tis true,
And I have come to prove a friend to you.
Beauty is safe, and quick a change you'll see,
For she a princess, rich, is soon to he.
At that high festival you all shall share,
So calmly now imagin'd troubles hear.
(Moonbeam goes out B. Pasha folloivs and then kneels.
Incidental music, "Sweet Spirit, hear my Prayer."
After a pause, music continuing, Myra and Linda
enter L.)
Myra, L.
What, father, on your knees with grief bow'd down !
Pasha, B. {rising).
Am I upon my heels or on my crown ?
Have I gone mad, or do I vainly dream 1
Are all things really, truly, what they seem 1
Linda, L. C.
Of course they are, and mighty sad besides,
With two grown daughters never to be brides.
BEAUTY AND THE BEAST
47
Pasiia.
I've tried to find the castle, but in vain ;
I'll never see my Beauty back again.
Some fairy mischief's in it, I'll be bound.
A Beast—a Princess—how my brain goes round !
(Goes out L.)
Moonbeam, b.
(Entering B. again disguised as old woman).
Once more, kind ladies, I your favour claim
Myra, L.
That beggar here again; ah, woeful shame,
That we should be insulted thus. I'm sure
I know no greater troubles than these poor.
Linda, C.
Come, ugly woman, quickly disappear,
Our spoons are scarcely safe while you are here.
Moonbeam.
Ah! rail away. Your sister's lost, I'm told,
But I could find her
Myra.
You are very bold
Suggesting this. Why should we wish her back 1
She's gone away, and so you'd better pack
Away as well
48 CHILDREN'S THEATRICALS.
Moonbeam.
Yes, spiteful ones, I go;
Yet ere the week is out your sins you'll know.
(Softly) Sometimes in life's great lottery, the prize
Of wealth is hid beneath a mean disguise.
(Goes out E.)
Linda.
She talks of wealth—her silver wares must rust.
Myra.
Yes; talks of wealth, and comes to beg a crust.
And yet, methinks, she's no more poor than I.
That makes it all the worse—let's go and cry.
(Both go out crying as hefore).
SCENE VII.
Interior of Beast's Palace. (Same as Scene V.)
(The Beast and Beauty enter E.)
Beast, E.
Nay, don't be frighten'd, though I am a beast;
Truly of monsters I am but the least—
And 'neath this skin there sometimes seems to beat——«.
BEAUTY AND THE BEAST.
Beauty, L.
(Who has been examining him, and as if she had not
heard ichat he said).
I cannot say that I admire your feet.
Beast.
Your lovely face, my nature fierce disarms
Beauty.
(As before) And then you have such very funny arms.
(A pause) Do you remember, and I'm sure you should,
How you once ate up poor Bed Biding Hood ?
Beast.
Was she a girl 1
Beauty.
Yes; don't you recollect
You treated her grandma with scant respect.
Put on her spectacles and night-cap too,
After you'd ate her—'twas most cruel to do.
Beast.
I don't know what you mean
Beauty.
Ah! mem'ry fails
One wicked hero of our nursery tales.
Beast.
I never ate a grandmother, I'm sure ;
I
$o CHILDREN'S THEATRICALS.
I've better food than that. Let me procure
Some dinner for you ; meantime, let us walk
Along my terraces and have a talk.
{Both go out L.)
(Incidental music, " The Boast Beef of Old England,"
during which, the two Pages bring in the dinner service
and lay it on the table : a couple of children, dressed in
white, like French cooks, might also be introduced, and much
amusing stage business gone through—such as the Cooks
and Pages running against each other, ancl nearly up¬
setting the dinner. When done, the Beast and Beauty
re-enter, and getting towards the footlights, the Beast
makes a low bow to Beauty, who, in return, curtseys:
the Beast then offers her his hand, ancl the pair slowly
march towards the table—music louder during this.
Bow and curtsey being repeated, each sits down, and the
Pages fill their glasses with wine. It will be a source of
amusement to the juvenile audience to see the couple
eating, ancl the Beast using his tail to wipe his mouth,
in place of a napkin. Having lingered over this for a
little—)
Beast.
A toast I'd quaff—
(The Pages come forward ancl fill glasses).
Lair maid, I drink your health,
And wish you joy, prosperity and wealth.
BEAUTY AND THE BEAST. 51
Beauty.
{Aside) He's most polite. {Aloud.) I beg a thousan.l
pardons,
Did we e'er meet at the Zoological Gardens 1
Beast.
Don't know the place—it's name is rather big
{Pause) Do have some nuts, or, will you try a fig ?
There's some nice chocolate.
Beauty {eating one).
It's full of cream !
Beast.
And sugar'd almonds—
Beauty.
Tell me, do I dream ?
Or shall I wake to find these costly sweets
Are only beef-steaks and such common meats.
{They rise and come forward).
Beast.
You do not dream. Oh lady, all my life
To you I give—but deign to be my wife !
Beauty.
Your wife 1 Oh no—and yet I am not sure
Beast.
Did not to me, that chocolate you lure ?
i—2
52 CHILDREN'S THEATRICALS.
Beauty.
I first must ask my father, lie's at homo.
Beast (giving her a ring).
Here, take this magic ring; I from a gnome
Did get it. Know, where'er you wish to he
Just rub this ring : your wish fulfill'd you'll see.
Go home, three days I give you. Oh! to part
Seems more than cruel—so good-bye, sweet-heart.
(The Beast kneels and kisses her hand, then reluctantly
goes out L. Incidental music, " Far Aicay," played
very softly, so as not to interrupt the dialogue, and con¬
tinued to end of scene. Beauty goes to rose-tree and
plucks a floicer, and begins pulling the leaves off, one ly
one.)
Beauty.
I love him—love him not: love him—Ah ! there,
The last, I love him—well, I do declare,
How very strange; hut I had best retire
{After a pause) 'Twas very kind of him, me to admire !
{Goes out L.).
(Crocus and Lily enter and look after her}.
Both.
Go home, go home, and end thy single life :
(Go out after her).
BEAUTY AND THE BEAST.
Snowdrop and "Violet (enter in same manner).
Both.
Corue back, come back, and be a Prince's wife.
SCENE VIII.
The Merchant's Cottage. (Same as Scene I.)
(Beauty and Pasha enter B.)
Beauty, L.
I must go back, I would not break my word.
Pasha, B.
Back to a Beast! 'tis utterly absurd.
"Why, you should thank your stars you're safe alive.
Go back ! to eat you, then, he'll soon contrive.
Wild beasts eat children when they're in the mood.
Beauty (pettishly).
He says he didn't eat Eed Eiding Hood.
Pasha.
Well, good-bye, Beauty ; have it your own way ;
Though still I think with me you ought to stay.
(Goes out L.),
Moonbeam enters B.
54 CHILDREN'S THEATRICALS.
Beauty.
The Fairy Moonbeam here ! my kind, good friend,
Is it to you my thanks I ought to send 1
Moonbeam.
You gave me bread, when I for alms did ask :
In just reward, 'tis now my pleasant task
To show what powers we fairies do possess,
Either the bad to curse, or good to bless.
Back to the Beast, for the third day is o'er—
(;Slowly) And when you meet him, he'll be Beast no
more !
Beauty (going to extreme L.)
Be Beast no more ! Ah, what a wondrous thing!
Whate'er thou art, I come—
Moonbeam.
Quick, rub the ring !
(Beauty stretches out her hands, rubs the ring, and, as if
asleep, walks across the stage and goes out E. Incidental
music, " Sweet Spirit, hear my Prayer." Beauty having
gone out, Moonbeam comes forward and addresses
audience. Music stops).
Moonbeam.
Virtue must be rewarded in a play,
And all bad people end in dire dismay;
BEAUTY AND THE BEAST. 55
So notice, while asleep, the rest I send
To the Beast's Castle, where our play will end.
(Moonbeam waves her wancl towards L. If possible,
the footlights should be lowered till end of scene.
Moonbeam retires II., and from L. Crocus comes
in, walking bachvard, and beckoning to Pasha,
who follows her as if asleep: then, in like manner, Lily
followed by Myra ; Snowdrop followed by Linda, both
looking as if walking in their sleep: Violet follows.
All go off at R., the business being done slowly, and the
incidental music, as above, being repeated).
SCENE IX.
Interior of the Beast's Palace.
(1Same as Scene IV. Lights up).
(The Beast is seen lying, half on, half-off the stage, L.,
with his skin thrown over him. During the last scene
he must take off his skin and finish his dressing as
Prince. Lying down, with skin thrown over his head
and shoulders on the stage—his legs being hid by the
scenery—the audience will not observe the change.
Beauty enters R.)
Beauty.
I know I'm late ; where art thou, friendly Beast 1
(A deep roar is heard, as before).
By that I know he is alive at least.
' (Going towards the Beast).
Poor Beast, don't die, and I shall he your wife.
56 CHILDREN'S THEATRICALS.
(The Beast jumps quickly up, the skin being drawn off,
and appears in character of Prince).
Prince.
That word restores a banished Prince to life !
(The Prince approaches Beauty, kneels and kisses her
hand, and takes her forward. Music, loud, " Soldier's
Chorus " from " Faust").
Beauty.
You're not a beast! Oh ! what a lovely change !
Beast.
Now, for our nuptials we must quick arrange.
Beauty (examining him).
How nice your stockings look, and buckled shoes !
T' admire your beasts' legs, my taste did refuse.
Your hands are softer, and your ring so grand
Prince (giving ring).
I give it thee as pledge, and kiss your hand.
(Prince kneels and kisses her hand. Incidental music, a
few bars of the " Wedding March." The Prince then
rises, places one arm round Beauty's ivaist and takes
her other hand in his: they ivalk towards footlights ;
incidental music, played low so as not to interfere with
hearing of dialogue, " Sweethearts' Walts").
Prince.
" If thou would'st have me paint the home,
To which, could love fulfil its pray'r,
This hand would lead thee—listen
A palace lifting to a honied sky
BEAUTY AND THE BEAST.
57
Its toffee walls, from out a jolly spread
Of plenteous currant buns and ginger beer,
"Whose popping corks should speak thy name. At noon
We'd sit beneath a bridal cake, and wonder
IIow much of its rich almond we could eat,
Nor need the doctor's aid. We'd have no friends,
Save pastrycooks ; and no ambition, save
T' excel each greedy school-boy; we'd read no books
That did not speak of tarts, that we might smile
To think how poorly eloquence of words
Translates the poem of our sweet-tooth lives.
And when night came, amid the darken'd room
We'd lie and toast the chestnuts on the fire,
Then eat them ; while, all round, the perfum'd glow
Of blazing snap-dragon stole through the room,
And every air was heavy with the sigh
Our appetites, in thankfulness, groan'd forth,
With murmurs of our inward satisfaction
In having had enough.
(Both go to extreme L. ; Moonbeam enters R. Prince
and Beauty kneel and kiss her hand. Pasha, with
Myra and Linda, enter R.)
Pasiia, C.
Oh, what a son-in-law ! Well, things look queer.
Myra, R. C.
lie must have many thousand pounds a year.
58 CHILDREN'S THEATRICALS
Linda, R.
Look, there's the beggar, dress'd in bright array !
Linda and Myra (both kneeling).
A husband Prince for us we humbly pray.
Moonbeam, C.
When I was hungry in those days gone by,
A suppliant I, to you, for bread did cry.
You chose the selfish course—that path now tread.
She weds a Prince
Beauty (amazed and interrogatively).
Because I gave you bread ?
Pasha Moonbeam
Myra * * Beauty
R * #
Linda Princ
& =&
Moonbeam.
'Twas not the bread, but the heart's kindly thought,
Which, for reward, your affluence has brought.
You know that charity of all the gifts
Is best; our nature it adorns and lifts,
Makes life seem beautiful, and good and true,
And cov'reth all, as flowers are kiss'd by dew.
Prince.
Come then, forget the past, and look ahead ;
Life's bancpiet can't with diamonds be fed.
BEAUTY AND THE BEAST. 59
Linda.
I take the sharp rebuke, and glitt'ring sheen
From fancy life, for evermore I'll wean.
Prince.
And pearls are modest gems, yet don't belong
To that which makes all life seem brave and strong.
Myra.
Thanks for the hint—yet spare all thought of strife.
You've won
Pasha.
Yes, won a rose-bud for a wife.
Moonbeam.
Peace and good-will now crowns the joyous feast—
(The Prince and Beauty go forward to footlights C., and
address audience).
Prince.
Pray, lend your hands to
Beauty.
Beauty,
Prince.
And the Beast.
(Both return to positions as before. Music, loud, " The
Wedding March." The four fairies enter in pairs, and
advance towards the Prince and Beauty : they kneel
and hold up their flower-baskets towards them.
Myra
Linda
*
Pa sua
\fr
Crocus Snowdrop
* *
Moonbeam
*
ft
Lily Yiolet
* *
Beauty
*
* Prince
(The arrows denote lite directions the actors' faces should he looldng.)
§
I
§
to
&
s
§
§
n
to
BEAUTV AND THE BEAST. 61
Having knelt at the Pbince and Beauty's/^, the fairies
then wheel round, ancl filling up C. of stage, present
their baskets towards the audience. They then ivalk
backward on either side of Moonbeam, ivho comes for¬
ward for the delivery of the Epilogue. Music ceases).
THE EPILOGUE.
Moonbeam.
The youthful players who appear to-night,
Their task now ended, humbly would invite
Your list'ning ears to this short after-speech,
Assur'd that they your sympathy can reach.
"YVhat moral moves our play 1 perhaps the young
Count not on morals when a play-hell's rung :
Yet we sage actors, though in age demure,
Would crave an audience, and, indeed, to your
Indulgence leaning, ask one thought at least,
In brief review of Beauty and the Beast.
{After a pause, and in a somewhat solemn tone).
Oh, little ones, whose age is like to ours,
Who live, as we do, in thought's mimic bowers,
Aspiring to grow older like the rest,
And reaching manhood, womanhood—the zest
Of all that truth and happiness we see
In loving those who our good parents be.
62 CHILDREN'S THEATRICALS.
Yot to be proud, nor envious, nor do
Ko kindly gen'rous act, like those poor two
Sisters of self you've seen to-night, who since
They lov'd not any, ne'er got lov'd by Prince;
But like to Beauty, rich in face and heart,
And full of kindness, henceforth takes the part
Of Princess—though I would remark aside,
They are but actor-Prince and actress-Bride,
And I confess, my language growing bolder—
{Coguettishly) "VYe girls shall all need princes when we're
older!
(Looking towards elder part of the audience).
To teach you older ones, we are not loth;
Ye are but children of a larger growth,
Who can look back o'er fields now ripe with grain,
Strewn o'er with poppies red, and hear refrain
Of scenes like these you've witness'd here to-night,
Where past and present, old and young unite.
(Prompter's hell rings).
But as the bell must ring, the curtain fall,
So I invoking—{waves her wand)—fairy wishes call
To light on each, on all assembl'd here,
Gifts of rare fortune and a good new year 1
{After delivery of Epilogue, the music begins, " Home,
Sweet Home." Moonbeam retires, and the four fairies
BEAUTY AND THE BEAST.
63
advance. Snowdrop and Yiolet lie down on stage,
supported by their elbows, their heads toicards middle: be¬
hind them Crocus and Lily kneel, holding baskets over
their heads: Moonbeam, a little behind, holds up her
wand: Prince takes Beauty's right hand in his left, and
places his right on her shoulder: Pasha points towards
them, as if attracting Linda and Myra's attention.
If there is room, the two Pages may fill up the back¬
ground. To complete the picture, a wreath of coloured
paper, Chinese lanterns—not lighted—icith evergreens,
may be let down, but not too low, so as to touch the
actors' heads. This can be let down at one side, having
been tied up above the scenery during the play. With
Prompter's bell, the curtain is slowly lowered, music con¬
tinuing. The positions on the stage must not be moved,
as, if a call from front is made, the curtain has again
to rise).
POSITION OF CHARACTERS AT END OF PLAY.
Page
*
Page
*
R
Linda
♦
Myra Pasha
*
Moonbeam
*
Crocus Lily
* *
Snowdrop
*
Yiolet
*
Beauty
*
* Prince
BLUEBEARD.
Ipr&matis persona.
Bluebeard.
Rubin, brother to Belinda and Anne.
Belinda, wife to Bluebeard.
Anne, her sister.
1st, 2nd, 3rd, and 4th, Apple Gatherers.
Scene II.—Orchard with vieio of Bluebeard's Castle.
* • • •
Scene I.—Interior of Bluebeard's Castle.
• • •
• •
• •
Footlights.
SCENE I.
Chamber in Bluebeard's Palace, Window at P.
(Belinda and Anne discovered.)
Bel., R.
My sister, never marry—you don't know
The careless thought on wives, husbands bestow;
They promise to be all that's kind and good,
Then scold you if they do not like their food.
On washing-days they will not eat cold mutton,
Then hear them swear when their shirts lack a button !
Anne, L.
Is Bluebeard so unkind ?
Bel.
Oh! I can't tell—
He threaten'd once to throw me down a well!
Says I shan't have six buttons to my glove,
Hints two are plenty—and he calls that love.
70 CHILDREN'S THEATRICALS.
Anne.
And you can't lielp obeying him, it's clear,
You know you vow'd it at your wedding, dear.
I'm almost glad that I am not a wife,
Free, from all care and all domestic strife.
Six buttons on my gloves, no one prevents,
And none objects to powder-puff, or scents.
Eel.
Bluebeard is going—
(They cross each other).
Only for a week,
So in that time amusement I must seek.
Think—a whole week of calm and lull and peace,
Wrangling shall finish, and all scolding cease.
We'll have such dinner-parties when he's off.
Anne, ii.
Then later on at your big bills he'll scoff—
Still you can't have your cake and eat it, dear.
Bluebeard (entering L. goes to C.).
Ahem ! Ho, ho ! Ahem, ha, ha ! Who's here ?
Bel.
As usual, Bluebeard comes in such a rage.
BLUEBEARD.
Anne.
"What shall we do his anger to assuage %
Bluebeard.
Chatting again—neglecting household cares,
Nor count that I should catch you unawares.
Chatting on bonnets, calling them sweet loves.
Anne.
Our worst thought was of buttons on our gloves.
Bluebeard.
That's just the same, and once the cat's away,
You'd emulate the mice at stupid play.
Why did I marry 1
Bel.
Likewise, why did I ?
Anne.
As usual, echo only answers why.
Bluebeard.
But I'll not waste more time, but hence away,
(iCrosses to L.)
Bel, 0.
One moment, husband, I would bid you stay,
I want some pocket-mon or.
72 CHILDREN'S THE A TRICALS
Bluebeard.
I thought as much,
"Wives who are—women, must behave as such.
My absence won't be long, you may depend,
So here's five shillings for you both to spend.
(Anne holds out her hand.)
Sister-in-law, the coin is not for you,
Your visits are not far between nor few;
There's plenty beef for two when bought for one,
But that for three—no, no, it can't be done.
Anne.
I take the hint, but meantime here will stay,
At least so long as you, sir, are away.
Bel. (aside).
Five shillings won't go far, yet I am glad
Tradesmen give credit, so it's not so bad.
Bluebeard.
Let me have supper ere the night-train leaves.
Anne (aside).
A husband goes, nor wife nor sister grieves.
Bluebeard.
Bring supper here, I say, my fancy prays
To have it without womankind delays.
BLUEBEARD.
73
(Belinda goes out L.)
{Tenderly to Anne) Ah, had I seen you, Anne, before
your sister,
My love had warm'd towards you like any blister ;
Had you become my wife, there is no knowing
How tender love for thee had oft been glowing;
But as my sister, giv'n by law, I state,
That such relationship I scorn and hate.
Anne.
You are most kind, perhaps it may he news
To know that such as you I ne'er could choose
To wed—here I but stay myself to suit;
You treat my sister worst than any brute.
Bluebeard.
Spare your fine language, it's quite thrown away;
And spare yourself—you need no longer stay.
That I don't love your sister is quite true,
But then what business, dear, is that to you 1
Anne.
Shall I stay here, and see my sister wroug'd?
Bluebeard (shaking Ms fist at her).
Ah, how I wish that you to me belong'd.
74 CHILDREN'S THEATRICALS.
Bel. (ientering).
The servants quick shall bring your supper here.
Bluebeard.
You'll speed the parting guest; won't you, my dear?
(Two servants bring in table ancl three chairs, with disli
of meat and bottle of wine. All sit down, ancl Blue¬
beard serves the meat out).
Bluebeard
*
Anne
Table ° Belinda
Bluebeard.
I hate a man who's greedy—look at mc,
I never eat, I only smell and see.
(Tales remainder of dish on to his own plate).
Anne.
Some supper take, Belinda. You require
Some sustenance, for packing must you tire.
Bel.
I am not hungry, hut to eat I'll try.
BLUEBEARD. 75
Bluebeard {talcing meat off Belinda's plate with his folic
and eating it).
Folks say I'm greedy, it's a monstrous lie.
Anne.
I like a morsel, just ere going to sleep,
It helps, I think, to make one's slumber deep.
Eat just a little when the chance invites—
{She is just going to eat, when Bluebeard picks meat
off her plate with his fork).
Bluebeard.
I hate a fellow who his victuals slights.
{To Bel.) Belinda, dear, my hat-box quickly bring,
I want to show of tricks the latest thing.
(Bel. goes out, L. Bluebeard rises and leads Anne
to B. of table.)
Now, while Belinda's off, sweet sister Anne,
I may confide to you, I've got a plan
To cure my wife of prying everywhere,
A plan which I'll engage will make you stare.
I'm tired of living with her, and feel sure
To gain my end I will effect a cure;
And, if you like, you too may share her fate,
Then I'll he free to w7ed another mate.
(Bel. enters with hat-box).
76 CHILDREN'S THEATRICALS,
Bel.
Here's your hat-box.
Bluebeard, C.
Please open wide the lid,
Put all the things inside : do as your hid.
(Bel. takes remainder of supper and puts it in hat-box.
Bluebeard closes the lid.)
The shops being shut, if you more supper wish
You'll have to fry one of your golden fish ;
And as for breakfast, as things come about,
As I've ta'en ail, why—you must go without.
Bel.
Most loving husband—
Axne.
Tender, true ally—
Bluebeard.
Yet people say I'm greedy—it's a lie.
{Calling off) Servants, remove these things, I'm finish'!
quite,
Then bring my traps, for I must off to-night.
{Servants enter L., and remove table and chairs.)
BLUEBEARD.
Bluebeard
Anne * * Belinda
(Slow music during following speech.)
Wife, look you here, the keys of all I give-
Make me one promise if you wish to live;
For, if you break it, then besworn am I
When I return you shall for certain die.
Ope any place you like except that door—
(Pointing to door in C. of hack scene).
Don't be inquisitive—I say no more.
There's nothing in the room you'll care to see—
(Handing her the keys and saying coolly)
I've tied a piece of tape around the key.
(Music ceases.)
The door opes strangely, a strange sight does bring,
You turn the key, it jumps up with a spring.
Bel.
I do not wish to know what's hidden there.
Bluebeard.
No matter, as the actors say—beware!
Bel.
Kiss me before you go—
7$ CHILDREN'S THEATRICALS.
Bluebeard (mockingly).
Kiss you, my love,
While stars are shining on us from above ;
While the pale moon, half-grown, looks on and smiles
At wantonness of man and woman's wiles ;
Whilst I, in poetry, prepare to flee,
Good-night, belov'd—ahem, think of the key.
Anne (mockingly).
Sweet brother Bluebeard, must you go away?
Oh—do not leave us—darling brother, stay.
You are not greedy, leave us not so sad.
Bluebeard.
Belinda, dear, your sister is quite mad.
(Goes out).
Bel, L.
Now Bluebeard's gone, I'll act a woman's right,
And of that chamber there, I'll have a sight.
Anne, ii.
That's right, Belinda, die we'll never say,
For now the cat's away the mice will play.
Bel.
Here goes—
(Belinda pretends to turn key in lock when the door h
pulled up quickly from above: strings having been pre-
BLUEBEARD.
79
viously attached. On a screen inside are ranged a lot
of masks of women's heads, tied in hunches. Some
amusement can he got out of this scene by having the
tongues and eyes of the masks to move. This can he
done from behind).
Man working eyes
#
Screen
Scene
with heads
Scene
door
* ff
Anne kneeling Belinda kneeling
B. L.
Foot-lights
(Belinda ancl Anne kneel ancl hide their faces in their
hands during such time as the audience is being amused
by the pantomime of heads.)
Bel. {rising).
Oh, horror, such a ghastly sight!
Ah, I shall dream of it each day and night.
Anne.
Quick, shut the door ! where have you put the key 1
Bel,
I've dropped it in that pool of blood there, see!
(Picks up key which had been previously let fall. Door
falls down again.)
So CHILDREN'S THEATRICALS.
Anne.
And these were women's heads—departed wives—
And, no doubt, Bluebeard took away their lives.
Bel.
But clean the key—bow quick the blood has dried !
(Rubs the hey.)
It won't come off, you see how bard I've tried.
(The two get together in C. of stage, and heejp alternately
rubbing the hey. During this, in a slow tone, they
recite—suiting their action to the words—the following
parody. This must be done feelingly, slowly, and with
some dramatic effect. Tremulous music.)
Both.
With fingers weary and worn,
Tired eyes that scarcely can see,
We women work in a state forlorn,
Rubbing and scrubbing this key.
Anne.
Rub,
Bel.
Rub,
Anne.
Rub
Both.
With flannel and sponge and soap—■
BLUEBEARD.
Anne.
And still with two hands that fiercely scrub,
"We scrub, but, alas, without hope.
Eel.
Eub,
Anne.
Eub,
Eel.
Eub,
Anne.
"While the stain remains on the key.
Eel.
Scrub,
Anne.
Scrub,
Bel.
Scrub,
Anne.
And the blood will never be free.
Eel,
It's hard to be a slave
To a man who pleasure will shirk,
With never a chance of life to save,
If this is wifely work.
G
82 CHILDREN'S THEATRICALS.
Anne.
Scrub,
Bel.
Scrub,
Anne.
Scrub,
Bel.
How my brain begins to swim,
Both.
Bub, rub, rub;
Anne.
How my eyes are beavy and dim.
Both.
Soap and flannel and sponge,
Flannel and sponge and soap ;
Why did our minds inquisitive plunge
And insist on the door to ope 1
Anne.
But why will the mark remain
Bed on the bright steel key 1
Bel.
Oh, how I fear its tell-tale stain,
A warning it seems to me.
A warning it seems to me
Of life that for me is marr'd,
BLUEBEARD. 83
Alas, that soap should bo so soft,
And stain of blood so hard!
Anne.
Bub, rub, rub,
Our work no end shall know;
Eel.
And what are its wages 1 an angry man,
Some cruel words and a blow.
This tell-tale key—
Anne.
That blood-stain'd floor—
Bel.
Are sights to terrify me.
Both.
As forlorn in hope, we ply the soap
To remove the stain from the key.
(As if waiting in sleep, the two walk round the stage and
go out B. one behind the other, rubbing their hands
together and muttering, "Bub, scrub, rub." During
this, the screen with the heads will have been removed,
so as to leave Scene II. open.)
84 CHILDREN'S THEATRICALS.
SCENE II.
An orchard, with distant view of Bluebeard's Castle.
[Four children with baskets discovered. They are all
sitting together, and No. 1 is reading a story from a
book, while the others listen.)
1st.
" Bed Biding Hood her basket pack'd, with butter,
eggs and cakes,
On which her grandma, every day, her noontido
luncheon makes,
And put her hood upon her head, and said good-bye at
home,
And o'er the meadows, daisy clad, she qu ickly 'ganto
roam.
" Bed Biding Hood she tripp'd along athwart the
hawthorn brake "
2nd.
Surely the poet who wrote that has made a great
mistake;
All children know Bed Biding Hood ran at a lightning
pace,
So if she tripp'd, she must have fall'n and hurt her
pretty face.
1st (reading).
Bed Biding Hood, she tripp'd along "
BLUEBEARD.
85
3rd.
Oh, that's quite clear to me,
Ma always takes us for a trip, each summer to the sea.
1st. [reading).
" Athwart the hawthorn brake,
O'er the grass carpet where the yellow buttercups do
shake:
She pluck'd the daisy on the bank, the blue-bell by
the way,
And merrily her cheery voice rang on that summer
day."
4th.
Let me read now, I know what should come next,
The wolf appears upon some sham pretext.
(Takes booh and begins reading very fast.)
" And as they cross'd a little brook, a wolf dress'd prim
and neat,
Politely ask'd Eed Riding Hood to pause and take a
seat,
As he was very hungry "
1st.
See how your voice it drops,
Do you read fast as that at school and never mind your
stops 1
86 CHILDREN'S THE A TRICALS.
2nd.
Let me try now, I'll read it loud but slow.
4th [rising).
Oh, I shan't listen, for the tale I know.
2nd [reading).
" As he was very hungry, he would like to try a cake,
For all night with dreadful hunger he had toss'd and
lain awake.
" Fed Eiding Hood, she gave a cake, hut said she could
not stay,
For to her grandma's cottage she must quickly haste
away;
Then the wolf hurst out a-laughing, saying, 'Let us have
a race,
For I'm the hoy to step it, I can run at such a pace.'"
[Gives look to Ho. 3.)
Here you go on, the race has just hegun.
3rd.
I wish the tale were not so nearly done.
[Reading) "The wolf he took the shortest way and
reach'd grandma's abode,
And right athwart her chamber door most haughtily
he strode?
BLUEBEARD. S7
Poor granny look'd affrighted, and the wolf politely
said
This was the last occasion she should ever be in bed.
And then he rush'd and ate her up, her legs, and arms,
and all—
She made no noise because she was too weak to scream
or bawl.
" The wolf then jump'd within the bed, and hid beneath
the clothes,
Until Eed Eiding Hood arriv'd, who did, of course,
suppose
That it was her grandma speaking—though her voice it
sounded gruff;
That it was her grandma's hand she took, though it too
seem'd so rough."
1st (talcing book).
The tale will soon be o'er, so pray attend.
2nd.
The wolf behaves so badly in the end.
1st (reading).
" Eed Eiding Hood to grandma said, how large have
grown your eyes,
The wolf replied 'twas to see her she'd got the extra
size;
88 CHILDREN'S THEATRICALS.
1 Your teeth, grandma, are awful, so pointed and so
queer,'
' The better to eat you up with, my pretty little dear.'
" The wolf then jumped up from the bed, and would
have kill'd the maid,
When sudden through the door a man rush'd with an
open blade,
And thus unto Eed Eiding Hood her life he did re¬
store,
And history tells us that she liv'd most happy ever¬
more."
(All clap hands, when Eubin enters 11).
Eubin.
3rd. * * 2nd.
4th. * * 1st.
Eubin.
So, little folks, I overheard your tale,
Now, as a sequel, let me you regale
With apples—a basket here I've brought.
I know I should not part with them, I ought
To take them to my sister, Bluebeard's wife.
(All shake their heads.)
Why do you shake your heads 1
BLUEBEARD.
1st.
There's always strife
O'er at the Hall, where Bluebeard reigns supreme
Oaths crack'd by day, find echo in night's dream.
2nd.
Yes. Take my word, your sister's life is sacl—
3rd.
My father says there ne'er was man so bad
As Blue Beard—and my father ought to know,
He is all kindness, and with love aglow
Tor mother. He's a splendid man—don't frown-
(Ho. 4 gives a low laugh).
Speak against father, and I'll knock you down.
4th.
Hay, take the fruit to her; the gift is small,
She'll relish them, she gets no gifts at all.
Her birthday passes by, and ne'er one thought
Suggests a birthday present might be bought.
1st.
Saint Valentine appears, but no sweetheart
Sends her a missive, pierc'd by Cupid's dart.
2nd.
Shrove Tuesday passes ; never ring is sought
In pancakes to the supper-table brought.
CHILDREN'S THEATRICALS.
3rd.
Good Friday comes; no trace of love begun,
No baker sends to ber a hot-cross bun.
4th.
Then Christmas comes, with gladsome holly bough;
No Christmas cheer for her, that I can vow.
1st
Then the New Year—the past is gladly kill'd ;
The future looms, but with dark augurs fill'd.
The same dull story, poor unhappy wife,
Slave at all times, knows naught of freedom's life.
Rubin.
This which is old to you, is news to me—
2nd.
If you don't know it, simply go and see.
(Through a painted window of the castle a white hand¬
kerchief . is seen leaving. This can he arranged from
behind the scene, and appear as if some distance of
No. 3 points to it.)
3rd.
Here, look ! from out the window over there,
A handkerchief is flutt'ring in the air.
BLUEBEARD.
4th.
Held by a Avoman—I know what that means,
Present and past full soon will be have-beens.
Fly to your sister, fly in pity's mood !
You be her champion, she Eed Eiding Hood;
Bluebeard the wolf, fit sequel to our tale,
But don't delay, else in your work you'll fail.
1st.
We'll follow—
(Eubin crosses to L.)
3rd. 1st. Eubin
It. * * * L
4tii. 2nd.
* *
Eubin.
Yes, I go ; 0 sister mine,
How in my arms I long thee to entwine.
(Goes out L.)
4th (picking up basket of apples which Eubin has left).
He's left the apples, would it now be Avrong
Each to take one and carry it along 1
1st.
We'd better eat them, and that will secure
Their being carried all the way I'm sure.
92 CHILDREN'S THEATRICALS.
2nd.
The handkerchief still waves, so let us go,
Inquisitive the mystery to know.
{Music.)
{All go out. Then 1, 2, 3, 4 return singly and lake an
apple from basket. One only to be on stage at a time,
and begin eating as they go off. Last one carries
basket off. A dance might here be arranged, to prolong
the scene, if required.)
SCEXE III.
Same as Scene I.
(Bluebeard, Belinda, and Anne discovered.)
Bluebeard, C.
The keys are right, save one that opes this door,
That one I miss; I've counted o'er and o'er,
I've counted o'er and o'er, and it strikes me
That, woman-like, you've been and lost that key.
Lost it, no doubt, because in monstrous fright
You op'd that door, and did not like the sight.
Anne, r.
Thus to suspect your wife is very wrong.
Bluebeard.
Deceit, methinks, is chorus to your song.
BLUEBEARD.
(Belinda, L., gives hey up.)
The blood upon it has itself confess'd;
You need not speak, because I know the rest.
This key alone I said should not be us'd;
Inquisitive, t' obey me you refus'd.
Murder will out, there's blood upon it, see—
Come—no more nonsense—you have us'd that key.
Bel.
I was so jealous of my wifely right—■
Bluebeard.
Wife-like, your husband's little wish to slight.
Anne.
To ope a door is small crime after all—
Bluebeard.
Eve thought so of the apple—'twas her fall.
Bel.
I op'd the door, Anne follow'd in a trice—
Bluebeard.
Adam, by following Eve, lost Paradise.
And I've made up my mind my wife shall die,
So to your nerves best courage quick apply ;
Ten minutes is the time you have to live—
(To Anne) Some little comfort to your sister give.
94
CHILDREN'S THEATRICALS.
Anne;
To kill for such offence is heinous crim©,
Life's not so cheap—
Bluebeard.
May I supply the rhyme 1
Life's not so cheap, as you observe, my dear;
Dressing my wife made life uncommon dear.
Bel.
0 Bluebeard, I've done wrong, and I confess—
Bluebeard (crosses to L.)
Now you're found out, of course you'll own the mes3.
You did not come aud boldly say to me,
I've disobey'd you, and I've us'd the key ;
No doubt you rubb'd and scrubb'd with soap and sand,
But blood will not wash out—it is Cain's brand.
But now that you're found out, you come and whine—
(Belinda falls in Anne's arms.)
Ab, if you faint, send for a glass of wine.
Anne.
You'll not forgive—
Bluebeard.
No, Anne, nor yet forget ;
On getting rid of her my mind is set.
BLUEBEARD.
Anne.
You said you'd love and cherish—
Bluebeard.
True—yet stay,
Did not her vow include the word " obey " 1
It's no use arguing, resolv'd am I
That in ten minutes more my wife shall die.
(Bluebeard goes out L.)
Bel.
What's to he done ? 0 sister, sister Anne,
When first I wedded, I'd a glorious plan—
All life seem'd studded o'er with bounding joy,
No troubles did my housewife life annoy.
Flow'rs bloom'd by day in perfum'd tale of love,
That tale the stars at night retold above.
Anne.
Life's poetry to prose too often turns,
Life's cornucopia goes to death's dull urns,
White becomes black, and red is turned to blue—
A sorry picture, sister dear, of you.
Bel.
A sudden thought—my brother comes this way,
He wrote this afternoon a call he'd pay.
96 CHILDREN'S THEATRICALS.
Look out and see if him you can descry,
Should he arrive in time, I may not die.
Bluebeard (calling outside).
Get ready, quarter of your time is past;
Dinners will soon he cheap with your long fast.
Bel.
Stay for a moment. (To Anne) Tell me, sister Anne,
See you aught coming 1
Anne (at window).
There's no sign of man.
(The following must be spoJcen very slowly, with a pause
between the question and the answer. Both voices to be
pitched in a low key. Slow music, not too loud, so as
to drown the voices.)
Window Belinda kneeling.
* Anne *
Bel.
Sister Anne, sister Anne, do you see anybody coming 1
Anne (after a pause).
Naught hut the trees which the sky's edge have lin'd.
Bel. (do.).
Sister Anne, sister Anne, do you see anybody coming 1
BLUEBEARD. 97
Anne (after a pause).
Nauglit hut a cloud of dust borne by the wind.
Bluebeard (without).
Come down, I say, ten minutes are now o'er—
Bel.
A little longer give me, I implore.
(Pause.) Sister Anne, sister Anne, do you see anybody
coming 1
Anne (pause).
Naught but the dust which spoils the scene so fair.
Bel (clo.).
Sister Anne, sister Anne, do you see anybody coming?
Anne (do.).
Strange that that cloud comes nearer, I declare—
Bluebeard (without).
Come down at once, no more shall I delay—
Bel.
One moment more, in pity give I pray.
Sister Anne, sister Anne, do you see anybody coming 1
Anne (pause).
That cloud of dust has gather'd almost near.
r
93 CHILDREN'S THEATRICALS.
Bluebeard.
Come down !
Bel.
Is there aught coming 1
Anne {rushing to Bel.).
Yes, your brother's here.
(Bluebeard rushes in L. with sword drawn, when Eubin
suddenly appears at B., also with sword drawn, followed
by the four apple-gatherers. Eubin and Bluebeard
fence, the former killing Bluebeard. But a pretty
fencing scene might here be given.)
Bluebeard on floor.
*
* Anne Eubin Bel.
3rd. * * * *
B. 1st. L.
# #
4th. 2nd.
Eubin, C.
Sav'd ! but a moment more, I'd missed my chance,
And lucky was it that I bore my lance.
Bel.
Brother, you've sav'd my life, may bounty's store—
BLUEBEARD. 93
Rubin.
I did man's duty, and I ask no more.
Anne, R.
You've made of her a widow, but I vow
She ne'er was half so happy as just now.
Rubin (to No. 1).
Come, little friend, what say you, peace shall reign—
1st (coming to C.).
If from our kind friends there (pointing to audience)
applause we gain.
4th (joining No. 1).
I'll read to them the sequel to our play,
'lis just the same as we read out to-day.
(Reads from book)
" Then Bluebeard quick jump'd upon her, and would
have killed the maid,
When sudden through the door, a man rush'd with an
open blade,
Who thus unto his sister, her life he did restore,
And history tells us that they liv'd most happy ever¬
more."
7—2
100 CHILDREN'S THEATRICALS.
Bluebeard (still lying)
*
* Anne Bubin Bel. *
3bd. * * * 2nd.
* 1st.
r" 4tii. * L.
(Music as Curtain falls).
THE BABES IN THE WOOD.
HPxamaii* ^er0^)n«.
The Uncle.
Sykes.
[.The player selected for this character has an excellent oppor¬
tunity for exhibition of " character " acting.]
Ruth.
Philip.
Robin Red-Breast.
Jenny Wren.
The Sparrow.
Two blackbirds; an owl; a rook; two canaries; a yellow-
hammer.
Scene
* (4) Back of Stage. Forest.
(3) Forest Scene.
(2) Forest Scene.
(1) Uncle's house.
Footlights.
SCENE I.
Interior of the Uncle's House.
(Ruth and Philip discovered.)
Ruth, ii.
They say that orphans have a cheerless fight,
That life to them is ton'd with gloom of night,'
That little sunshine follows on their way,
And o'er its joys they have but little sway.
Ah, Philip, now, indeed, we feel alone,
Since those kind parents' hearts and hands have flown :
And here we are alone—
pnilip, L.
No, sister dear,
Ruth ne'er must feel alone with Philip near.
Philip is young, but Philip's staunch and true,
And he will see no harm chall come to you.
io6 CHILDREN'S THEATRICALS.
And yet, sweet Kuth, we are alone, 'tis true,
And of kind friends, indeed we have but few.
Ruth.
But our young days will quickly pass away,
Then earnest work shall take the place of play,
And we'll be very rich when we grow old;
Think of that, Philip—rich in gems and gold.
Philip.
That will be very pleasant, for I'm sure
I never could enjoy life were I poor;
Think of those beggars we meet on the street,
With threadbare dresses and with shoeless feet—
Ruth.
Come, change the subject, we're contented here,
Let's see if there's a pastry-cook's shop near.
We'll buy some jujubes, and some candy-peel,
Almonds and rock—
Philip.
How hungry I do feel!
But, tell me, who's to pay for all this feast %
All you have said will cost a crown at least.
Ruth.
Uncle gave me two shillings, and he said
I was to spend them ere I went to bed.
THE BABES IN THE WOOD. 107
He said a little girl so rich as I,
To spend her money well should always try ;
Tut then I told him I had other calls,
And that I saved my money for my dolls.
Philip.
How are the dolls, and do they like this place ?
Have they been good % or are they in disgrace 1
Kutti.
Your little doll-niece with the flaxen hair,
Is so much better with this change of air.
{Child heard crying off stage R.)
There's baby crying, I must haste away,
And bring them to the garden there to play.
{Goes off R.)
Philip.
I don't like uncle—
put 11 {calling from R.)
Baby's taken worse.
Philip.
That's right, treat me as doctor and as nurse.
I'll lend a hand—
(Ruth enters R., with one doll in her arms, and holding
the other hj the arm.)
10S CHILDREN'S THEATRICALS.
Euth.
At me you always laugh.
(Philip takes the other hand oj the doll, and all three
face audience.)
Euth Doll Philip
B. * # # L.
Philip.
How old is this one %
Euth.
Nine months and a half.
The youngest one is ill—confin'd to bed,
Cherries she'd eat in spite of all I said;
"With stalks and stones her little moutli she'd fill,
And now, poor child, she is so very ill.
Philip.
Well, come along, we'll go and get the air,
Which will our appetites for lunch prepare.
(Both go off L., and after a pause enter the Uncle, B.,
followed by Sykes. The Uncle should be dressed
somewhat after the style of " John Bull," only with a
cross-looking face. Sykes should be like a stage ruffian,
with top boots.)
Uncle, L.
How, Sykes, a favour you must do to me.
Of these two children I wish to ho free •
THE BABES IN THE WOOD. 109
Not that I'd—murder them, no, not so had,
Still, to he rid of them, means can bo had.
I think if in a wood they lost their way,
'Twould he a good thing, Sykes—what do you say?
It would not he my fault, nor fault of thine;
Other folk's children stray, and why not mine 1
Sykes, E.
I understand, within a deep dark wood
These children might ho left. I think I could
Arrange the very spot, so snug and nice ;
But first I'd like to know what is the price ?
You see, with old ones it's a different thing,
Easy to conscience such a deed I'd bring:
Old ones can't live much longer, so it's plain
A deed like that can he done for less gain.
Uncle.
But children are such very simple prey—
Sykes. ,
Children may live for ever and a clay;
Thus on my conscience I've a greater crime,
Which ends not now, hut lives in after time.
The price is so much more for so much life;
Don't make the bargain hard—it's petty strife
When men like us argue about a fee :
Money is naught to you, hut much to me
no CHILDREN'S THEATRICALS.
If hiding of these babes beneath the ground
Is worth a penny, it's worth many a pound,
So don't be mean; it's not a pleasant job,
And then—in this case there is naught to rob.
Uncle.
A hundred pounds I'll give you—
Sykes.
That sounds sweet—
A hundred pounds to guide those dainty feet
To some dark forest, (earnestly) where the leafy trees
Shut out heaven's sun, and stifle every breeze :
"Where gloom doth brood, and a great hush prevails—
And children who are dead tell no more tale3.
Uncle.
You know the spot—
Sykes.
I have it in my mind;
Once in, an exit they will never find.
Uncle.
Then meet me here anon, and in our talk
I'll hint you'll take the children for a walk.
(Goes out R)
Sykes, C.
It's not a pleasant task these babes to kill,
But then, I'm hungry, and my purse must fill.
THE BABES IN THE WOOD. hi
(Cheerfully) A hundred pounds is quite a costly prize—
(Dismally) But then a look from their poor childish eyes,
Imploring me that mercy I should give—
Bah! killing folks is how I have to live. (Goes out L.)
Uncle (enters II.).
That seems all right, and Sykes will do the deed,
Then of these children I'll he wholly free'd.
They're very rich—I almost laugh with glee,
For when they're dead, the money comes to me !
I'm the next heir—why should my hand I hold 1
They'll ne'er enjoy their money till they're old.
"Why wait till then 1 their life's a little thing ;
What comfort to old age their death will bring !
(Looking to B.) But here they come, some story I must
weave,
I'll say a picnic, and that they'll believe.
(Enter Ruth and Philip B.)
Ruth, C.
Well, uncle, is there aught to do for you 1
Thoughts for your wants we give, I fear, hut few.
Uncle, L.
You're very good ; but tell me, children, pray,
Do I to your wants such attention pay
That makes you feel that now you're not alone—
ii2 CHILDREN'S THEATRICALS*.
Euth.
Ilappy, indeed, with you the hours have flown.
Of course we miss our parents: 'tis but right
We think of them, though absent to our sight.
Philip, b.
I'll see my sister leads a gladsome life,
Till some one comes to claim her for his wife.
Uncle (crossing to C.).
That lovely prince who ever hovers near—
(,to Euth) You have a prince in thought, my little dear 1
All ladies have the same, and each one tries
T' attract his notice by their sweetest sighs.
An unknowm prince, forsooth, why, it turns out,
That one girl weds a king, the next a lout!
Philip.
My sister's worthy of the bravest man
Uncle (persuasively).
To gain him, Philip, you do all you can.
A happy thought, there is a palace near,
Where lives a prince with million pounds a year
A friend of mine is going there to-night
And I am sure 'twould give him great delight
To take you both. (Aside) That was a splendid thought,
If Sykes would only lose them as he ought.
Euth,A.
Uncle, you're very kind, oh! what a treat
To go and soe a real live prince's seat.
THE BABES IN THE WOOD.
Philip.
But who's your friend, and won't he make a fuss
Thus to he hor'd with little things like us ?
Uncle.
He ? not a bit, it's just the plan he would
Enjoy—he's very ugly, but his heart is good.
And here he comes. (Enter Sykes, B.)
Sykes.
Ah, do I interfere t
Uncle
* * Buth
Sykes * * Philip
B. L
Uncle.
Hot in the least, you were expected here.
Sykes.
My friend the prince to-night gives a grand feast.
Euth (aside to Philip).
How well he'd act with Beauty as the Beast.
Sykes.
And I should like your two young friends o'er there
To come with me, and the grand banquet share.
Philip (aside to Euth).
Providence to the orphans makes amends
By giving us, unsought, such willing friends.
8
114 CHILDREN'S THEATRICALS,
Kuth (to Philip).
It's kind of Providence this friend to place.
But hasn't he got a very ugly face %
Uncle (to Sykes).
How strange, the very thing I'd wish'd to ask.
Sykes (bowing).
To he their guide will he a pleasant task.
What say you, children, will you come with me 1
Both.
With all our hearts—the prince we long to see.
Uncle.
When do you start ?
Sykes.
To-night.
Uncle.
Then children go,
Put on smart things, you'll find us here helow.
See that your clothes are thin—the prince's hall
Is lighted up with candles ten feet tall !
Butii.
We hasten to ohey; what joy is this?
Kind uncle, give your children hoth a kiss.
Philip.
I'd kiss your friend o'er there, hut I'm a man,
Sykes (coming forward).
Oh, I'll excuse you, hut your sister can.
THE BABES IN THE WOOD. 115
(Ruth and Philip kiss their Uncle, then Ruth kisses
Sykes, and the two go out B.).
Sykes (scowling).
"Why did you say thin clothes 1—the night is cold.
Uncle.
The very reason, life will have less hold:
Take them into the depths of that dark wood
And leave them there with neither help nor food.
Why should two things like these step in by stealth,
And so deprive me of my brother's wealth ?
They've done no good, as far as I can know—
Sykes.
They are so young—
Uncle (quickly).
Then stop them, ere they grow.
Sykes,
Your haste to get them off seems void of bounds.
Uncle.
Oar game's the same—you want your hundred pounds.
Sykes.
Yes, it's a bargain—
Uncle.
Well, then, say no more,
JBut come and tell me—(pause) when the murder's o'er.
8—2
n6 CHILDREN'S THEATRICALS.
(Ruth and Philip enter: Ruth in a short white frock
with red shawl; Philip infancy costume.)
Ruth PniLip Uncle Sykes
B. * * * * L.
Rura.
Well, here we are, all ready for the ploy,
Our young hearts bursting with expectant joy.
Uncle (assuming tenderness).
Now, neither of you children, I can vow,
Will know how, when the prince comes in, to how.
Philip.
Oh yes, we do, and so, ere we disperse,
We'd better try our manners to rehearse.
(Uncle and Sykes go to extreme L., and, to music, Ruth
and Philip dance a minuet. This must be carefully
learnt, and, if well gone through, will make a good
finish to the scene. At the end—)
Sykes.
Now, come along, prepar'd for visions bright.
(Sykes crosses and takes Ruth and Philip off with him
to B.)
Uncle (alone).
And, children, hear me say a last good-night.
(JFalks slowly off B. —slow musk.)
THE BABES IN THE WOOD. 117
SCENE II.
A Forest.
(Cock Robin, the Sparrow and Jenny Wren are dis¬
covered. The children representing these birds will, of
course, be appropriately dressed. Any theatrical costumier
can supply the dresses.)
Cock Robin
*
R. Jenny Wren * * The Sparrow L.
Sparrow.
'Cause you're a red-coat, you appear so proud,
And never come and join the festive crowd
Of birds that fly up, high up in the air •
Iiut on the ground in stupid muteness stare.
You sneak about, jumping from stem to twig,
Give forth a silly chirp—then look quite big !
You've no companions, you're afraid of men—
Robin, C.
I'm quite contented here with Jenny Wren.
Jenny, r.
My Robin's not a common bird like you,
He doesn't fly about the whole year through ;
Goes out of town in summer, and comes back
When you with smoke are turn'd from brown to black.
Sparrow.
My clothes are made for wear, and not for show.
113 CHILDREN'S THEATRICALS.
Jenny.
Well, never mind, this Robin is my beau;
I've chosen him to be my red-breast king.
Robin.
Yes, Sparroiv, and I've got the wedding-ring;
I'll marry Jenny Wren by book or crook—
And now I'll go and call on Parson Rook.
Then we'll get wed, and if you interfere,
Or cause my Jenny Wren to shed one tear,
I'll call on all the birds to peck you dead.
Sparrow.
Pooh to your threats, I shall not live in dread,
I've got a bow and arrow which shoots high,
So you'd best mind when near my nest you fly.
(Goes out L.)
Jenny.
I hate that sparrow, he's so coarse and rude—
Robin.
I'll have to peck him,
Jenny,
Yes, I think you should.
These pert cock-sparrows never know their place;
That they should live at all is a disgrace.
THE BABES IN THE WOOD.
Robin.
Not so, dear, some of their class I know,
Who join with me at breakfast on the snow.
It's in a garden, with a window near,
And every morn a hoy and girl appear
With plateful of nice crumbs, and strew the ground
Then, Jenny, if you only look around,
From one twig comes a sparrow, neat and prim,
Fresh from his hath—I always sit near him.
His appetite seems spoilt, which doth confirm
That he's the early bird that gets the worm.
Jenny.
How very nice; hut does there come a wren 1
Robin.
Oh no, not at our club, we've only men.
The same old birds come hopping day by day ;
I fancy that they're there when I'm away.
When I get back, would you believe me, dear 1
The same old sparrow's there from year to year.
Our club consists of say a dozen more,
We're there in sunshine and when rain does pour.
So always came these children with the plate;
Nor miss'd one morning, till, my dear, of late,
The house seems empty—yet the birds await
As was their custom ; now the door ne'er opes,
And sparrow after sparrow fondly gropes
i2o CHILDREN'S THEATRICALS.
Prom bough to bough, but there's no breakfast comes—
No kindly hands collect the breakfast crumbs.
Jenny.
Well, never mind, my Eobin—
Eobin.
Ah, dear me!
That little boy and girl were kind to me.
But let's be off, no time to moralise,
Else I'll be crying and make red my eyes,
Then Parson Eook he'll think I do repent
Of wooing you, and so he may prevent
Our marriage. So we'd better both bo off
And give the sparrow no more chance to scoff.
(Both go off L., and, after a pause, enter Sykes, Euth,
and Philip, 11.)
Euth, L.
Oh, kindly tell me, is the castle near ?
I am so tir'd.
Sykes, C.
We've lost our way, I fear.
Philip, R.
What, lost our way in this far-stretching wood ?
No home for Euth, no light, nor any food 1
THE BABES IK THE WOOD. 121
Euth.
There is a turning to the longest lane,
Perhaps we'll find it; come, press on again.
Philip.
Why did we leave the carriage on the road 1
Why not drive straight to where the prince abode 1
Sykes.
I thought I knew a short cut through the wood,
And to retrace our steps would do no good.
Euth.
But I'm so cold, and it's past supper-timo.
Sykes (aside).
You'll take your next meal in some other clime.
(Aloud) But let us press ahead, no cause to fear,
We'll find an outlet somewhere over here. (Go.offL.)
(Scene pulls up, showing another part of the forest, and
here the marriage of Cock Eobin and Jenny Wren
takes place. In this scene there is no talking, the
marriage service being gone through in pantomime or
dumb show. It must be carefully rehearsed, and gone
through slowly. First a couple of blackbirds enter, fol¬
lowed by an owl; then a rook, dressed as a parson; then
Eobin Eedbreast, realizing with a yellow-hammer ;
these all take their positions thus *
122 CHILDREN>S THEATRICALS.
Eook
#
pLACKBlRDS # * PcOBIN
with boohs. Jenny Wren
* *
Owl * Yellow-Hammer
*
Canaries
After a pause Jenny Wren enters, folloived by two
canaries, who take up their positions as above. The
rook then proceeds to read ; the owl steps forward as if
giving the bride away; the yellowj-hammer hands Eobin
a ring, who places it on Jenny Wren's hand. The
two kiss, and procession forms as before and marches
off, L., only Eobin and Jenny go together. Lively music
must be playecl during the whole of this, ending, as the
procession starts, with " The Wedding March." This
will be very effective if caref idly rehearsed.)
This being over, Sykes, Euth, and Philip enter 11,
Sykes, C. (aside).
I wisli I had refused to do this job;
It seems a shame these little lives to rob.
Euth, e.
I can't go on much farther, I'm so tir'd.
Philip, L. (to Sykes).
Methinks, to lose us, sir, you have been bir'd.
7IIE BASES IN THE WOOD.
Sykes.
I'd better end this business. (To Philip) Yes, 'tis true,
You're lost, as sure as two from four leaves two.
Ruth (rushes and clings to Philip).
Lost, did you say 1
Sykes, R
Yes, miss, L—0—S—T (spelling).
Philip.
Cheer up, my sister, courage take from me,
Our nursery fights we always fought alone,
And now that since from nurs'ry brawls we've grown,
And cast adrift in this lone darksome wood,
We'll journey on, nor get in frighten'd mood.
Sykes.
Then I must leave you—do the best you can,
You're uncle is a very, very wicked man.
Ruth (c).
And what are you, are you not twice as bad ?
(In despair) Oh, Philip, left alone, I shall go mad.
My heart keeps throbbing like to burst with fear,
Left in this gloom, (kneeling) look down, oh parents dear !
(Bar of slow music).
Phillip (raising her).
Rise, Ruth, and don't let him think we're afraid.
(To Sykes) I wonder, man, of what your heart is made 1
TIow much for this brave action were you paid!
124 CHILDREN'S THEATRICALS.
To take two children—scarcely in their teens,
And plot with selfish art, and coward's means,
To let us die in this vast forest glade ;
Why not have murder'd us ? (Sykes shivers) why thus
delay'd 1
Sykes.
It's better as it is—don't waste your breath,
(Fiercely) That soon will end, starvation—pining death!
Ruth (kneeling to Sykes).
Oh ! spare us, we have never done you wrong.
Philip [raising her).
Don't kneel to him, your pray'r is idle song ;
No words that ever from your heart could flow,
Could charm a heart sunk in black crime so low.
Sykes.
Since you're so brave, then I'd best take my leave—
Believe me, from my heart, I truly grieve
To leave you, hut I am so poor, you see,
The price I'm paid is drink and bread to me.
(Goes out R.)
(From now till the end, the piece must be acted very sloivly.)
Ruth, r.
Philip, alone !—how dreadful sounds that word
In this great h—hush !—with never pipe of bird,
THE BABES IN THE WOOD. 125
"With ne'er a glimpse of the blue sky o'erhead;
Oh, Philip, do we feel thus when we're dead 1
Philip.
Hush, Buth, you must not speak in tone so sad;
Cheer up, my sister, joyous he, and glad.
Don't you remember what mamma oft said 1—
That not a sparrow fell, nor hair of head
Was lost, hut all was seen by loving eye—
(Cheerfully) And so to think we are not lost, we'll try.
Euth.
Uncle may yet repent, and try to find—
Philip.
Ah ! out of sight, you know, is out of mind.
(Go off L. Slow music, as Philip takes off his coat and
wraps it over Buth's shoulders. Slow music continues
to end of play.)
SCENE IV.
Another part of the Forest (fall depth of stage).
(A supply of large brown imitation leaves must be got,
some of which must be strewn on the stage, and an oc¬
casional one let fall from above, as if blown down by the
wind. These to keep falling at intervals till end oj
play, and there must be enough to completely cover up
Buth and Philip tohen lying clown.)
iz6 children's theatricals.
(Euth and Philip enter L. Philip has his coat on,
and both their faces are very white. This can be done
by application of violet powder with puff, or French
chalk. They enter, Philip with his arm round Euth's
waist, both looking very tired. Slow music continuing.)
Eutii, f.
Two days have pass'd away.
Philip, l.
Two nights have fled—-
Euth.
Philip, I wish so much we both were dead.
Philip.
Despair again ! why, Euth, this will not do—•
Keep a good heart!
Euth.
Its heats are very few,
And I do feel so weak ; here pause and rest,
To finish up our journey here is best.
{Both go on their knees about three-quarters back in C. of
stage. Euth leans against Philip.)
Philip, good-night.
Philip.
Por my sake try to live—
Euth.
Tell uncle, if you see him, I—I—for—forgive.
THE BABES IN THE WOOD.
127
(Ruth's head drops bach, and Philip lays her on staje.
Philip hisses her, and holds up both hands.)
Head.
a Philip.
B. Ru | tii. * I.
v
Feet.
Philip.
Rutli dead ! well, then, to me life's charm is o'er,
Trees, birds, and sky—good-bye for evermore.
(Philip lies down with Ruth, entwining his arms round
her. The two remain motionless till the curtain falls.)
Enter Robin and Jenny, L.
Robin.
Now for our honeymoon. (Seeing Rutii and Philip.)
Hullo, what's there 1
Jenny {examining them).
Robin, a boy and girl, I do declare.
Robin {the same).
Jenny, these faces I too plainly know,
These hands, tbe ones that fed me in the snow.
Their house shut up, these children lying here,
There's something very strange in this, I fear.
Jenny {tahing Ruth's hand).
Her hand is cold, cold as her forest bed,
The friends who fed you, Robin, once, are dead.
123 CHILDREN'S THEATRICALS.
Buth ancl Philip.
•x- *
Bobin * ^ * Jenny.
(A leaf blows down and falls upon Buth and Philip.)
Bobin.
Kind nature, looking down, suggests a pall,
Porm'd by the leaves as from the tree they fall.
(A bird-call is heard off stage. This can be done by the
toy bird-call played in a tumbler of water.)
Jenny.
And see, the birds to pay their homage seek
By bringing leaves for shrouds in every beak.
{Bird-calls sound from each side of stage. Music changes
louder to " Home, Sweet Home." Leaves keep falling, and
Bobin and Jenny cover Buth and Philip with the
leaves. This must be quickly but completely done. When
finished, the bird-calls cease: music gets very loud as
Bobin and Jenny, hand in hand, walk off L. Curtain
descends slowly. In case of cm encore, Buth and
Philip must remain as they were—Bobin and Jenny
sprinkling flowers on them.)
RED RIDING HOOD.
A PASTORAL PLAY FOR REPRESENTATION IN THE
DRAWING-ROOM.
Ilramatis $erj5.cm&.
Robin.
A Wolf, disguised as a dandy from town.
Red Riding Hood.
Her Grandmamma.
1st and 3rd reapers {boys).
2nd and 4th reapers {girls).
A Parish Beadle {boy or girl) to read the epilogue.
BIRD'S-EYE VIEW OF STAGE AND SCENERY.
3rd Scene. An interior.
* Bed.
2nd Scene. A harvest field.
1st Scene. A country scene.
C.
(Centre)
IE I,
Bight hand. Left hand.
Footlights.
SCENE I.
A country lane. Autumn.
(On curtain going up, Red Riding Hood is discovered
with basket In her hand.)
Red.
IIow bright the sun is shining o'er the mead,
While daisies ope their petals pink to feed
Upon those rays of glad and golden light
Which tint all nature with a halo bright:
Sparkling like jewels on the rippling stream,
Lulling the sense of life to muse and dream
About its wonders—how these trees do grow1?
Why, after sunshine, comes the dreary snow ?
Why that melts off, and crisp fair days instead
Ering crocus and the snowdrop's bashful head 1
I'm sorry for the snowdrop; it's so sad,
Rending its head, as in disgrace ; it had
134 CHILDREN'S THEATRICALS\
A better right, I think, to bloom erect,
When spring's gay carpet forth it came and deck'd.
That proud and yellow crocus rudely stares,
Peeps at you from the grass quite unawares,
And looks defiant with its gaudy hue
As if it said, " I'm finer, miss, than you."
But I like autumn, with its sombre tone,
Eeminding trees and flowers their lives are grown—
But I must off, nor linger on the way,
To grandma's birthday my respects to pay j
I've got fresh eggs, and butter and some cakes—
I know to tea an egg she always takes—
And she's so good to me^I would not miss
My call to-day, for (pause, looking off 11.)—for Bobin and
his kiss;
And here comes Bobin, he will make me stay—
(Shyly) Yet on his red-breast I'd like my head to lay.
(Enter Bobin B. ; he has a reel ivaistcoat on, and gun
slung over his shoulder.)
Bobin, B.
And whither go'st thou, pretty maid, I pray ?
Bel, L.
I'm going to grandma, my respects to pay
On this her birthday—she is ^ighty-thj'ce.
Bobin,
How very tir'd of living she must be,
RED RIDING HOOD.
135
Eed.
You've got your gun—I hope it won't go off!
Kobin.
Ob, yes, it will, if you but dare to cough!
This gun is charg'd with powder and with lead,
And kills—
Eed.
Kills—
Eobiij.
Kills the thing until it's dead !'
Dead as a door-nail—
{A bird's call is heard off stage, L.).
Hark that piping—hush—
Hold quiet a minute till I shoot that thrush.
(Eobin takes gun off, loads it, and fires up toivards ceiling.
A dead bird is thrown down on stage at their feet,
Eed Eiding Hood picks it up.)
Eed.
Oh ! what a shame! the little bird is dead;
Its eyes are lightless, and its tiny head
Hangs like a broken flow'r, and all the thread
Of its heart's chorus to the sky's blue floor
It's silenc'd throat shall warble forth no moro.
Its feathers ruffl'd, aye, and stain'd so red—
"Would it were living now—
136 CHILDREN'S THEATRICALS.
Robin (turning away from her and speaking sadly).
Too late, it's dead !
(The pair novo stand hack to hack, and great care must he
given to the expression of the following scene)
Robin.
I'm in disgrace, oil! hoiv I hate this gun;
Quarr'lling with her was never worth the fun
Of shooting birds upon the quickset hedge-
To gain her friendship hack, my word I'd pledge
To put this gun away, out of my sight,
And ne'er to use it, save in cause of right.
Rut will she listen—
Red.
He's a cruel boy,
And might much better his spare time employ.
Still, he's my Robin, so I must forgive,
Else what would there be left for me to live 1
(They turn half towards each other, then quickly hack.)
Robin.
I think she will forgive, she seems to sway—■
Red.
Shall I say Robin, stop," or " Go away "1
Robin.
Like fleecy clouds chasing across the sky:
Eriendless they seem, yet, when calm night is nigh,
RED RIDING HOOD. 137
They join together in one vast embrace,
Truants no more—
Eed.
Could I but see his face,
To judge if " rain " or sunshine's settl'd there,
Or if a smile betokens he's " set fair."
Eobin.
Heiglro!
Eed.
IXeigho!
Eobin.
How silly is all this !
Eed (turning quickly).
Eobin, be friends.
Eobin.
And seal it with a kiss (they kiss).
Eed.
We're friends again—'twas really too absurd,
That we should quarrel over a dead bird.
Eobin-.
How, hear me swear—
Eed.
Hay, do not spoil your voice-
Bad words can never make the lips rejoice
In giving utterance—but, oh dear me,
I'm quite forgetting grandma's birthday tea.
138 CHILDREN'S THEATRICALS.
Bobin.
Shall I go with you 1
Bed.
Bo, for then we'd roam,
And I would never get to grandma's home.
(Taking his hand) I like you, for you say such pretty
things,
And every compliment the red blush brings
Into my face : at present we're but friends,
Some day, perhaps, 'twill grow to riper ends.
(Proudly) I think of you, my champion good and brave,
Who'd fight each village boy my fame to save.
Who'd—well—who'd steal an apple if I said
I long'd to eat a pippin ripe and red.
Bo bin.
I'd do all that and more, and nothing yield—
(Whispering) I'd steal a turnip from the farmer's field !
Bed.
Well, now, I'm off, noontide is nigh begun—
(Laughing) To-morrow we'll have romps and glorious
fun;
Down in our meadow, we shall dance and sing—
Bobin.
Forget not me when—kissing in the ring !
(Bobin goes off R., she looks after him.)
RED RIDING HOOD.
139
Eed.
I wonder if he's proud to think—ah well,
(Turns to L.) Ah, who comes here—such a great town-
born swell!
(The Wolf enters L. He must be dressed in a skin
covering body, legs, arms, and over head, leaving his
face bare—this must be stained brown. As the Wolf
is " on this occasion only " to be introduced as a comic
character, he must have tall hat, walking-stick, coat and
waistcoat of the latest fashions: eye-glass, etc.).
Good-morrow, pretty maid, methinks I smelt
Some bread, and cheese, and butter—and I felt
Quite hungry, I assure you—in your basket there.
Why, little lady, how with fright you stare.
LfhsLfor- you, in countxydom one misses "
One item thread-and cheese we've got—so kisses!
I've walk'd about in all our villagfe streets—
Wolf.
You mean to add, you never have such treats
As noble fellows such as I—now state
What is the object of next Sunday's plate?
The preacher said last Sunday 'twas the poor
Who were to get the off'rings—
Wolf, L.
Eed.
140 CHILDREN'S THEATRICALS.
Wolf.
Well, I'm sure
That's very strauge—hut since I have come clown,
Pray put this in for me, it's half-a-crown (gives coin).
Ked.
Oh ! thank you, sir—
Wolf.
Bo thanks to me, I pray,
But tell me, where go'st thou this autumn day 1
Bed.
I'm going to see my grandma, she's so old—
Wolf.
Old ladies are so nice, I've oft been told,
Perhaps you'd like to give her a new gown.
Bed (curtseying).
Oh, sir—
Wolf (giving coin).
Here, this will buy it—half-a-crown.
Bed (laughing).
Oh! half-a-crown won't buy grandma a dress !
Wolf.
Indeed, well now, I've made a pretty mess:
I thought it would, but then in your dear shops—
(Bed Biding Hood hands coin lack)
Hay, keep the coin to buy some lolly-pops.
RED RIDING HOOD.
141
Red.
Row (crossing to L.) I must go, my grandma lives o'er
there,
In that white cottage—
Wolf.
First let mo prepare
Her for your coming; I'm the hoy to run,
I'll say the eggs will follow, ain't this fun?
{Dances about) Your name ?
Red.
Red Riding Hood.
Wolf.
Well, knock me down,
I wouldn't miss this chance for half-a-crown.
{Takes off hat and botes, and keeps boning as he goes out R.
Red Riding Hood curtseys in return.)
Red, C.
Well, he's a funny man, yet so polite—
I hope that grandma won't get in a fright
At my long absence; I must really go—
{Going R.) Oh ! Robin, Robin, but I love you so.
{Goes off R.)
(Robin comes in L., as if watching.)
Robin.
Who's that great dandy speaking to my friend
Red Riding Hood 1 I should so like to send
142 CHILDREN'S THEATRICALS
A bullet through his head—his looks are bad;
I wonder what designs on her he had 1
I'll follow, for she call'd me good and brave,
I'll be her champion, and I'll be her slave! (Goes out R.)
SCENE II.
A Harvest-field.
(This scene should be painted as if the corn ivere being
cut—some standing, the rest lying in sheaves. Four
reapers enter—two from each side—ivith a sheaf of
straw in one hand and sickle in the other: they throw
down the sheaves on the stage, and get into position.)
2xd Reaper * * 4th Reaper
1st Reaper * * 3rd Reaper
R. L.
1st.
I think Red Riding Hood will pass this way,
This is her grandma's birthday, and she'll pay
A visit there, I'm sure—let's all prepare
To make a garland. In the distance there
I see her coming.
2nd.
Poppies fair and red,'
With twisted corn to place upon her head.
3rd.
She is the favourite of all, I ween.
RED RIDING HOOD.
143
4th.
Then why not crown her as our harvest queen ?
All.
Agreed.
1st (to 3rd Reaper).
Now, Alice, you sit on the ground,
(3rd Reaper sits on sheaf, C.)
I know the place where poppies can be found.
(Goes off R.)
2nd. '
Yes, Alice, you the crown of straw must twine,
3rd (after a pause).
I wonder if her head's as large as mine 1
(1st Reaper returns with a bunch of red poppies: all
kneel down, and help in making a wreath of the straw,
twining the poppies through it. This wreath, of course,
must be arranged before the play commences, and simply
tied round one of the sheaves. The poppies should be
on wire, so as to be easily fastened. This must be
practised before hand, as the wreath must be a pretty
and suitably sized one for Red Riding Hood to wear.
Incidental music during the making. When the garland
is finished, the Wolf enters L.; the reapers all start up
and the stage gets dressed.)
2nd Reaper * 4th Reaper
Wolf
1st Reaper * * # 3rd Reaper
11. C. L.
144 CHILDREN'S THEATRICALS.
Wolf.
Ah! pretty boys and girls at jovial play;
Whom is that chaplet for 1—do tell me, pray.
I am so fond of children, (aside) boiled I mean,
Serv'd like boil'd beef in a large soup-tureen.
1st.
This wreath is for Eed Eiding Hood, our queen.
Wolf.
She is the fairest lass I e'er have seen.
Why, I'm her cousin—ah ! she's just the same
Dear girl I left her: Mr. Wolfe's my name.
2nd.
Your name's not gentle, but you dress quite smart.
Wolf.
These are my working clothes, nay, do not start.
On Sundays I come out in coat of lace;
Upon my head a high cock'd-hat I place;
Striped trousers and white waistcoat, neat and clean—
I am the j oiliest wolf that e'er was seen.
3rd.
Yes, that you are, you smile and never frown.
Wolf (to her).
Child, go and buy some tarts—there's half-a-crown.
4 th.
How kind you are, I'd like to crown you king.
RED RIDING HOOD.
145
Wolf.
Oil! you must never think of such a thing.
Plain Mr. Wolf, no title to my name—
{Aside) To eat the grandma up is now my game.
2nd {coming to C., and touching the Wolfs legs).
Your trousers are all hair, how do they fold 1
Wolf.
I wear them, dear, your country is so cold.
Living in India has been my lot,
And climate there is most absurdly hot.
The rain is boiling water, and the ice
Is made of pepper, mustard, and hot spice.
(Wolf talces hat off and retires R., then comes lack and
attempts to kiss 4th Eeapek. She is frightened and.
moves away. Wolf kneels, kisses her hand and goes
out R.)
1st {looking off L.).
Ah! here's Eed Eiding Hood, let's feign surprise.
2nd.
Get her to kneel, and make her shut her eyes.
(Eed Eiding Hood enters L.)
Eed.
I wish that I could stop and have some play
With all you children
10
146 CHILDREN'S THEATRICALS.
2nd Eeaper
#
1st Eeaper 3rd Eeaper 4th Eeaper
B. # * * L
Eed Eiding Hood
->
3rd.
Just one moment stay.
4th.
Kneel down—
1st.
And ope your mouth—
2nd.
And shut your eyes,
3rd.
And in your mouth you'll find a prize.
4th.
Hot in her mouth you stupid.
1st.
Ho, not there;
2nd.
"Wreaths are not eaten, they are made to wear.
(The reapers all talce hands and dance round Eed Eiding
Hood, singing a nursery rhyme. But the singing must
be well done, or else omitted and music only playecl.
Eed Eiding Hood then kneels and looks towards 1st
Eeaper, 3rd Eeaper hands him wreath.)
RED RIDING HOOD. 147
1st.
As oldest harvest reaper I proceed
To crown you queen, for all of us agreed
That we would do you honour a3 you pass'd,
So here the harvest owns you queen at last!
(Garland is then placed on Red Riding Hood's brow,
the reapers shouting " huzza " three times.)
Red. (rising).
You're very good; I wish that I could stay,
But this, you know, is my grandma's birthday.
And when I find her, she'll be glad to hear
You've crown'd her grandchild. Her declining year
Will feel the solace such a gift bestows,
That here all are my friends and none my foes.
3rd.
Don't keep your grandma, for it is not right.
4th.
You'll soon be there, her cottage is in sight.
Red. {crossing to B.).
Then good-bye, reapers, here I'll oft be seen
Among my subjects ; am I not your queen?
(The reapers all kneel. Red Riding Hood goes out.
The reapers rise.)
10—2
148 CHILDREN'S THEATRICALS.
2nd.
That's a good girl, and, mates, is it not queer
There's not a girl within a mile of here
Who grudges her good fortune]
4 th.
Nor a hoy
Who wouldn't, wooing her, his time employ.
1st (looking off L.).
But here comes Bobin, he's the lover smart—
3rd.
She's baited him with her warm, feeling heart.
(Enter Bobin—he seems angry.)
Bobin, C.
Hast seen Bed Biding Hood come by this way ?
1st (to 2nd Beaper).
Let's make him jealous, quick—what shall we say ?
2nd.
Oh, Master Bobin, 'tis a monstrous shame,
Bed Biding Hood, as usual, this way came—■
But not alone—
3rd (pointedly).
No, not alone.
Bobin.
Then she—
RED RIDING HOOD. 149
4 th.
Came with her cousin, Mr. Wolf, d'ye see—
Robin.
That town-bred dandy ?
1st.
It was not correct,
She follow'd him.
2nd {archly).
Her cousin I expect.
Robin {goes B., stamping).
Thunder and lightning ! but I'll shoot him dead.
3rd {going towards him).
Come, jealous Robin, have you lost your head
Along with your poor heart 1
4 th.
There's no delay,
Once lose your heart, the head must go astray.
1st Reaper, 3rd Reaper
2nd Reaper *
o
* 0 4 th Reaper
rorin
ISO CHILDREN'S THEATRICALS.
1st.
Stop, we are jesting, on her brow you'll find
A poppy garland 'mid her hair entwin'd.
2nd.
We crown'd her here, pronounc'd her harvest queen—
Eobin.
This is the bravest day, sweetheart, I've seen.
Crown'd my Eed Eiding Hood ! joy boldly starts,
My princess now—to he my queen of hearts.
(Eobin goes off E.)
4th.
Did he say queen of hearts 1 how lovers rave !
Methinks that cousin may turn out the knave.
3rd.
(Placing finger on her lips: all the reapers go near her,
as if listening.)
" The queen of hearts she made some tarts all on a
summer day,
Tho knave of hearts he stole the tarts and took then
quite away."
(All go hack to places.)
2nd.
It's jolly jam she's made of, I believe,
She's not so bad her Eobin to deceive.
RED RIDING HOOD. 151
1st.
Evil we must not let our thoughts entrance,
Come, join together in our harvest dance !
(The reapers here go through figure from country dance,
quadrille or lancers; or sing and dance figure from
singing quadrille. For directions for doing which see
stage directions in play of " Beauty and the Beast."
This finished—)
1st.
Let's follow her, and to her grandma pay
A birthday tribute; reapers, haste away.
(All go off B,., carrying sheaves and sicldes.)
SCENE III.
Interior of Cottage.
(With "bed C., not quite at bach of stage, so that room is
left for a player to hide behind it. See farther on con¬
cerning this. The grandmamma discovered sitting up
in bed, ivith night-dress, night-cap, and spectacles on.)
grand.
I'm very ill to-day with these sore aches,
With naught to cheer, not e'en my birthday cakes.
Where is Eed Eiding Hood ? she's very late,
She should be here, tap-tapping at my gate.
152 CHILDREN'S THEATRICALS.
What I should do without her, I don't know—{pause)
Will she he glad when I am gone ? Oh no,
I mustn't think of that, she's very kind—
{Listening) Ah! there's her footstep borne upon tho
wind.
{Enter Wolf, L.)
Wolf, C.
Good-morrow, dame, I'm over-bold, you see,
To come to join you at your birthday tea;—
It's lovely weather, and the corn cut down,—
Just now I gave the reapers half-a-crown.
Eed Eiding Hood will come, I left her there,
And merely came her advent to prepare.
Grand.
Bat who are you 1
Wolf (ficrcchj).
A hungry ravenous beast,
Who's comd to eat you for a birthday feast.
(Grandmamma screams.)
Don't try to struggle, for my jaws have power
Completely you to swallow and devour.
{The Wolf rushes at the Grandmamma in the led, and
a struggle ensues—appropriate music being played—
during which the Grandmamma slips off led and down
Iphind, being thus hid from the audience and supposed
RED RIDING HOOD. IS3
by them to have been swallowed. The player enacting
the Grandmamma must remain in that position till end
of play. Previously a spare night-dress and night-cap
must be lying on flow, behind bed, all crumpled up,
and these the Wolf takes, along with spectacles, and
comes forward.)
Wolf.
A little tough, but still I got her down,
And saved my hotel dinner—balf-a-crown;
But I must back to bed, the child will come,
She'll make a nice dessert—ho, ho, ha—hum!
{The Wolf puts on the night-dress, night-cap, and spec¬
tacles ; of course, bungling as he does so, which ought to
create incidents amusing to the audience. lie then
gets into bed.—And enter Bed Biding Hood, L.)
Bed, L.C.
A happy birthday to you, granny dear,
I really thought-I ne'er should have got here,
Bor would they let me go, until they'd crown'd
Me queen; see here my garland prize—
{Pause) Grandma your ears have grown a monstrous
size!
Wolf.
Yes, that they have, at which you should rejoice,
Since I can better hear my grandchild's voice.
154 CHILDREN'S THEATRICALS.
Red.
And I met Robin coming o'er the lea,
And Robin said some kindly words to me;
I said he was my champion—
Wolf.
Champion shot ?
Red (pause).
Granny, how very large your eyes have got!
Wolf.
True, but at these you really must not scoff,
For I can see you, dear, a long way off.
Red.
And next I met a dandy from the town—
(Pausy Grandma, your hands look very largo end
brown!
Wolf.
Yes, very large, with love they grow apace,
Anxious their little grandchild to embrace.
Red.
But, grandma, you must taste this birthday cake—
Oh, horror, grandma, what a mouth you make.
Wolf.
Yes, I like cake, but you're the cake that I
Long for to eat. Red Riding Hood must die (takes off
caj>, &c.)
Red (starting lack).
Oh, spare me, Mr. Wolf, and do not frown.
tlED RIDING HOOD.
Wolf {rising).
I would not spare you, child, for half-a-crown.
Yield—
{The Wolf gels from led, and keeps chasing Bed Biding
Hood round the room—she screaming.)
Bed.
Mercy—
Wolf.
Yield.
{The Wolf and Bed Biding Hood having got to extreme
B., Bobin rushes in L. and fires Ms gun. The Wolf
falls down dead, near back of stage, so as to give room
to the other actors.)
Bobin.
Kay, that must be th^JSe—
{Taking her hand) Your champion's!con^Jmit almost
was too late.
{Looking at Wolf) Why, he's a wolf, your grandma he
has slain;
But now he's dead, and ne'er shall rob again.
Bed.
Oh ! Bobin, Bobin, you have sav'd my life,
What can I pay you 1
Bobin.
Promise that my wife
You'll be, when you and I grow up in years;
When we have gain'd the time when age reveres
156 CHILDREN'S THEATRICALS.
My manhood and your ■womanhood, and blest
In that sweet time when loving brings us rost.
(The four reapers entor L., and take up positions.)
2nd Reaper * * 3rd Reaper
1st Reaper * ,.5 Rodin * 4th Reaper
Red Riding Hood if
(Slow music during the following two speeches, not loud
enough, however, to drown the voices.)
Red.
Robin, when school is done and lessons o'er,
And we to useful life arise and soar;
When we shall wander in the harvest-fields,
And count the blessing that Dame Nature yields;
When birds around us twit their merry lay,
And sunshine blossoms warmly all the day:
Oft on this day our mem'ry shall be found,
When your sweetheart as harvest queen was crown'd.
Robin.
Fain would I bid these reapers here to dance,
With merry footsteps measuring, advance :
Rut while we joy, here must we mourn as well,—-
Of the Wolfs cruelty the sequel tell.
3rd (going to Robin).
You won't be jealous if a little boy,
Ivi sses Red Riding Hood and bids her joy?
RED RIDING HOOD.
157
(Robin shakes his head, Red Riding Hood and Reaper
kiss.)
2nd (going to Red.)
Hor you, if such a tiny little miss
As I, invoke your Robin for a kiss ?
(Red Riding Hood shakes her head ; Robin and Reaper
kiss. 1st Reaper beckons to 4th, and both get to C.
of stage in front of Robin, who steps back.)
2nd Reaper Robin 3rd Reaper
* * Red Riding Hood *
#
* #
1st Reaper 4th Reaper
1st.
We're wiser than our sister and our brother,
For we'll kiss—
4th.
Who?
1st.
Why, we'll kiss one another (kiss).
(All get back to original positions, and enters L. and
comes to C. a player, dressed as Parish Beadle, with
bell and staff.)
THE EPILOGUE.
Beadle (to audience).
This is to ask you if, by show of hands,
You do approve of Robin's marriage banns?
158 CHILDREN'S THEATRICALS.
He fir'd his gun, you know, in honest cause,
So crown his sure aim with your kind applause.
Surely your hands to clap you'll not refuse—
They've done their best their audience to amuse.
The curtain now must drop,—but lemonade
And cakes will soon be handed by the maid.
Don't eat them all—
Robin.
Come, youngster, don't be rude,
Of course they'll keep some for Red Riding Hood.
1st.
And me—
2nd.
And me—
3rd.
And me—
4th.
And me.
Readle (loudly).
'All right!
(Pause; then to audience:) Accept from all the
players kind good-night.
(Music, " The Wedding March." Robin and Red Riding
Hood kneel; Readle behind them waves his staff: 2nd
and 3rd Reapers hold up sheaves of corn; 1st and
4th hold sickles above head. Curtain.)
RED RIDING HOOD.
159
2nd Reaper 3rd Reaper
* Beadle *
#
# * # #
1st Reaper Red Riding Hood Robin 4th Reaper
(As in the previous plays, the selection of the incidental
music is left to the discretion of the accompanyist, but
to fill up gaps and make the representation complete,
appropriate airs should be played at every entrance
and exit,)
the end*
BILLING AND SONS, PRINTERS, GUILDFORD, SURREY,
NOVELS AT ONE SHILLING.
Capt. MARRYAT.
Peter Simple.
The King's Own.
Midshipman Easy.
Rattlin the Reefer,
Pacha of Many Tales.
Newton Forster.
Tacob Faithful.
The Dog Fiend.
Japhet in Search of a
Father.
The Poacher.
The Phantom Ship.
Percival Keene.
Valerie.
Frank Mildmay.
Olla Podrida.
Monsieur Violet,
The Pirate and Three
Cutters.
W.H. AINSWORTH
Windsor Castle.
Tower of London.
The Miser's Daughter.
Rdokwood.
Old St. Paul's.
Crichton.
Guy Fawkes.
The Spendthrift.
James the Second.
Star Chamber.
Flitch of Bacon.
Lancashire Witches.
Mervyn Clitheroe.
Ovingdean Grange.
St. James's.
Auriol.
Jack Sheppard.
J. F. COOPER,
The Pilot.
Last of the Mohicans
The Pioneers.
The Red Rover.
The Spy.
Lionel Lincoln.
The Deerslayer.
The Pathfinder.
The Bravo.
The Waterwitch.
Two Admirals.
Satanstoe.
Afloat and Ashore.
Wyandotte.
Eve Effingham.
Miles Wallingford.
The Headsman.
The Prairie.
Homeward Bound.
The Borderers.
The Sea Lions.
Precaution.
Oak Openings.
Mark's Reef.
Ned Myers.
The Heidenmauer.
ALEX. DUMAS.
Three Musketeers.
Twenty Years After.
Dr. Basilius.
The Twin Captains.
Captain Paul.
Memoirs of a Phy¬
sician, 2 vols. (ir.
each).
The Chevalier de
Maison Rouge.
The Queen's Necklace.
Countess de Charny.
Monte Cristo, 2 vols.
Nanon.
The Two Dianas.
The Black Tulip.
Forty-five Guardsmen..
Taking of the Bastile,
2 vols. (if. each).
Chicot the Jester.
The Conspirators.
Ascanio.
Page of the Duke of
Savoy.
Isabel of Bavaria.
Beau Tancrede.
Regent's Daughter.
Pauline.
Catherine.
Jngdnue.
Russian Gipsy.
The Watchmaker.
GERALD GRIFFIN
Munster Festival.
The Rivals.
The Colleen Bawn.
WM. CARLETON.
Jane Sinclair.
The Clarionet.
The Tithe Proctor.
Fardarougha.
The Emigrants.
N. HAWTHORNE. 1
The Scarlet Letter.
The House of the
Seven Gables.
Mosses from an Old
Manse.
By V arious Authors.
Julie de Bourg.
Ltlias Davenant.
Soldier of Fortune.
Compulsory Marriage.
Young Prima Donna.
Stories of Waterloo.
The Divorced.
Violet, the Danseuse.
Kindness in Women.
The Old Commodore.
The Albatross.
Cinq Mars.
Zingra, the Gipsy.
The Little Wife.
Adelaide Lindsay.
The Family Feud.
Nothing but Money.
Tom Jones.
A Week with Mossoo,
by C. Ross.
Out for a Holiday with
Cook, by Sketchley.
Sterne's Works.
Mountaineer of the At¬
las, by W. S. Mayo.
Reminiscences of a
Physician.
Mysteries of Udolpho.
Complete Edition.
Log of the Water Lily
in Three Cruises.
Through the Keyhole,
byJ.M.Jephson.
SIXPENNY NOVELS.
ByCapt. MARRY AT.
Peter Simple.
King's Own.
Newton Forster.
Jacob Faithful.
Frank Mi Id may.
Pacha of Many Tales.
Japhet in Search of a
Father.
Mr. Midshipman Easy.
The Dog Fiend.
The Phantom Ship.
Olla Podrida.
The Poacher.
Percival Keene.
Monsieur Violet.
Rattlin the Reefer.
Valerie.
By J. F. COOPER.
The Waterwitch.
The Pathfinder.
The Deerslayer.
Last of the Mohicans.
The Pilot.
The Prairie.
Eve Effingham.
The Spy.
The Red Rover.
Homeward Bound.
Two Admirals.
Miles Wallingford.
The Pioneers.
Wyandotte.
Lionel Lincoln.
Afloat and Ashore.
The Bravo.
The Sea Lions.
The Headsman.
Precaution.
Oak Openings.
The Heidenmauer.
Mark's Reef.
Ned Myers.
Satanstoe.
The Borderers.
Jack Tier.
Mercedes.
SirW. SCOTT.
Guy Mannering.
The Antiquary.
Ivanhoe.
Fortunes of Nigel.
Heart of Midlothian.
Bride of Lammermoor.
Waverley.
Rob Roy.
Kenilworth.
The Pirate.
The Monastery.
Old Mortality.
Peveril of the Peak.
Quentin Durward.
St. Ronan's Well.
The Abbot.
The Black Dwarf.
Woodstock.
Anne of Geierstein.
The Betrothed.
Fair Maid of Perth.
The Surgeon's Daugh¬
ter, &c.
The Talisman.
Count Robert of Paris.
Red Gauntlet.
By Various Authors.
Artemus Ward, his
Book.
Artemus Ward, his
Travels.
Nasby Papers.
Major Jack Downing.
Biglow Papers.
Orpheus C. Kerr.
Robinson Crusoe.
Uncle Tom's Cabin.
Colleen Bawn.
Vicar of Wakefield.
Sketch Book, by
Irving.
Sterne's Tristram
Shandy.
Sentimental
journey.
English Opium Eater.
The Essays of Elia.
Notre Dame.
Roderick Random.
The Autocrat of the
Breakfast Table.
Tomjones, vol. i.
vol. 2.
Queechy.
Gulliver's Travels.
The Wandering Jew
(TheT ransgression).
(The Chastise¬
ment).
(The Redemp¬
tion).
The Mysteries of Paris:
Morning.
Noon.
Night.
The Lamplighter.
The Professor at the
Breakfast Table.
Last Essays of Elia.
Hans Breitmann.
Biglow Papers, 2nd ser.
Josh Billings.
I Romance of the Forest,
by Mrs. Radcliffe.
The Italian, by ditto.
Mysteries of Udolpho,
by Mrs. Radcliffe,
vol. 1.
vol. 2.
The Shadowless Man.
L
Published by George Routledge and Sons.
AMERICAN LIBRARY:
A Series of the most Popular American Works, in fancy covers, Is. each,
Messrs. George Routledge & Sons are my only authorised London
Publishers.—(Signed) Mark Twain.
By MARK TWAIN.
The Celebrated Jumping Frog.
Author's edition, with a Copy¬
right Poem.
Roughing It (copyright).
The Innocents at Home (copy¬
right).
Mark Twain's Curious Dream
(copyright).
The Innocents Abroad.
The New Pilgrim's Progress.
Information Wanted, and
Sketches.
By BRET HARTE.
The Luck of Roaring Camp, with
a Preface by Tom Hood.
Bret Harte's Poems (complete).
Mrs. Skaggs's Husbands.
Condensed Novels.
An Episode of Fiddletown.
The Fool of Five Forks.
Wan Lee, the Pagan.
Thankful Blossom.
A Summer Sheaf.
ByE. EGGLESTON.
The Hoosier Schoolmaster.
The End of the World.
The Mystery of Metropolisville.
Maum Guinea, by Mrs. Victor.
Life in Danbury.
My Opinions, and Betsy Bobbits.
Farm Ballads, by Carleton.
Out of the Hurly Burly, by Max
Adeler.
Autocrat of the Breakfast Table.
Artemus Ward : His Book—His
Travels.
Eastern Fruit on Western Dishes.
First Families of the Sierras.
Biglow Papers, ist and 2nd series.
Cloth of Gold, by T. B. Aldrich.
Helen's Babies, by One of their
Victims.
Elbow Room, by Max Adeler.
I F ubiieli'cu by Gcuigc
The Barton Experiment, by the
Author of Helen's Babies.
Jericho Road, by the same Author. '
Some Other Babies, Very Like J
Helen's, only More So.
The Man who was Not a Colonel,
by a High Private.
Dot and Dime: Two Characters
in Ebony.
The Poet at the Breakfast Table.
By O. W. Holmes.
The Scripture Club of Valley
Rest.
Other People's Children.
That Husband of Mine.
The Four Inexpressibles.
Two Shilling Volumes.
Roughing It, and the Innocents
at Home.
Mark Twain's Sketches.
The Innocents Abroad, and the
New Pilgrim's Progress.
The Celebrated Jumping Frog,
and the Curious Dream.
Prose and Poetry, by Bret Harte.
Holmes's Poet at the Breakfast
Table.
Holmes's Elsie Venner. 1
Condensed Novels, and Mrs.
Skaggs's Husbands.
The Circuit Rider, by Eggleston.
Arthur Bonnicastle, by Dr. Hol¬
land.
The Gilded Age, a novel, by Mark
Twain and C. D. Warner. j
Josh Billings' Wit and Humour. '
Pmdence Palfrey, by T. B.
Aldrich.
Marjorie Daw, by T. B. Aldrich.
Helen's Babies,and Other People's
Children.
Mr. Miggs of Danbury, by J. M.
Bailev.
Some Folks, by Author of Helen's
Babies.
jRuuileuue and Sons.
PETER ROBINSON
OXFORD SI, LONDON.
SEVERAL THOUSAND
MADE BALL & WEDDING DRESSES
In all the Latest Novelties and variety of Design,
At Prices ranging from 18s. 6d. to 10 Guineas.
"THE MAUDE,"
a very charming dress, in pure White, Black, or Coloured Tarlatan.
The train profusely trimmed. Price 21s.
With ample Materials for Bodice. A substantial Box included.
I
BRUSSELS NET DRESSES
in Black, White, and all the New Colours.
WITH MATERIALS AND TRIMMINGS FOR B0DI0E,
25s, 6d. the Robe.
jfW BOOK OF ILLUSTRATIONS, WITH COPIOUS DETAILS,
SENT POST FREE.