N EW
P L A Y
S UJi V E Y
National Service Bureau
Federal Theatre Project
Works Progress Administration
MEW PLAYS
SUS'VLY
Price 25 cent?
5. 1 1 0 *
• r y<l
^ /
PUBLICATION NO. 5U-L
f DECEMBER 1938 ^
^ /> t ^
k/C E V4^
NATIONAL SERVICE BUREAU
FEDERAL THEATRE PROJECT
WORKS PROGRESS ADMINISTRATION
1697 Broadway - New York City
Irwin A. Rubinstein, Mana.ger
NEI PLAYS
SURVEY
Compiled by
Play Reading Department
Converse Tyler, Supervisor
To secure additional copies
mail 25 cents for each to Cashier
NATIONAL SERVICE BUREAU
1697 Broadway - New York City
Please mention publication number
FOREWORD
It is now nearly two years since National Service Bureau made
a survey of new play material. In the months that have intervened the
Play Reading Department under the supervision of Converse Tyler has
read and analyzed thousands of manuscripts. The plays listed here are
those which attracted the most favorable comment.
This is, of course, simply an inventory of Federal Theatre's
own reading. It does not attempt to cover every new script that has
been under managerial consideration during the last two years. Nor
does Federal Theatre presume to recommend each of these scripts for
production, either on its own stages or those of other groups. It is
submitted merely as an impartial record of a large cross-section of
creative effort in the American theatre.
Some of these plays were first produced by Federal Theatre.
Others have at various times been under consideration for production.
Many have not been passed upon at all by production units of Federal
Theatre. But all of them have been read and studied by the Play Reading
Department of the Play Department of National Service Bureau and this is
the report of that study.
Federal Theatre makes no attempt to draw any deductions from
the wide diversity of the themes represented here. But it will be
readily apparent that the Living Newspaper technique, discovered and de¬
veloped by Federal Theatre, is being used with increasing frequency and
with exciting variations. Some of the flexible stage designs, intro¬
duced by Living Newspaper, will be found in SEE HOW THEY RUN by George
Milton Savage, the winning play in the Dramatist Guild Contest, which
blends the Living Newspaper form with the more conventional stage pat¬
terns. Other experiments with this method of dramatization will be
found in CREATED EQUAL, POOR LITTLE CONSUMER and SPIROCHETE.
The great lack in the play field continues to be good one-act
scripts. These are few and far between, and in order to present repre¬
sentative one-act titles it has been necessary to include a few plays
which have been published, such as Maxwell Anderson's THE BASTION SAINT
GERVAIS which has been produced on the radio; Emmet Lavery's MONSIGNOR'S
HOUR which received its first professional production in this country
in the Federal Theatre in New Orleans and Weldon Stone's DEVIL TAKE A
WHITTLER.
Ill
CONTENTS
DRAMATISTS' GUILD - FEDERAL THEATRE CONTEST PLAYS
PAGE
* SEE HOW THEY RUN (Winner)
A BETTER DAY
HEADACHE POST, THE
U. S. ARK
George Savage 1
Walter Abbott 2
Philip Atlee & Edmund Van Zandt 3
Whitfield Cook ^
DRAMA
♦ALTARS OF STEEL
Thomas Hall-Rogers
5
BIG BLOW, THE
Theodore Pratt
6
CUBAN SCENE
Walt Anderson
7
FINE PRETTY THINGS
Weldon Stone
8
GENERATIONS
Ben Russak
9
HEAVENLY EXPRESS
Albert Bein
10
♦IF YE BREAK FAITH
Maria M. Coxe
li
KAMIANO
Emmet Lavery
12
LIFE AND DEATH OF AN AMERICAN
George Sklar
13
♦LONELY MAN, THE
Howard Koch
lU
MAN OF TOMORROW
H. Noble & E. Sammis
15
MAY MADNESS
Mabel DeVries Tanner &
Edmund Fuller
l6
MIRROR CRACKED, THE
John Crosby
17
MORNING IN AMERICA
Willard Wiener
18
NEW ANTIGONE, THE
W, Edward Clark
19
PLUM HOLLOW
Alvin Kerr
20
POPE AND THE JEW, THE
Edrnond Fleg
21
♦PROLOGUE TO GLORY
E. P. Conkle
22
♦RACHEL'S MAN
Bradbury Foote
23
SECOND SHEPHERD'S PLAY
Harold Whitehall
2h
SONG OF THE BRIDGE, THE
Thomas Conger Kennedy
25
STAR OF NAVARRE, THE
Victor Victor
26
SUN FOR SORROW, THE
Henry C. Haskell
27
♦THIS PRETTY WORLD
Converse Tyler
28
THIS PROUD PILGRIMAGE
Norman Rosten
29
TIME TO REMEMBER, A
Marie Baumer
30
WHARFSONG
W. Allen Coutts
31
WOLVES, THE
Roma in Rolland
English version by Barrett Clark
32
WOODS COLT, THE
Virgil Lyle Ba.ker
33
YEARS BETWEEN, THE
Chase Varney
3U
ZEAL OF THY HOUSE
Dorothy L. Sayers
35
ZERO HOUR
Kate Horton
36
COMEDY
DONOGOO-TONKA
FOUGAS OF THE 23D
♦MAN IN THE TREE, THE
MERRY-GO-MAD
♦MORAL ENTERTAINMENT, A
Jules Romains
Adapted by Gilbert Seldes
Ada Sterling
John Woodworth
Victor Victor
Richard Maibaum
37
38
39
Uo
Ui
IV
(COMEDY - cont'd)
SUMMER MUMMERS Mary Manning
*TAILOR BECOMES A STOREKEEPER,THE David Pinski
Translated by Elihu Winer
VERY GREAT MAN, THE
LIVING NEWSPAPER
■"CREATED EQUAL
POOR LITTLE CONSUMER
■"SPIROCHETE
NEGRO PLAYS
*BIG WHITE FOG
DARK CORNER
■"HAITI
SHADOW ON THE RIVER
CHILDREN'S PLAYS
*BRE'R RABBIT AND THE TAR BABY
HONORABLE ALADDIN AND HIS LAMP
LITTLE BLACK SAMBO
PETER GOES TO THE FAIR
■"SIR FROG GOES A-TRAVELLING
ONE-ACT PLAYS
BASTION SAINT GERVAIS, THE
DEVIL TAKE A WHITTLER
EXILED IN EDEN
FAREWELL TO LOVE
GOODNIGHT PLEASE.'
*MONSIGNOR'S HOUR
ONE CAR WEDDING
PEOPLE OF THE CAGE, THE
TORCH, THE
WATER AND WINE
YELLOW FEVER
MUSICAL COMEDY
Jack Haussmann & A. E. Thomas
John Hunter Booth
Robert Russell
Arnold Sundgaard
Theodore Ward
Bernard Davis
William Du Bois
R. Edgar Moore
Ruth Mitchell & Alfred Allen
Sally Coulter
Charlotte Chorpenning
Mary Morley Crapo
Isabel Anderson
Maxwell Anderson
Weldon Stone
Georgiana Adams
Colin Clements &
Florence Ryerson
James Daggett
Emmet La.very
Seyril Schochen
Nellise Child
John Broome
Frances Gordon Strunsky
Peter Arnow
PAGE
1+2
U3
1+1+
1+5
1+6
U7
1+g
1+9
50
51
52
53
51+
55
56
57
Fg
59
60
61
62
63
61+
65
66
67
READY.' AIM.' FIREJ
Gene Stone & Jack Robinson
6g
■"Produced for the first time professionally by Federal Theatre
V
ALPHABET!CAL INDEX
TITLE AUTHOR PAGE
*ALTARS OP STEEL Thomas Hall-Rogers 5
BASTION SAINT GERVAIS, THE Maxwell Anderson 57
BETTER DAY, A Walter Abbott 2
BIG BLOW, THE Theodore Pratt 6
*31G WHITE FOG Theodore Ward 48
*BRE*R RABBIT AND THE TAR BABY Ruth Mitchell & Alfred Allen 52
* CREATED EQUAL John Hunter Booth 45
CUBAN SCENE Walt Anderson 7
DARK CORNER Bernard Davis 49
DEVIL TAKE A WHITTLED Weldon Stone 58
DONOGOO-TONKA Jules Romains 37
Adapted "by Gilbert Seldes
EXILED IN EDEN Georgiana Adams 59
FAREWELL TO LOVE Colin Clements & Florence Ryerson 60
FINE PRETTY THINGS Weldon Stone 8
FOUGAS OF THE 23D Ada Sterling 38
GENERATIONS Ben Russak 9
GOODNIGHT PLEASE! James Daggett 61
*HAITI William Du 3ois 50
HEADACHE POST, THE Philip Atlee & Edmund Van Zandt 3
HEAVENLY EXPRESS Albert Bein 10
HONORABLE ALADDIN AND HIS LAMP Sally Coulter 53
*IF YE BREAK FAITH Maria M. Coxe 11
KAMIANO Emmet Lavery-G. Murphy 12
LIFE AND DEATH OF AN AMERICAN George Sklar 13
LITTLE BLACK SnMBO Charlotte Chorpenning 54
* LONELY MAN, THE Howard Koch 14
* MAN IN THE TREE, TEE John Woodworth 39
MAN OF TOMORROW H. Noble & E. Sammis 15
MAY MADNESS Mabel DeVries Tanner &
Edmund Fuller 16
MERRY-GO-MAD Victor Victor 40
MIRROR CRACKED, THE John Crosby 17
♦MONSIGNOR'S HOUR Emmet Lavery 62
* MORAL ENTERTAINMENT, A Richard Maibaum 41
MORNING IN AMERICA Willard Wiener 18
NEW ANTIGONE, THE W. Edward Clark 19
ONE CAR WEDDING Seyril Schochen 63
VI
TITLE
AUTHOR
PAGE
PEOPLE OF THE CAGE, TEE
Nellise Child
64
PETER GOES TO THE FAIR
Mary Morley Crapo
55
PLUM HOLLOW
Alvin Kerr
20
POOR LITTLE CONSUMER
Robert Russell
46
POPE AND TEE JEW, TEE
Edmond Fleg
21
* PROLOGUE TO GLORY
E. P. Conkle
22
* RACHEL'S MAN
Bradbury Foote
23
READY.' AIM.' FIRE!
Gene Stone & Jack Robinson
68
SECOND SHEPHERD'S PLAY
Harold Whitehall
24
* SEE HOW TEEY RUN
George Savage
1
SHADOW ON THE RIVER
R. Edgar Moore
51
* SIR FROG GOES A-TRAVELLING
Isabel Anderson
56
SONG OF THE BRIDGE
Thomas Conger Kennedy
25
* SPIROCHETE
Arnold Sundgaard
47
STAR OF NAVARRE, THE
Victor Victor
26
SUMMER MUMMERS
Mary Manning
42
SUN FOR SORROW, THE
Henry C. Haskell
27
* TAILOR BECOMES A STOREKEEPER,TEE David Pinski
Translated By Elihu Winer 43
* THIS PRETTY WORLD Converse Tyler 28
THIS PROUD PILGRIMAGE Norman Rosten 29
TIME TO REMEMBER, A Marie Baumer
Adapted By Leane Zugsmith 30
TORCH, TEE John Broome 65
U. S. ARK Whitfield Cook 4
VERY GREAT MAN, TEE A. E. Thomas & Jack Eaussmann 44
WATER AND WINE Frances Gordon Strunsky 66
WHARFSCNG W. Allen Coutts 31
WOLVES, TEE Romain Rolland
English version by Barrett Clark 32
WOODS COLT, TEE Virgil Lyle Baker 33
YEARS BETWEEN, TEE Chase Varney 34
YELLOW FEVER Peter Arnow 67
ZEAL OF THY HOUSE Dorothy L. Sayers 35
ZERO HOUR Kate Eorton 36
* Produced for the first time professionally by Federal Theatre
VII
• SEE HOW THEY RUN
Three-Act Drama.
by
George Sava,ge
(Winning Play of the Dramatists' Guild Play Contest)
Labor conditions in America are revealed in this moving drama in
an inspired and unbiased manner. It is excellently and colorfully
written,its technique being modern and dynamic and its theme signi¬
ficant. It is an unusual and important drama.
SYNOPSIS:
A large American city, seat of a famous University, is paralyzed by
an industrial strike. STEVE MacDOUGAL, a. graduate of the university,
is the strike's general, the accredited and true leader; but AINO
LAUKENIN, a visionary worker who justly suspects GUS SCHULTZ, labor
boss, of selling out their cause, takes things into his own hands. A
riot is started and Aino is killed, the STRIKERS now have a martyr
but the confusion among them is harmful to their cause, JOHANSEN,
a brilliant humanitarian, who is President of the University, is the
most influential man in the state. The industrialists, the MAYOR and
his crowd, and the LABOR 30SSES attempt to coerce and intimidate him;
the Mayor using the withdrawal of a huge grant of money for the uni¬
versity, as a threat if Joha.nsen does not start an antiunion campaign.
MacDougal goes to Johansen and begs him to stand firm with the workers.
Johansen, his own FACULTY against him, is willing to risk everything
for the betterment of humanity, and fight both capital and the labor
bosses to help the workers. He calls both sides together, and unknown
to them every word said is going out over the air, broadcast for the
strikers benefit. Schultz reveals that he has sold out to the industri¬
alists. Hell breaks loose in the city. When the assembled leaders
realize that their secret conference has been heard by millions, they
are forced to give in to Johansen on every point, and he has become a.
national hero.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama,
21 characters - 21M; extras
3
Full evening
Modern
Must be expert
Moderately difficult
Frieda Fishbein
2lb West U2nd Street
New York City
Contact author's agent for price and royalty
-1-
A BETTER DAY
Two-Act Melodrama
by
Walter Abbott
In spite of the artificiality of the plot, this play is intensely
absorbing and has some good dialogue and interesting characterizations.
On the whole it is exciting theatre.
SYNOPSIS:
Inside the Summers mansion, a group of bored MILLIONAIRES and INTEL¬
LECTUALS dawdle, while outside a May Day celebration rages. Riots break
out. The LEETISTS sweep in and take charge of the mansion and the radio
announces that the Leftists have captured Washington. Within the man¬
sion the Leftists are divided into two or more factions, WINCLURR, who
suffered seventeen years imprisonment, wishes to execute the entire crowd.
ORMISTON, Leftist leader in charge, is for moderation. He is attracted
to NATALIE SUMMERS, who falls madly in love with him. But Natalie and
the BUTLER have sent word through to the Eascisti. Their trick is dis¬
covered, but Ormiston prevents their execution. The little group of
Fascisti wrangle, and the group of Leftists indulge in such bitter dis-
sention that they kill several of their members. Ormiston realizes that
more violence will only result in complete chaos. Suddenly the Fascisti
shoot Ormiston, take over the mansion and liberate the capitalists. The
radio announces that the entire country has fallen to the Fascisti. An
IMPERATOR seizes power and the capitalists pay heavy tribute. Natalie
grieves for Ormiston and the liberal SUMMERS bitterly regrets the vacil¬
lation of the liberals, who have permitted first a Leftist revolution
and then a Fascist hell.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social melodrama
29 characters - 2^M, 5?
1 - interior of mansion
2 hours
Modern
Professional skill required
Moderately difficult
Walter Abbott
1710 Lakefront Avenue
East Cleveland, Ohio
Consult author for price and royalty
-2-
THE HEADACHE POST
Three-Act Drains
by
Philip Atlee and Edmund Van Zandt
Those who are interested in living theatre will find qualities in
this drama which merit recognition. The play is in an unfinished
state but even in its present conditon it would make a good pro¬
duction for amateur and experimental groups. It has these extreme¬
ly rare qualities: (l) characters pulsating with life; (2) dialogue
that evokes physical sensory reactions; (3) writing that is finely
sensitive and restrained.
SYNOPSIS:
JIM, a„n extraordinarily good driller for an oil well promoter named
Tolleris, is anxious to bring in a weld, for his employer in an unpro¬
mising territory so that he can get a well-earned promotion and take
his beloved, Maria, away from the hot stinging sands of the desert
country. TOLLERIS is in trouble with the government because of his
illegal methods of selling stock in his enterprises. Tolleris hurries
the loosening of a stock line with the result that Jim's YOUNGER BROTHER
loses a. hand. Then Tolleris sends his son to replace him; and young
Tolleris proceeds to woo MARIA. Jim goes into town for a well shooter
to bring up the oil and there learns that young Tolleris is to get the
job for which he has been striving and that Maria is planning to leave
the desert with him, she having despaired of Jim's ever getting away
from the stinging sand. Jim gets back to the well just as the nitro¬
glycerine is exploded and the oil comes up. He persuades THE KID (young
Tolleris) to go back to town with him after the others have left, then
suggests that The Kid climb to the top of the derrick, which he had want¬
ed to do before and which had been prohibited. Jim climbs "ith him and
starts to throw him off '"hen they get to the top. Maria comes driving
up and Jim, going white, falls instead. As the curtain goes down, Jim,
having fallen miraculously into the slush pit, plans for his future mith
Maria.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama
21 characters - 19M, IF; 1 Child; extras
3 -1 exterior,2 interior
1-? hours
Simple
Should be sensitive and competent
Requires good equipment
Alice Kauser
152 W, U2nd Street
New York City
-3-
U. s. ARK
Three-Act Fantasy
by
Tfhit field Cook
The stimulating theme, wit and excellent theatrical qualities of
this play should delight any director. The script is an original
and imaginative piece of work and whe.t weaknesses it presents are
offset by irony and humor in liberal measure.
SYNOPSIS!
ADAM TOOGOOD, a Boston professor, has a dream that the world "ill
be destroyed in a great flood as in the time of Noah. He is in¬
structed to have a big ship built, and on a. particular date take
with him his family, certain animals and persons. These, the
"chosen" will set sail for a new land and will start a new life
when the waters subside. MRS. TOOGOOD, a clubwoman, immediately
sets to work organizing the routine aboard ship and the new life
to be lived with the arrival of the flood. Her new life shapes up
in most essentials like the old one. BM TOOGOOD, Adam's son, is
a. frustrated and defeated young man, and feels himself unworthy of
the new life. ZILLAH, the daughter, smuggles onto the boat a YOUNG
MAN whom she meets on the pier and with whom she falls in love. The
family finally sets out with those of the "chosen" who have decided
to come aboard. Two of these, FANCHON, a Communist, and PETHRKIN,
a Fascist, immediately set up rival organizations and a struggle for
power ensues, Adam, liberal and humanitarian, is powerless to cope
with the two forces. Zillah, having had a lover's quarrel ™ith Johnny,
consents to marry Fanchon for the sake of peace. But Peterkin and Fan-
chon shoot each other and the play ends on a note that youth will re¬
deem the new life.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social fantasy
12 characters - 7M, 5F
3
2 hours
Modern
Requires skill and imagination
Professional staff and good equipment needed
National Service Bureau
1697 Broadway
New York City
ALTARS OP STEEL
A Social Drama In Sixteen Scenes
"by
Thomas Hall-Rogers
All those theatrically minded groups who are in search of unusual
material will find exciting possibilities in the production and
presentation of ALTARS OF STEEL. Its theme is vital and timely,
and whatever flaws there are in the script can be ironed out in
production. A capable and imaginative director c^n whip this
piece into a spectacular and tensely dramatic offering. The
Atlanta Federal Theatre Project staged a highly successful produc¬
tion of this play.
SYNOPSIS:
JOHN WORTH, owner of the Alabama Steel Works, is admired and trust¬
ed by his employees without benefit of unions; the workers feel no
need of organization, for Worth has kept faith with them. In order
to gain control of Alabama. Steel, KARL JUNG, of the United States
Steel Corporation, buys out the banks holding Worth's notes and
forecloses on the small company's holdings. Worth, retained as a
figurehead, is powerless to help either himself or his employees.
The workers are now treated unjustly and are exposed to the influence
of agitators. When a workers' delegation arrives before Jung to de¬
mand fair play he sends for an army of strikebreakers, and orders
work resumed on an unsafe steel oven. SUPERINTENDENT HOGAN refuses
to order his men to jeopardize themselves and Jung asks for his re¬
signation. Incensed, Worth resigns with him. That night the oven
collapses, killing eighteen men. The WORKERS are baited into a state
of frenzy, and storm the mills in an attempt to seize Juijg, who having
been refused the protection of the militia, pleads with Worth to save
him from the mob. Worth consents to help on condition that full exe'ci>-
tive power be signed over to him. Having thus regained authority Worth
settles the critical situation satisfactorily*
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama
33 characters - JIM, 2F; extras
16 scenes played on one set with blackouts
Full evening
Modern
Imaginative and skillful direction required
Needs technical proficiency, good staff and equipment
Thomas Hall-Rogers
510 North 21st. Street
Birmingham, Ala.
Consult author for price and royalty
-5-
THE BIG BLOW
Rural Drama In Five Pcenes
Theodore Pratt
An authentic picture of the little known, oft misrepresented Florida
cracker. The olay is rich in characterization, local color and- inci¬
dent. There is humor here, excitement and pathos. All in all, the
drama is a bit of Americana well worth producing; and it's production
may be as simple or elaborate as desired. THE BIG BLOW was produced
in New York in October, 193® the Federal Theatre Project.
SYNOPSIS:
WADE BARNETT, his sick MOTHER and bis AUNT JANE emigrate from Nebraska
to farm the storm-swept, infested sandy soil of South Florida. They
find that even worse than trying to till this land, while in ignorance
of its needs, is the active animosity of the illiterate, superstitious
crackers who inhabit it and who resent the intrusion of all "furriners".
They are helped only by CELIE, a fifteen year-old cracker girl whose
sudden and appealing maturity has caught the lecherous eye of the local
bully, one CARNEY JELKE. Wade falls in love with Celie; Jelke, quick
to see this, attempts to force his attentions on Celie and is knocked
down by CLAY, Celie's old Negro servant, who escapes and eventually is
hidden in Wade's cellar. Wade's mother dies. Clay is discovered in
Wade's cellar by the CRACKERS led by Jelke. They intensify their ef¬
forts to drive the "furriners" away from South Florida and massing
against Wade - at a "Holy Roller" meeting, threaten to evict him bodi¬
ly. But one of Florida's fierce hurricanes begins, to sweep the local¬
ity, and the little group of antagonists caught in the grip of its fury
settle their differences and find, new and greater values in each other.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Americana - farm life
12 characters - 8M, Uf; many extras
U - yard of a Florida farm, a cabin; interior
of log house; Holy Rollers tent
Full evening
Rural
Must be sensitive, sympathetic, and with experience
in group movement
As simple or elaborate as desired
Theodore Pratt
c/o Leyland. Hayward, Inc.
65^ Madison Avenue
New York City
Consult author for price and royalty
CUBAN SCENE
Two-Act Drama
by
Wait Anderson
Skillful direction will be needed to iron out the static interlude?,
during which off-stage action is described rather than dramatized,
marring otherwise intensely dramatic moments. The material, however,
is splendid in both its dramatic qualities and its -political signi¬
ficance.
SYNOPSIS:
The story of the despera,te struggle of a small band of Cuban REVOLU¬
TIONARIES against the tyrannical MACHADO REGIME is unfolded against
an impressive and appalling background of the machinations of AMERICAN
INTERESTS in Cuba. The Fa.scist terror maintained by Machado with Ameri¬
can financial supnort, has transformed all of Cuba into a tyrannically
ruled territory where the hint of treason is punished by immediate im¬
prisonment or death. By means of regular broadcasts, over a hidden
radio station, the REBELS manage to keep the people stirred up for re¬
volt. The OPERATORS of the station are finally captured, tried, and
executed. But the PEOPLE are aroused. The downfall of Machado has
become inevitable.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama - Cuban revolt
22 characters - 19M, 3^
b - 7 changes
2 hours
Cuban
Must be thoroughly professional
Moderately difficult, moderately expensive
Walt Anderson
32b East 52nd Street
New York City
-7-
FINE PRETTY THINGS
Three-Act Folk Drama
ty
Weldon Stone
One can beet describe this play as a whimsical Fketcb which is con¬
cerned essentially with atmosphere and character, and which places
little emphasis on plot. There are undeniable qualities of charm
about the play and in the hands of a really competent director and
cast it could probably be a pleasing production. It offers a con¬
siderable challenge.
SYNOPSIS:
Such a little thread of narrative as this play contains swings upon
two issues. BLAND HILL has a hog presented to him by BOW HUGGINS.
But DOW'S SON gave Bland the wrong hog, a prize winner. Because of
Dow's sulky attitude Bland refuses to return the hog. Dow'a son has,
for years, been paying court to Bland.'s enthusiastically eager DAUGHTER.
Bland has not consented to the union because the boy had not shown any
sign of settling down to responsible living. In the fullness of time
the boy settles down and prepares to marry the girl and the matter of
the hog is squared when Bland presents both hog and her litter to the
young couple.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Folk drama - regional
7 characters - Hm, 3F
3-2 exteriors, 1 interior
2 hours
Rural
Professional
Relatively simple
Weldon Stone
153 Faculty Exchange
College Station, Texas
For production rights and royalty consult author
-8-
GENERATIONS
Three-Act Drama
by
Ben Russak
With its chief character? Jewish, this drama is unusual in that it
utilizes authentic Jewish material to project a universal theme. This
theme, the constant struggle for freedom of ideals as against the daily
stress of searching for economic security, is developed with rich imagery
and contrapuntal style. The characters are all unusual for this type of
play and are contrasted beautifully. Their speech, while never false to
their characterization, is dynamic in poetic feeling and provides a re¬
velation of the human spirit in its quest for "something more than "bread".
Although slightly verbose at times, the play could easily be cut during
rehearsal, and the most interesting phases of the conception would be
enhanced by an experimental production.
SYNOPSIS:
ABEAM ATLINE, a revolutionist in Czarist Russia because of his hatred of
oppression, is forced to flee to America. He leaves behind him his FRIENDS,
his beloved, RUTH, who is willing to sacrifice everything for the further¬
ance of their mutual ideals, and his fanatically religious old FATHER who
condemns him bitterly for having left the fold of the Jewish Religion. As
the cart comes to take Abram away, the father turns to Abram and adds his
curse on the emotionally-torn young man. In America, Abram finds that his
dream of a better world is frustrated once again. He is blacklisted in
the mills for organizational activities. He falls into a slough of des¬
pondency and is prodded further by his SISTER-IN-LAW and BROTHER. The ef¬
forts of his friend, SCHLOMME the Poet, to fortify his win are ineffectual
against the never-ending bruises to his sensitive spirit. In a consuming
burst of fury he casts off his idealistic way of life and determines to
become a wolf like the rest. Many years later, as a wealthy industrialist,
he finds his son, DAVID, antagonistic to the idea of becoming like his
father and sympathetic to those very ideals which Abram cast off. David
is inspired by the stories he has heard of Schlomme the Poet and is fur¬
ther drawn to the WORKERS in the mill because of his love for CARRIE, a
worker in the mill. When his father attempts to tear him away from Carrie
and from everything which seems beautiful to him, David is driven direct¬
ly into the ranks of the workers who have gone on strike against Abram.
In the end, when David leaves his father, as Abram himself had done, he
too is cursed, but one feels that his is the only way.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME;
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Poetic social drama
20 characters - l6M, Uf; extras
3 - simple interior; simple exterior; full-stage set
Full evening
Modern; Russian peasant and student
Adept; knowledge of group movement
Simple
Curtis Brown
18 East U8th Street
New York City
-9-
HEAVENLY EXPRESS
Two-Act Fantasy
by
Albert Bein
A ghost train on the Santa Fe, playing havoc with the schedule, makes
this an intriguing and unusual offering. The symbolism has been care¬
fully developed and the characters of the Overland Kid and Granny Graham,
whom the Kid has come to take to the Hoboes' Paradise, are warmly human,
and provide several touching scenes. Particularly commendable is the
fresh background of the trainman's boarding house, which provides the
atmosphere for this appealing fantasy.
SYNOPSIS:
On a cold winter night, several HOBOES are waiting on a railroad, trestle
for trains which will take them in opposite directions. One boy, the
MELANCHOLY KID, is the son of old GRANNY GRAHAM, who has always taken care
of wandering hoboes ""hen they were in need. Tonight Granny is very ill,
and the Melancholy Kid is trying to get to her. Suddenly a mysterious
YOUNG STRANGER appears, and tells the Kid that he himself is visiting
Granny that night. Back in Arizona Granny is discovered to be dying,
while a storm rages around the town. All railroad schedules have gone
wrong, and there is a rumor of a mysterious train that has been seen on
the Santa Fe tracks. In spite of the fear some of the men have, PEETO,
a veteran engineer, insists on taking bis train out, and later it dis¬
appears. The young stranger, calling himself THE OVERLAND KID, appears
at the house, and Granny seems to gain new strength, rising from her bed
to prepare supper for the stranger. When Peeto reappears it is to tell
a tale of a fantastic experience, in which his train got beyond control
and passed from the storm into a gigantic garden, called the "Hoboes'
Paradise". Word comes that the supernatural train is heading for the
town, and the Kid takes Grandma on it to stay forever in the same Hoboes'
Paradise.
PRODUCTION NOTES:
TYPE;
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
MUSIC:
SOURCE:
Modern supernatural fantasy
IS characters - 17M, IF
2 - interior; exterior
2 hours
Modern
Requires highly imaginative direction
Requires some technical skill, more than basic equipment
Western ballads sung with guitar
Albert Bein
35U West 18th Street
New York City
Not available at present for production
-10-
IF YE BREAK FAITH
Four-Act Fantasy
by
Maria M. Coxe
The revelations of the frustrated spirits of men killed in "battle become
an indictment of war and its possible recurrences in this poetic and
daring anti-war play. The effective use of supernaturalism and subtly
drawn plot combine to make a dramatically significant play.
SYNOPSIS:
The six dead UNKNOWN SOLDIERS who symbolize the heroism of all the dead
soldiers of Germany, Austria, Italy, France, England and America, are
sent back into the world for one year by the RECORDER OF THE UNKNOWN DEAD.
During this period they must convince mankind of the devastating horror
of war and bring the spirit of peace and understanding to their countries.
If they are unsuccessful they are doomed to everlasting travail in the
void. The spirits of the six men wander upon the earth and return to their
families. Vainly they labor for peace. Everywhere they find the growing
insanity of war. The la.st war has taught men nothing; it has actually in¬
fected them with a more pervasive virus. These six soldiers, destroyed by
war and hating war with greater intensity than any other beings, find that
the world has dedicated the memory of them to the idea of universal slaugh¬
ter. When the year alloted to them elapses the six soldiers return to the
Recorder. They can report only that the countries of the world are pre¬
paring for another mass conflict, that their own deaths were empty ges¬
tures and their heroism a sham. To the music of an ominous chorus, the
six men fade into the void.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Fantasy - anti-war
28 characters - 2Hm, JF; 1 child; extras
6-5 interiors; 1 exterior; 7 changes
Full evening
Modern military and civilian dress
Skilled and imaginative. Requires careful casting
Requires technical proficiency and good equipment
Frieda Fishbein
2lU West U2nd Street
New York City
-11-
KAMIANO
Three-Act Drama
t>y
Emmet La very-
Adapted from a play by Grace Murphy
A social drama on a new scale Is here set forth: the story of Damien,
the Leper, and his great adventure on the other side of the world. The
production calls for great Hawaiian choruses, an elaborate musical score
and the most modern stage lighting available. Rear projection on a cyclo-
rama is suggested as the most effective means of capturing the full beauty
of the South Seas backgrounds.
SYNOPSIS:
"She natives called DAMIEN Kamia.no (comrade) and it is as KAMIANO that
Damien is revealed here: a giant among men in his lonely campaign against
a dread disease. In quick and colorful flashes we see his arrival in the
islands, his rehabilitation of the lepers, his fights with the Board of
Health, his genuine affection for the people of Molokai, his restoration
of the leper colony, his rightful pride in the accusation that he had be¬
come a "kanaka", one of his people, his triumphs and his despairs - - and
especially his own exposure to the disease and his tranquil surrender to
it. The lepers are never shown realistically, they are mere shadows in
the dark, and Damien emerges as a virile, dynamic figure, completely re¬
vealed in the line: "I never found the cure, I never isolated the germ,
but I did make people...less afraid."
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Epic drama
50 speaking parts - including several large choruses
Sixteen scenes - most of them rear projection on
cyclorama
A little over two hours
Mostly Hawaiian - except for officials and clergy
Modern feeling for theatre required
Depends on unusual lighting
Pinker & Morrison
515 Madison Avenue
New York City
Available for experimental production upon proper
authorization being obtained from agents
-12-
LIFE AND DEATH OF AN AMERICAN
Two-Act Drama
by
George Sklar
Mr. Sklar's play is to be judged aa an experiment and would be of
the greatest value to laboratory groups. Although it combines several
conflicting styles of dramaturgy, it is stimulating and there is a basic
sincerity of purpose underlying the script which should hold the respect
of those interested in contemporary social drama.
SYNOPSIS:
The play traces the life of JERRY DORGAN, a typical American, from his
birth, in 1900, to his death, sometime during a mass demonstration in the
Hoover Depression. We see him go through developing periods of the early
days of prosperous America, the World War, the post-war depression, the
great era of prosperity, and finally, into the crash of '29- At this
point a.ll that he has built up around him crashes into ruins. His FAMILY
begins to starve, he goes out in protest and he is killed, a victim of
POLICE brutality. Against the background of Jerry's life we see flashes
of American life, in several classes, from decade to decade.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama
10 characters - 7M, 3*1; extras; choruses
Unit set
Full evening
Contemporary
Must be thoroughly professional
Difficult and rather expensive
Leland Hayward
65^ Madison Avenue
New York City
-13-
THE LONELY MAN
Three-Act Urnma
by
Howard Koch
Unusual in its concept, and tremendously dramatic in its effect,
THE LONELY MAN is an absorbing drama. It tells in modern terms
of the reappearance of the Great Emancipator, who, in the form of
a. young teacher, applies the spirit of human freedom and compassion
to labor trouble in a small Kentucky mining town. Radiating a spiri¬
tual warmth that reflects the greatness of Lincoln, and including many
superbly exciting scenes, it deserves the gratifying success it has
received.
SYNOPSIS:
In Lincoln University, located in a small Kentucky mining town, the
FACULTY is torn with dissension because of local labor trouble. The
coal miners have been agitating for better conditions, and one of their
leaders has been jailed for arousing the workers, - ostensibly for in¬
citing to riot. At this time, DAVID HILDEBRAND, a young stranger,
bearing a striking resemblance to Lincoln, appears, and talks himself
into a position at the University teaching Law. Then he announces he
will defend the jailed workers. - pleading for their right of free speech
and human liberty. This causes much consternation, and DR. WARREN, head
of the University, warns Hildebrand that the BOARD OF TRUSTEES, all in¬
vestors in the coal mines, do not approve of any encouragement given to
agitators. But Hildebrand insists on defending the miners, and when
PROFESSIONAL STRIKEBREAKERS are brought in to incite the STUDENTS to
riot against him, he is attacked and stoned. But later, when he is asked
to resign, he makes an impassioned speech, and persuades the students and
faculty to disregard the Trustees, and champion the rights of the common
people. Then he prepares to leave, and Dr. Warren realizes Hildebrand is
the embodiment of the spirit of Lincoln, as he goes on his way, alone.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
MUSIC:
SOURCE:
Modern drama
35 characters - 31M, Hf
5-3 exteriors; 2 interiors; 8 changes
2 hours
Modern
Requires sensitive direction, expert handling
of groups
Requires good equipment
Incidental Band for Background Music
Allied Authors
229 West ^2nd Street
New York City
-lU-
MAN OF TOMORROW
Three-Act Melodrama
by
H. Noble & E. Sammis
This is an intensive anti-Fa3cist melodrama, a little far fetched, per¬
haps, in its treatment of possible historical events but nevertheless
a stirring piece of theatre. It would make an excellent production but
stands in need of revision. It is well written, constructed with an eye
to pace and suspense, and the characterizations are uniformly good. The
story moves with speed once it gets under way. and the excitement gene¬
rated might be sufficient to mitigate an audience's doubts about the
author's plot manipulations.
SYNOPSIS:
ROGER T. EVANS, Paris correspondent of the New York Record, is in the
midst of another history making movement. A keen observer of affairs
behind the scenes of French politics, he resents deeply the serious turn
of the French mind toward Fascism. He is embittered because he must
stand at the sidelines sending home dispatches while a dictator is being
created under his very eyes. The rising French dictator is ANDRE BARDOC,
former fortune teller, love cult leader and degenerate. He had been well
known in America as DAGINI THE SEER. One of Evans' friends, LOOIE, re¬
cognizes him and apprises Evans of his identity. Evans senses a big
scoop and goes to work on the story. Inspired by LOUISE, a radical, he
decides to use the story to thwart Bardoc's dictatorial ambitions. A
dress rehearsal of Bardoc's coup d'etat is now going on. His Gray Shirts
are in the streets of Paris battling the Leftists. Through Louise,Evans
learns of Bardoc1s secret broadcasting station and determines to broad¬
cast the story to the French people. Evans, Louise, her father, BOBO,
and some others, disguise themselves and hold up the station. They force
Bardoc from the microphone and Bobo takes it over, telling the story.
Bardoc is shot down by his chief aide and the French people are soon ri¬
diculing 3ardoc's movement.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Melodrama
21 characters - 16M, 5F; some extras
4 interior
Full evening
Modern
Strictly professional
Moderately expensive
Curtis Brown,
10 East 48th Street
New York City
-15-
MAY MADNESS
Three-Act Drama
Mabel DeVries Tanner and Edmund Fuller
The authors have given us an extremely competent piece of writing in
MAY MADNESS, in which the conflict is sharply drawn between liberalism
and intolerant minds who would foster race prejudice. Great credit
must also be given them for avoiding the pitfalls of stock characteriza¬
tion. The leading character, a liberal university professor, is beauti¬
fully drawn. Even the small parts are carefully etched and distinctive.
There is so much that is good in the play that it deserves a hearing.
SYNOPSIS:
STEPHEN EMORY is a small town college professor leading a quiet and
peaceful life. ONE OF HIS COLLEAGUES is responsible for the unjust per¬
secution and dismissal of a young JEWISH MEDICAL STUDENT. Emory at¬
tempts to intercede in the boy's behalf. The case involves ANOTHER
STUDENT, non-Jewish, and there is a sudden flare-up of racial feeling
resulting in the beating and accidental killing of the Jewish boy by a
BAND OF STUDENTS. The incensed Emory attempts to expose the case. But
the COLLEGE AUTHORITIES frame him on the basis of campus rumor and doubt¬
ful circumstantial evidence, attributing his zeal in the case to an im¬
proper relationship with one of his students,, the SISTER of the dead boy.
Ironically enough the girl herself is responsible for this as she be¬
lieves herself to be in love with Emory., Consideration for her and the
rest of her STRICKEN FAMILY, as well as for his own LOYAL WIFE, ties
Emory's hands. The case is whitewashed and Emory is forced to resign
from the university.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama
20 characters - 16M, 4F
4 - interiors
Full evening
Modern civilian
Requires brisk, professional direction
Fairly heavy, although all sets may be quite simple
E. Fuller
521 East 81st Street
New York City
-16-
THE MIRROR CRACKER
Three-Act Comedy Drama
■by-
John Crosby
This script is above the average in concept and treatment, and leaves
one in considerable admiration for the author's talent. The characters
are admirably developed: - his basic theme is vital and of tremendous
importance to American life today; the dialogue is bright, clever, and
with an underlying substance; and the scenes, particularly in the Second
Act, strike fine dramatic fire. The social criticism is argued intelli¬
gently and objectively, and melodramatic suspense is sustained, making
the play stageworthy.
SYNOPSIS:
TOBY ABSRNATHY, poet and aesthete, lives on the old family estate near
the Mid-Western town of Shalott. Ke lives aloof from and supercilious
toward the Americans about him. He writes polished, erudite poetry; and
indulges in a love affair with the beautiful, neurotic divorcee, ANN
WINSLOW. Their affair is exquisite but sadistic. A Princeton friend,
PERRY CHILDS, is staying with Toby. With his passion for reform Perry
has become an ardent Oxfordist. The countryside is torn by a milk strike,
led by HANS SCORSBAD, a practical American farmer. Ostensibly to combat
Communism, but really to crush the farmers, HOMER FOLLINGSWORTE, banker,
has formed an organization known as the Silver Shirts. Toby is drawn
into the conflict when Hans seeks refuge from a lynching mob. Now Toby
likes and admires Hans, and he shelters him. The poet, however, expects
to remain aloof from the struggle. But a mob storms his castle. He
tries reason and psychology upon the mob, and is kicked into unconscious¬
ness. The struggle draws both Ann and Perry into the labor movement.
They don't go in blindly, but with their full wits about them. Toby bids
a sad farewell to Ann. He must seek a haven in a war-torn world.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME!
COSTUMES:
DIRECTION:
PRODUCTION;
SOURCE:
Comedy drama
10 characters - 7M, 3F
1 - interior of old estate (Mid-Western)
Full evening
Modern
Sharp and vigorous
Simple
Pinker & Morrison
515 Madison Avenue
New York City
Contact agent for price and royalty
-17-
MORNING IN AMERICA
Seven-Act Drama
■by
WlllarA Wiener
A brilliant, though warped figure of our Revolutionary Period is the
subject of this engrossing study. It tells the story of the defection
and ultimate complete disloyalty of Major General Charles Lee, one of
Washington's ablest aides with a distinguished record of military ex¬
perience in Europe, a record which actually outshone that of Washington
up to the Revolution. The play comes to a climax in the disastrous
Battle of Monmouth.
SYNOPSIS:
GENERAL CHARLES LEE, a brilliant but unstable figure of the Revolution¬
ary War, is pictured as being morbidly jealous of WASHINGTON, to whom he
has to play second fiddle. He is impatient with Washington's Fabian
policy during the first year of the war and suspects that his strategy
is dictated by cowardice. When MAJOR WILKINSON visits him at Basking
Ridge, New Jersey, with a message from Washington to cooperate with
GENERAL GATES in a further retreat, he has only sneers. He is then cap¬
tured by the BRITISH through the treachery of a local TORY FARMER and
delivered into GENERAL HOWE'S hands in New York. There he sulks and
complains that Washington is not making sufficient efforts to have him
exchanged. He is visited by BOUDINET, an emissary from Congress, then
sitting at Philadelphia, and is disappointed to learn that Congress re¬
fuses to send a commission to negotiate a compromise peace with Howe. 3y
this time he is convinced that the Colonists cannot win the war. He re¬
veals a brilliant plan of campaign to Howe to march across New Jersey
and divide the Rebel Army. Howe marches off to carry out this plan but
leaves Lee ignominiously behind. Lee's moral debacle continues; he
drinks heavily and takes up with a TROLLOP. Lee has at last been ex¬
changed. He is in command in New Jersey at the battle of Monmouth where
the issue is in doubt. Lee now pursues an enigmatic policy which can
only be explained on the theory that he deliberately is throwing away
the victory on account of his British sympathies. He confuses his aides
by contradictory orders and the battle is lost. Lee is courtmartialed
and relieved of his command. He lives on in shameful obscurity in
Philadelphia with his trollop, half crazed by drink and thwarted ambi¬
tion. When he hears the celebration of his country's victory he hardly
grasps its significance.
PRODUCTION NOTES:
TYPE':
CAST:
SETS:
PLAYING TIMEr
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Historical drama
29 characters - 26M, 3F; extras: Soldiers and Citizenry
7 - interiors
Full evening
Revolutionary Period; Military and Civil
Professional, knowledge of the period desirable
Technically and historically accurate
Willard Wiener
8622 Kingston Road,
Jamaica, Long Island, N. Y.
-18-
THE NEW ANTIGONE
Three-Act Drama
W. Edward Clark
The fallacies of the totalitarian state are here set forth in a moving
and eloquent indictment. The problems are presented impartially and
the spokesmen are convicted out of their own mouths. The play is aus¬
tere in its restraint and its avoidance of melodramatic indictment and
cheap invective. There is a beautiful, lyrical quality to the dialogue
which often approaches poetic prose at its best. The author has taken
both Shakespeare and the Greek dramatists as his models and deliberately
uses Greek chorus effects. The play is open to criticism for its lack
of action since in the main it discusses events which have taken place,
or are about to take place, off stage. This gives it a certain static
quality despite its indisputable eloquence.
SYNOPSIS:
The play opens with a scene at a public place in a totalitarian state.
The square is being decorated for some public function, a state ceremony
or possibly an execution. The POPULACE is uneasy. ANNA BALDUR, the
captain of the elite regiment of women guards of the state, is missing.
So is her BROTHER and LIEUT. RYMER, her fiance. Rumors and suspicions
multiply. Pinally the CHIEFS OF THE STATE appear and announce that
Anna's brother has been executed for high treason. They decree that his
body shall not receive honorable burial but shall be left exposed on the
field of execution for the scavengers to devour. Anna is horrified and
scarcely manages to pay due respect to the leaders. Only her exalted
position as a popular leader saves her from punishment for insubordina¬
tion. She discovers that LIEUT. ENIUS has betrayed her brother. There
have been other executions. Left alone, Anna conspires with a BLIND
GIRL, who functions as a prophetic seeress, to defy the authorities and
bury her brother. Act II registers the result of her defiance. Anna
has become completely at loggerheads with the totalitarian philosophy
and pleads for humanity and justice as ideals to be preserved, however
impractical and abstract they may seem under the heel of tyranny. The
leaders plead with her and offer her amnesty, if she will recant. She
defies them and wins over the OTHER INMATES of her prison, including a
PROSTITUTE, who promises to go forth and preach the new faith. There
are mutterings of revolt and threats to overthrow the dominant regime.
In Act III Anna has been condemned and the preparations for her execution
by the HEADSMAN are under way. She remains steadfast and on her way to
the scaffold shames Lieut. Enius, her betrayer.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS!
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
-19-
Drama
14 characters - 9M, 5F; chorus of 10; extras ad lib.
2
Full evening
Modern
Expert, imaginative
Technically simple, but emphasis upon grouping and
rhythm
W. Edward Clark
306 Furnald Hall,
Columbia University.
New York City
PLUM HOLLOW
Three-Act Folk Drama
Alvin Kerr
Ordinarily to he classified as a folk comedy, this whimsical little play
has curiously contradicted its own purpose. The murder which takes place
within the play removes from the scene one of the most beloved characters
which the author has created. It is impossible after such an event for
the audience to regain the original feeling of gentle, humorous whimsi¬
cality which had been the play's most delightful quality. Aside from
this flaw it is a beautiful work. A skilful director, by stressing one
or other of its aspects, could make a fine production of it.
SYNOPSIS:
TEE PEOPLE of Plum Hollow lead the peaceful life of the hills, going
their own way and making sour mash. But because LSANDSR SEXTON ajnd
BANCE STIGALL are rivals for the worthless FLORIE WITHERS an elaborate
drama evolves which results in a murder and consequent excitement when
several of the village people are suspected of the deed for different
motives. When the matter is finally cleared up and the culprit dis¬
covered Leander has realized Florie's worthlessness and marries DRUSILDA
CROSWITE, who has loved him all along. It is a delightful folk tale
filled with interesting "atmosphere" and "local color".
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Folk drama
11 characters - 7M, 4F; extras
1 - exterior
2 hours
Mountain
Must be sensitive and sympathetic
Simple and inexpensive
Frieda Fishbein, Agent
214 West 42nd Street
New York City
-20-
THE POPE AND THE JEW
Three-Act Drama
Edmond Fleg
Here Edmond Fleg offers an inspiring drama that requires only the fire
of an imaginative director and a responsive cast to make it one of the
outstanding productions of our time. Here is the stuff of greatness!
The play is both an intensely religious drama and a plea for peace. The
personal tragedy of the Pope and the Jew - surrounded by enemies, hated
and misunderstood, and yet continuing on their exalted plane - is pat¬
terned after the Christ theme. The moving ritualistic scenes of the
Jews and the Catholics, so similar in content, are expressive of the
drama1s action.
SYNOPSIS:
From the Author's Preface: "This is not an historical play. It is the
drama of a great human hope, ancient as Isiah, modern as Wilson, enacted
in the souls of men as living as the author could portray them. In the
midst of a Europe torn by war, a POPE and a JEW together revive the eter¬
nal dream of the peace of the world. Arrayed against them are the
EMPEROR and the KING, the GHETTO and the INQUISITION. The Jew saves the
Pope, the Pope saves the Jew, but peace is not saved — and they part,
to await that better time when their dream will be given the form of
reality — The Jews still await the coming of their promised Messiah.
The CHRISTIANS maintain he is already come, but, according to Catholic
tradition, he will return at the end of days, "to judge the living and
the dead..." In this ideal (of peace)... which draws together so many
bleeding peoples, Israel and the Church, without renouncing anything of
their faith, can commune together.... The solution for this ideal is still
to be sought in the conscience of humanity."
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
MUSIC:
SOURCE:
Drama
29 characters - 28M, IF; extras
8 sets; 10 changes
Full evening
Roman, during the time of Clement the Seventh
Very imaginative
Difficult, but need not be expensive
Religious music of the period
International Playwrights Service,
1482 Broadway
New York City
-21-
PROLOGUE TO GLORY
Drama In Eight Scenes
V
E- P. Conkle
The early and formative years of Lincoln's youth and his romance with
Ann Rutledge, which played such an important part in influencing his
later life are beautifully portrayed in this illuminating drama.
Against the quaint background of a small pioneer town, we watch Lincoln's
first emergence into public life, and his first success. It is a human
play, dealing with a part of the Great Emancipator's life which is little
known, but which makes heart-warming drama.
SYNOPSIS:
ABRAHAM LINCOLN, a young man of twenty-two years, is working on his
FATHER'S farm near New Salem, Illinois, in 1831. DENTON OFFUT about to
open a trading store, offers Abe a job, but he refuses. But urged on by
Mrs. Lincoln, Abe finally accepts, and comes to New Salem to work. There
he meets ANN RUTLEDGE, who encourages the young Lincoln to take part in
debates, and builds his confidence in himself. Under her encouragement,
he announces himself as a candidate for the legislature, and when Ann
promises to become his wife, Abe enters into the campaign with a deter¬
mination to win for her sake. Meeting his opponent, GEORGE FORQURER,
Abe succeeds in outwitting him in a debate, and just when triumph seems
near, Ann contracts the dreaded "milk sickness" and dies. Lincoln be¬
comes discouraged, and is about to withdraw from public life, when he
remembers Ann would want him to go on to success, and he resolves to
continue his public life.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Biographical drama
47 characters - 39M, 8F
8-5 exteriors, 3 interiors; 7 changes
2 hours
As indicated in synopsis
Requires sensitive, sympathetic direction
Requires experienced staff, good equipment
Samuel French, Inc.,
25 West 45th Street
New York City
-22-
RACHEL'S MAN
Three-Act Drama
hy
Bradbury Foote
The relationship between Andrew Jackson and his wife, Rachel, is here
sensitively portrayed. The characterizations are carefully projected,
and compensate to a large degree for the author's lack of humor. The
play is really three distinct vivisections of different periods in
Jackson's marital and political life, -but the three acts together suc¬
ceed in giving, if not a brilliant, at least a moving and authentic
portrait of Mr. and Mrs. Jackson.
SYNOPSIS:
ANDREW JACKSON had married RACHEL when she believed her FIRST HUSBAND
had divorced her, but later they discover the divorce to be ineffectual.
This places them in the position of living in adultery. Jackson kills
the husband and then remarries Rachel, but his political enemies never
cease to use the affair to slander Jackson. When he runs for President,
neither he nor Adams get a majority of States' votes. Congress chooses
Adams, and Jackson retires to the Hermitage with Rachel, where they are
very happy. Adams proves an unpopular President, and Jackson is asked
to run again. He hesitates because of the slanderous abuse another
campaign will bring Rachel, but she, with her usual greatness, begs him
to run again. He does, and is elected. Later, Rachel finds a handbill
which states that the only obstacle to Jackson's greatness is his wife.
Her heart breaks, and she dies in his arms, telling him he must continue
on for the good of his country.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Historical American drama
11 characters - 8M, 3F
3-3 interiors - 2 changes
Full evening
Nineteenth Century American
Requires exceptionally sensitive direction
Requires technical proficiency, experienced staff,
good equipment
Edith Gordon
Selwyn Theatre Building,
New York City
-23-
SECOND SHEPHERD'S PLAY
One-Act Mystery Play
*>y
Harold Whitehall
In his adaptation of a medieval mystery play, from the famous Towneley
Cycle, into modern form, this author has achieved unique distinction.
It has been done in a skillful, free-handed manner which manages to
preserve the authentic flavor of the original and yet conform to the
requirements of modern dramatic method. The result is a delightful
play which merits production by any group.
SYNOPSIS:
MACK, a shepherd, joins certain of his FELLOWS on the heath. They sus¬
pect him of being a sheep stealer, which, indeed he is. But he puts a
spell on them while they sleep and steals one of their little lambs.
When he gets it home to his wife they hear the approach of the angry
and suspicious SHEPHERDS. At once they bundle the lamb into bed with
his wife, cover it with a shawl, and pretend that it is a newborn in¬
fant. The ruse is almost successful until one of the shepherds, insis¬
ting on kissing the baby, discovers the hoax. The angry shepherds are
about to hang Mack when a star appears in the heavens accompanied by
singing angels. They follow the spectacle until they come to a manger
in which is the CHILD JESUS with His MOTHER. They prostrate themselves
in worship.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
English mystery play - Towneley Cycle
8 characters - 6M, 2F; a choir
3 - three changes
About 1 hour
Medieval shepherd
Must be sensitive and skillful
Simple and inexpensive; drapes would do
Harold Whitehall
University of Michigan
Ann Arbor, Mich.
Consult author for price and royalty
-24-
THE SONG OF THE BRIDGE
Three-Act Drama
by
Thomas Conger Kennedy
A play of exceptional qualities, this script has a few technical de¬
fects which could be readily eliminated in production. It is written
in a poetry which has the true breath of living dialogue and it never
becomes over-technical from the audience point of view. The play is
a stirring story of men and materials.
SYNOPSIS:
A great bridge is being built. As it rises through the many stages of
construction we see the ruthless toll it takes of human lives. A young
graduate ENGINEER is assigned to the job. He is no more than a clerk,
whose duty is to pay off the MSN, order materials, and so on. But
through a series of emergencies he is made superintendent of the con¬
struction work. He carries this through successfully against many odds
in spite of his inexperience. Then, just before the dedication, the
job and the credit are taken over by a SUPERCILIOUS SUPERIOR. But the
young engineer does not care. The bridge itself is in his blood.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Poetic drama
21 characters - 19M, 2F
1
2 hours
Mainly working clothes
Must be sensitive but thoroughly professional
Relatively difficult
Thomas Conger Kennedy
19 West 69th Street
New York City
Contact author for price and royalty
-25-
THE STAR OF NAVARRE
Three-Act Drama
*>y
Victor Victor
Full of shuddering suspense and mounting steadily in interest to its
final smash climax, this is an excellent swashbuckling melodrama,
written in the brutal and flamboyant style of Dumas. Through it moves
the diabolical figure of that arch-villainess Catherine de Medici. It
is a gorgeous play that has just about everything to hold an audience
breathless.
SYNOPSIS:
In 1572 CHARLES IX of the House of Valois occupies the French throne.
The diabolical CATHERINE de MEDICI, Queen Mother, warns her erratic son
that the rising strength of the Protestant Huguenots, headed by young
HENRI, KING of NAVARRE, will mean the doom of the Valois House unless
checked. She proposes a union between her daughter MARGUERITE and
Henri, so that he may be watched. Marguerite, at first rebellious, is
brought to heel by her murderous mother and she consents. Marguerite
is influenced by the fact that she has fallen in love with Henri's aide
de camp, DE LA MOLE, a dashing nobleman whose loyalty to Henri does not
prevent his love for Marguerite from blossoming into a passionate affair.
The marriage is arranged and celebrated, but Marguerite finds that she
cannot be happy with a man she does not love. Henri, who is gentle and
kind by nature, respects her feelings, and although he loves her ardent¬
ly does not press her. Catherine de Medici is concerned only with wiping
out the Huguenots, and the bloody and treacherous Massacre of St.
Bartholomew follows. De La Mole and Henri escape, but Marguerite is ap¬
palled at her mother's wickedness and plotting. She agrees to help
Henri, and when her effeminate brother FRANCOIS goes to Charles and ac¬
cuses Henri of unfaithfulness to Marguerite, Marguerite denies this and
insists that they are living as man and wife. Charles refuses to listen
to his mother's stories against Henri until she forces RENE, the Floren¬
tine who is in her power, to give false testimony against the Bourbon -
that Henri is plotting to take Charles' throne. De La Mole is arrested
and put to the rack, and although Henri and Marguerite, try to rescue
him - he dies. Charles, realizing that his mother is demented, dying
of a poisoned arrow meant for Henri, leaves the throne to the Bourbon.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama - historical - costume
15 characters - 12M, 3F; extras
4
Full evening
Sixteenth Century
Must be thoroughly professional
Difficult
Frieda Fishbein
214 West 42nd Street
New York City
Contact agent for price and royalty
-26-
THE SUN; FOR SORROW
Three-Act Drama
by
Henry C. Haskell
The work of a most promising dramatist, THE SUN; FOR SORROW has these
highly commendable virtues: it abounds with good writing and is posses¬
sed of several scenes which are beautiful and finely tender and its
characterizations, in spite of ambiguities, are honest, sincere and
free from superficial theatricalism. It is a splendid attempt to write
realistically and truly.
SYNOPSIS:
GORDON HARRIS, a young electrical research engineer, makes a discovery
which saves his company many thousands of dollars. The BOARD OF DIREC¬
TORS of the huge concern for which he works rewards him handsomely with
a raise to the munificent salary of fifty dollars a week, enough, at any
rate, to make possible his marriage to ANNE ERASER. They start happily
and optimistically upon their married life, but their bliss is upset al¬
most immediately by the crash of 1929. Pay cut follows pay cut, making
it ever increasingly harder to make ends meet. Gordon's MOTHER, who had
depended upon the income from investments wiped out in the same calamity,
comes to live with them and makes things harder because she cannot get
along with Anne. However, Gordon has managed to hold on to his job while
many others in the department were let out, but finally he too is dis¬
charged when the research department is eliminated. This brings their
troubles to a crisis, as Anne's health has failed because she has not
been able to afford the proper pre-natal care, and she is finally taken
to a hospital where she has a miscarriage and dies as a result. Gordon
goes to pieces, even though DR. HARDY, his former superior at the labora¬
tory, comes in at this juncture and offers his old job back. As the
final curtain goes down, he puts a pistol into his pocket and goes out
the door of his apartment.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama
23 characters - 18M, 5F
4 - interiors
2 hours
Modern
Requires moderate skill
Sets simple, requirements moderate
Frieda Fishbein, agent
214 West 42nd Street
New York City
Contact agent for price and royalty
-27-
THIS PRETTY WORLD
Three-Act Drama
fey
Converse Tyler
One of the more significant comments upon present-day American life,
this vivid and realistic drama is a study of an average family ruined
by the economic chaos in which they live. The characters, all vital
and clearly drawn, are woven into an exciting and dramatic story, cul¬
minating in a devastatingly effective climax. It is written without
compromise, but with compassion and human understanding.
SYNOPSIS:
MR. and MRS. HALEY, an intelligent middle-class couple, after having
struggled with the humiliation of being "on relief", have won back some
measure of self-respect through Mr. Haley's reinstatement in his old job.
His wages, however, combined with help from their daughter, DORIS, and
from BUD, their son in a CCC camp, barely give them an existence. Bud
returns home from the camp, and although his family are glad to see him,
it is difficult for them to conceal their bitterness and discouragement.
After a while, Bud realizes the grim aspect of his family's life, and he,
too, loses his pep and ebullience when he fails to get a job. When he
discovers Doris has become her boss' mistress, in order to materially
better her life, Bud becomes disillusioned completely, and joins forces
with notorious NEIGHBORHOOD CHARACTERS. One night he walks into a trap,
kills a man in self-defense, and is himself wounded arid captured by the
POLICE. He is convicted of murder in the first degree, and while await¬
ing execution, marries his sweetheart, DOT, who is pregnant. Two weeks
later, while his wife brings a new soul into the world, Bud is electro¬
cuted. His parents bow their heads to the inevitable, but Doris, en¬
raged, realizes her existence has been a selfish one, and resolves to
redirect her energies to help others salvage their lives.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Modern American drama
17 characters - 13M, 4F
3 - interiors - 3 changes
2 hours
Modern
Requires moderate directing skill
Requires some technical skill, and more than basic
equipment
Edith Gordon
Selwyn Theatre Building
New York City
Contact agent for price and royalty
-28-
THIS PROUD PILGRIMAGE
Three-Act Drama
by
No man Rob ten
Mr. Rosten's drama just misses being a distinguished play. It is not
historically accurate, as the author points out, but uses fiction and
fact combined with much imaginative blank verse that almost makes a
satisfactory offering. The word 'almost' is used because the author
has let his emotion, fervor and passion distort some of the writing. It
is excellent Federal Theatre material - a labor play written without
rancor and with considerable beauty.
SYNOPSIS:
The play opens in a gambling hall in a Western prairie city. The WORKERS
are celebrating the completion of a new transcontinental railroad.
BRONSON, the foreman, is ordered back to a foreman's job in the Chicago
steel mills of Dormack Company. He takes his friend PETE with him but
they lose each other travelling, Bronson finds his way to Pete's house,
through MADRIAN who had accosted him while soliciting. There he sees
Pete's FATHER die of a disease contracted as a result of exposure to
steel dust and comes face to face with the brutal, inhuman labor policies
of Dormack Company. The men in the factory begin to rebel at the long
hours, lack of safety and health devices, and generally bad conditions.
The WORKERS start a sabotage campaign which Bronson discovers. He urges
them to bring their grievances out before the public to gain support.
Toward this end the Haymarket demonstration is arranged. When about two
thousand people are gathered in the square listening to Bronson an agent
provocateur throws a bomb into their midst killing and maiming many and
breaking up the meeting in bloodshed. The police frame Bronson and his
co-workers and they are railroaded to the gallows.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social drama
27 characters - 23M, 4F
Functional unit set
Full evening
Modern
Difficult
Requires modern technique
Leland Hayward, agent
654 Madison Avenue
New York City
For price and royalty contact author's agent
-29-
A TIMS TO REMEMBER
Three-Act Drama
hy
Leane Zugsmith
Adaptation by Marie Baumer
An adaptation by Marie Baumer from the novel by Leane Zugsmith, this
play has its splendid moments though it is far from a perfect play. It
suffers from uncertainty in its craftsmanship and in its conception,
but it is warm with life and some of the scenes are in themselves ex¬
cellent. It is in part a play of mass action and should, for that
reason, make a good production for groups interested in experimental
projects. It should, in any case, prove an excellent evening's enter¬
tainment.
SYNOPSIS!
ALINE WEINMAN is a member of a middle~class Jewish family of conservative
tendencies, her FATHER being a salesman. Though he himself has suffered
reverses, the father is a rugged individualist, the more rugged because
he is at the moment also ragged. Aline works in Diamond's department
store, where the employees are underpaid and overworked under a system
based upon paternalism. When labor troubles crop up in the store, Aline's
father objects to her association with those he regards as radicals; and,
when Aline actively joins the STRIKERS, his intolerance drives her from
home. The Weinman fortunes continue to decline but pere Weinman still
continues an adamant protagonist for the system which has impoverished
him, with nothing but hatred for the struggle of which Aline has become
a part. The strike fails to draw a majority of the workers in the store
and the struggle becomes a discouraging one, though Aline remains one of
the stalwarts till the end. Finally, after many weeks of picketing, the
union is recognized and many of its demands are granted. Aline's father,
meanwhile, dies, unforgiving to the last breath. After the strike is
settled, Aline returns home to make peace with her MOTHER and to super¬
vise the development of her young BROTHER.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama
29 characters - 17M, 11F, 1 child; extras
5 - interior
2\ hours
Modern
Requires moderate skill
Requires moderate skill and equipment
Audrey Woods
30 Rockefeller Plaza
New York City
Contact agent for price and royalty
-30-
WHARFSONG
Three-Act Drama
by
W. Alan Coutts
This unusually powerful and dramatic play is written in a simple and
direct manner that suits its characters and background. It should
play most effectively.
SYNOPSIS:
The Polzak's are squatters who live in a shack hanging over the water¬
front on the edge of a Puget Sound manufacturing city. MOM ZETTA is
dying of cancer caused by a bruise her criminal and altogether despicable
husband, Emil, has given her. EMIL has corrupted their son ANTON and
made him a thief, and is trying to get his hands on RUDOLPH, the younger,
idealistic boy who wants to make enough money so that his mother can be
saved. JULNA, the only daughter, is trying to help her mother in the
fight to save Rudolph's integrity and character. She hates her father
as much as her mother does, but ironically enough, is the cause of
Rudolph's -undoing. Julna has an affair with Rudy's rich young friend,
BRYON LEEDS, in order to get Rudy a job, and when her brother finds out
the truth he goes berserk and pulls a dangerous job with his father and
Anton. The money that is his share he intends using to take his mother
back to Old Town, but when Mom Zetta learns that Rudolph too has become
a thief, she jumps into the dark and swift waters of the harbor outside
their shack and is drowned. Rudolph throws the money in after her and
is persuaded by Julna to go to sea as their mother wanted.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama
8 characters - 5M, 3E
1 - waterfront shack
Full evening
Modern
Must be thoroughly professional
Simple
Theresa Eelburn
Bureau of New Plays
1270 Sixth Avenue
New York City
-31-
THE WOLVES
Three-Act Drama
hy
Romaine Holland
English Version by Barrett Clark
Based upon an interesting philosophical theme, this extremely fast-
moving and exciting script contains an extraordinary selection of con¬
trasting characters. Aside from the universality of temperaments which
the characters represent, the play presents a colorful picture of the
leaders of the French Revolution, and throws considerable light on the
motives which probably influence our modern radicals.. It is a stirring,
virile, and intelligent drama.
STOOPSIS:
In 1793, the French revolutionary army is defending itself against at¬
tackers, while the military COUNCIL MEMBERS are jealous and suspicious
of each other, and an atmosphere of recrimination exists. VEBRAT, a
man of the people, attacks the revolutionary sincerity of D'OYRON, a
former aristocrat. TEULIER, previously a scientist, also attacks
D'Oyron, but only because he disagrees with his military strategy, while
QUESNEL, the President of the Council, believes the revolution needs all
the help it can get, no matter what the source. A SPY is arrested, bear¬
ing a letter to D'Oyron, which implicates him as a traitor, and the aris¬
tocrat is condemned to the guillotine. Teulier sees Verrat' s hand in the
matter, and despite his disapproval of D'Oyron, insists the case be re¬
opened. At the inquiry, the spy is found strangled, and the evidence
destroyed. Although the circumstances point to Verrat's guilt and
D'Oyron's innocence, the former at that moment, wins an important mili¬
tary victory, and because any accusations against him would serve to de¬
moralize the army, charges against him are dropped. Later, D'Oyron is
guillotined, sacrificed to the good of the revolution, but Teulier re¬
fuses to accept the view of the council that a great cause can be served
by ignoble means.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
French historical drama
10 characters - 10M
1 - interior
2 hours
French, XVTIIth Century
Requires moderate directing skill
Can be done with unskilled technical staff and
limited equipment
Dramatists' Play Service
6 East 39th Street
New York City
Consult publisher for price and royalty
-32-
THE WOODS COLT
Folk Drama In Six Scenes
t>y
Virgil Lyle Baker
A very well written, effective, folk drama of the Arkansas hills, THE
WOODS COLT strikes true as a picture of the locale and its people.
Though the theme and the situations have been worn threadbare in many
bad plays, this one deserves production on its merits as drama. It
is an excellent theatre piece and should find an appreciative audience
anywhere.
SYNOPSIS:
TILLY STARBUCK, giddy mountain girl with a reputation for loose morals,
has captivated CLINT MORGAN, a "woods colt" (son of an unwed mother),
who wants to marry her, refusing to believe the stories about her. Clint
resents the attention paid Tilly by ED PRATEER, the mail carrier, and
comes to the post office to warn him away from her. The men come to
blows and are separated by BYSTANDERS, but Prather, blustering braggart,
twits Clint about his illegitimacy, as he retreats inside the post office.
Clint follows him, pushing open the door to get at Prather and dragging
him out just as the SHERIFF comes along with several GOVERNMENT OFFICERS
who are hunting moonshiners. Prather accuses Clint of trying to steal
post-office money, and the government men decide to take him in custody.
But JOE DARBY, his kinsman, surreptitiously hands Clint a gun with which
he shoots down one of the officers and escapes. Clint hides out in
Darby's mountain cave, where he is fed by NANCE, Darby's sixteen-year-
old daughter. Nance tells no one about Clint and Darby is surprised to
discover him there. He is suspicious of Clint's relations with Nance,
but is reassured by Clint. Clint goes to the Starbuck cabin for a sight
of Tilly and, finding her with Prather in a compromising situation, re¬
jects her when she comes to the cave to beg him to marry her. She is
heavy with child. A POSSE closing in on Clint forces him to flee to the
mountains, Nance following him. He brings her back to the cave and is
surrounded by the posse. Ed Prather, one of the posse, shoots into the
cave and then, goaded by the others, goes after Clint's body, Clint
is alive and shoots him dead, then surrendering to the posse. But Nance,
by prearrangement, fires a single snot into his back, killing him.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME!
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Folk drama
24 characters - 18M, 3F, 3 children: extras
3 - exteriors
2 hours
Rural
Requires moderate skill
Moderately simple
Virgil Lyle Baker
90B Quadrangle
State University of Iowa,
Iowa City, Iowa
Contact author for price and royalty
-33-
THE YEARS BETWEEN
Biographical Drama
hy
Chase Vnrney
Rembrandt's most important years are portrayed in this carefully con¬
structed drama which throws considerable light on the life of the great
Dutch painter. Beginning with his first marriage, we see him move
through several crises, embracing suffering, defeat, and triumph, until
he finally leaves the world, penniless but immortal. The incidents are
authentically prepared, and the material has been selected with great
skill. Offering fine acting opportunities, THE YEARS BET77EEN rounds out
the portrait of a great human genius.
SYNOPSIS:
REMBRANTT, at the height of his fame, attends an auction of paintings.
There he meets SASKIA, cousin of the AUCTIONEER, and falls in love with
her. After he persuades her to come to his studio, she becomes his
model, and shortly after, they marry. JACOB, Rembrandt's old teacher,
tries to convince the painter he should paint his own portrait, arguing
that by painting himself he can achieve a new greatness of portraiture.
After a few years, Saskia dies, leaving a young son, TITUS, and GREETJS,
the boy's nurse, begins to dominate the household. When Rembrandt takes
a young girl, HSNDRICKJE, to model for him, Greetje becomes jealous, and
attempts to dismiss her, but the painter interferes, and Greetje herself
is sent away. Then Hendrickje and Rembrandt live together happily, until
the CHURCH AUTHORITIES publicly disgrace the girl. At the same time
Rembrandt's fortune begins to decline, his popularity wanes, his debts
pile up, and he goes blind. He finally dies and joins the spirit of his
old teacher Jacob.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Biographical drama
19 characters - 16M, 3E
8
2 hours
Dutch Seventeenth Century
Requires sympathetic and sensitive direction
Requires experienced staff, good equipment
Chase Varney
1625 Cheyenne Blvd.,
Colorado Springs, Colo.
-34-
THE ZEAL OF THY HOUSE
Four-Act Drama
by
Dorothy L. Sayers
A daring, yet tender drama of William of Sens and his adventures in re¬
building the choir of Canterbury after it was destroyed by the great
fire of 1174. Warm, human and exciting, this play presents magnificent
opportunities for an imaginative setting and unusual interludes for the
use of fine choral chants.
SYNOPSIS:
The choir of Canterbury Cathedral burned in 1174, is to be rebuilt.
HENRY OF YORK, JOHN OF KENT and WILLIAM OF SENS submit plans for recon¬
struction and the timid CHAPTER OF CHURCHMEN selects those of William
because of the beauty and excellence of other buildings he has designed
and built. As the work goes forward, FATHER THEODATUS, the sacristan,
is distressed about the source of various contributions and the zeal of
the chapter for the collections. He questions the spiritual value of
conscience donations. The widow, LADY URSULA, who has given generously
to the fund, comes to inspect the choir and becomes emotionally involved
with William of Sens. William's devotion to Lady Ursula is a matter of
gossip in the alehouses and Father Theodatus pleads with the PRIOR to
dismiss him. The Prior refuses because of the beauty of the new choir
which is rapidly nearing completion. William is seriously injured by a
fall and a YOUNG BOY swears that he had seen an ANGEL sever the rope
which held him aloft. Ill and hopelessly crippled, William attempts to
direct the work from his bed but this hinders more than helps. Realiz¬
ing thpt he is dying, William makes his last confession to the Prior
and asks him to appoint .another builder to finish the choir. The Arch¬
angels MICHAEL, RAPHAEL and GABRIEL and the Recording Angel CASSIEL,
appear to assist the workers and the choir is completed.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama - Catholic - historical - Twelfth Century
26 characters - 25M, IF; adults; extras: 2 cantors
and choir of mixed voices, priests and townspeople
1 - simple cathedral choir
Full evening
Of the period
Requires experienced director with ability to handle
blank verse
Modern lighting equipment required
Harcourt Brace Co.
383 Madison Avenue
New York City
Ann Watkins, Agent
210 Madison Avenue
New York City
Consult agent for the book and royalty fee
-35-
ZERO HOUR
Three-Act Draina
by
Kate Horton
Set against the background of an orange ranch in the citrus belt of
Southern California this script is in many respects a striking piece
of work; though it has weaknesses in characterization and structure.
The background of the play has seldom been exploited before and is an
exciting and theatrical one. The struggles of the orange growers with
the frost, and their frantic efforts to save their orange groves with
the use of flaming smudge pots is very dramatic. In addition to its
strong regional interest the play has general audience appeal, for it
has color, action and pace.
SYNOPSIS:
The play portrays a series of dramatic events arising out of the struggle
of small California ORANGE GROWERS to save their orchards in the face of
devastating frost. RUTH KELLOGG and JULIAN THRUSH, living on neighbor¬
ing orange ranches, have been engaged to each other for seven years, but
Julian has no desire to get married until his savings are large enough
for the couple to start a home. Ruth is sexually frustrated and resents
the long delay in their marriage. Ruth is made more acutely aware of
her frustrated situation by DUKE WAKEFIELD, a vagrant taken on as an ex¬
tra hand by MR. KELLOGG, her father. With the arrival of freezing
weather smudging is necessary to save the orange crop. Julian surrenders
his entire savings to purchase oil for the smudging on his father's ranch.
Ruth receives this news from Julian with indifference and breaks her en¬
gagement to him. Duke, the vagrant philosopher, has exercised conside¬
rable influence upon her, having slowly succeeded in breaking down her
inhibitions, and when he is fatally burned while working the smudge pots
with tireless devotion, a great change comes over her character. She
and Julian finally patch up their differences and decide to be married
immediately. And the orange crop on the Kellogg ranch is saved as the
result of a freakish accident.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Regional drama
10 characters - 6M, 4F
1 - interior
Full evening
Modern
Requires moderate professional skill
Not difficult or expensive
Adrienne Morrison, agent
9 East 46th Street
New York City
-36-
DONOGOO TONKA
Satire in Three-Acts "*ith Prologue and Epilogue
by
Julep Iiomains
Adapted by Gilbert Seldep
A witty and utterly delightful satire. It handles its comic theme
with profound understanding. As now written it is guilty of a little
repetition which <"ould "be easily remedied "by judicious cutting. With
this done, it is worth the while of any producer.
SYNOPSIS:
LAMENDIN, a despondent architect, is about to commit suicide. A FRIEND
stops him and sends him to a CONSULTANT to see about curing his melancho¬
lia. By devious channels he is finally pledged as the devoted servant
of YVES LE TROUHADEC, an elderly geographer of the Sorbonne. Le Trouhadec
desires election to the Aca.demy but is about to be denied it because of
a scandal over a certain place, Donogoo Tonka, which Le Trouhadec has in¬
cluded on a map of South America and which, his enemies charge, never
existed. Lamendin sets about creating a real Donogoo Tonka in time for
his principal to "In the election. SOME BIG BANKERS become involved and
Donogoo becomes the basis of a gigantic fraudulent stock flotation. Ironi¬
cally enough the false publicity stirs up so much attention that some pi¬
oneers actually go in search of the place and, not finding it, found it.
Thus, when Lamendin leads a phony expedition he finds, to his astonish¬
ment, a real Donogoo Tonka. He becomes Governor General and Le Trouhadec
is elected to the Academy and millions are made on the deal.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Satirical Farce
10 characters - 9^, IF; many bits and extras
17-8 exteriors, 9 interiors
hours
Modern French
Thoroughly professional
Rather elaborate
Jules Romains
c/o William A. Bradley
18 Quai de Bethune
Paris U, France
For production rights and royalty consult author
-37-
FOUGAS OF THE 23rd.
Four-Act Fantasy
by
Ada Sterling
Only skilled direction end lavish production can make this a worthwhile
offering. It cannot he done cheaply and only the most advanced groups
might safely attempt it. For such a group and with such production the
play has interesting and amusing possibilities.
SYNOPSIS:
Returning from his travels LEON RENAULT brings with him the mummified
form of a young colonel in Napoleon's army. The young Colonel had been
caught as a spy in Moscow forty five years before. While awaiting execu¬
tion he had frozen to apparent death. A friendly scientist of the time
noticed signs of life and applied a preservation formula of his own in¬
vention. Both the mummy and formula have been bought by Leon as a present
for his FATHER who is also a scientist. The father decides to attempt re¬
viving the mummy. The effort is successful. FOUGAS steps forth in full
health. He immediately mistakes Leon's fiancee CLEMENTINE for his old
sweetheart. She in turn is fascinated by him. Complications set in.
Fougas has great difficulty fitting himself into the world as he now
finds it. He learns that Clementine is his own grandchild. Crushed by
the complications of the new life he surrenders Clementine to Leon just
before he dies.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Fantasy
29 characters - 21M, 8F; 2 children; extras
U - 3 interior; 1 exterior
About 75 minutes
Period
Requires unusual skill
Must be lavish
Ada. Sterling
Murray Hill Hotel
New York City
-38-
THE MAN IN THE TREE
Throe-Act Comedy
by
John Woodworth
The chief merit of this comedy lies in the uniqueness of its conception.
There are groat crudities in its structure and occasional parts There
.judicious cutting on the part of the director would enhance it. No
other work of any sort has captured the same flavor except Erank Finney's
fantastic novel, THE CIRCUS OF DR, LAO. There is no resemblance in the
content of these two works but the spirit is much the same.
SYNOPSIS:
COUNT ALBERT DE PORTALIES, one of a hunting party consisting of WASHINGTON
IRVING and several others, is lost at night on a western plain during a
buffalo hunt. He takes refuge for the night in a tree. But before climb¬
ing up he finds, union the ground, a pair of moccasins. These are the le¬
gendary "lightning" moccasins and when he nuts them on he is whisked out
of the tree in a great burst of thunder and lightning. He finds himself,
when he awakes, seated not in a tree but on the steel girders of »n oil
well derrick in the western oil fields of the present day. There he be¬
comes involved with everyone from the D.A.R. to the oil field WORKERS. He
witnesses an attempt to erect a monument on the site of the place where
Washington Irving had spent the night and vainly strives to convince them
that he, and not Irving, had spent the night there many years ago. After
being taken for a madman and undergoing numerous harrassing experiences,
including a frustrated romance, he puts his moccasins back on and is
whisked away, back to his own time, in another burst of thunder.
PRODUCTION NOTES:
TYPE:
CAST:
SETS-
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Fantastic comedy
26 characters - 21M, 2F; 3 children
3 - exteriors
2 hours
Early American and modern
Must be highly imaginative and thoroughly professional
Very difficult technically
John Woodworth
322 N. E. 13th Street
Oklahoma City, Okla.
-39-
MERRY-GO-MAD
Fantasy in Twelve Scenes
fey
Victor Victor
Fantastic is an understatement applied to this fascinating and bril¬
liantly imaginative comedy. Staged properly, it should be as start¬
ling and inspired a piece of theatrical entertainment as has yet been
presented on any stage. It has a strange, macabre and terrifying kind
of appeal and is better than anything of the kind H. G. Tells has done.
It is original, exciting and brilliantly worked out.
SYNOPSIS:
On the planet Venus, ALLEN WICKLOW and LOUISE GARLAND, who were born
there, (children of an expedition that left the earth in a star-ship)
are terrified because her grandfather, DR. GARLAND, is dying. He is
the sole remaining member of the expedition and the inventor of the
rocket that brought them from earth. Dr. Garland manages to tell the
children how they can reach the earth, then dies. Via the star-ship,
Allen and Louise reach the earth, about which they have dreamed wonder¬
ful dreams, only to have them shattered by horrible reality. The earth
has changed beyond recognition, has become regimented and mechanized to
a degree that is frighteningly fantastic. The workers are all women,
the men are captives used only for breeding purooses. Each worker does
her specialty and is ignorant of anything but that, The few normal
people remaining are known as "throwbacks", and are destroyed as soon
as they show symptoms of normality. Louise and Allen are protected for
a time by RUTH 32k, a. worker who is about to be visited by a male (a
stud), but she protects them only because she has her eye on Allen. All
travel on earth is done through tubes, people being shuttled about and
shot through them like mail. Ruth J2k is killed for protecting Louise
and Allen, and Louise too is destroyed. Allen is brought before THE
RADIATOR, the scientist who controls the entire mechanized world. The
Radiator in turn is a captive, so that he can't do any original thinking.
Allen pulls the switch that controls everything, and destroys the earth.
He is then reunited, with Louise.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE.
Fantasy
7 characters - 5M, 2F; extras
Unit set
Full evening
Fantastic
Must be brilliantly imaginative and original
Difficult
Victor Victor
6l Hilton Avenue
Garden City, N. Y.
-hO-
A MORAL ENTERTAINMENT
Comedy in Five Scenes
by
Ricnard Maibaum
Shrewdly constructed to hold its suspense to the final curtain and written
against the quaint background of Seventeenth Century New England, this
droll comedy is sly and warm in its humor. It tells the amusing story of
what happens to a solemn Bible-reading community when a gay troupe of
actors descends upon it. Although more difficult to produce than the ave¬
rage script, it is well worth the extra effort.
SYNOPSIS:
In Maundy, Massachusetts, in 1690, a troupe of strolling ACTORS arrive in
town and prepare to give a performance. Maundy is governed by sanctimo¬
nious PARSON PILLPUTT, and to the self-righteous reverend, the theatre is
a work of Satan. At the moment the players begin their show, the Parson
promptly closes the barn which is being used as a theatre, and the troupe
find themselves in the local jail. Meanwhile, Parson Pillputt1s young
nephew, DEODATE WAYNE, has become infatuated with the leading lady, and
the TOWNSFOLK, secretly sympathizing with the mummers, make their incar¬
ceration a delight, smuggling in jugs of rum and sides of beef for the
prisoners. When the actors are finally brought to trial they are
threatened with severe punishment, unless they promise to reform and
marry into the colony, - a move suggested by the reverend because of the
town's lack of possible husbands. Most of the troupe accede to this de¬
mand, but TONY, the producer, and NED, the comedian, refuse, and are
thrown in the stocks, while the leading lady, ROSLINDA, remains in the
jail. Eventually, Tony and Ned escape to continue their careers, while
Deodate rescues Roslinda from jail and the lovers elope.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
American period comedy
22 characters - 161, 6F; extras
3-2 interiors, 1 exterior
Full evening
American Seventeenth Century
Requires moderate directing skill
Requires technical proficiency, experienced staff and
good equipment
William Morris Inc.
1270 Sixth Avenue
New York City
-41-
SUMMER MUMMERS
Three-Act Comedy
by
Mary Mtinning
The author of Summer Mummers has a koen knowledge of her subject -
the arty drama lovers who Infest the Summer Theatre world. Although
much of the play is riotous farce, it somehow maneges to remain within
the hounds of comedy, and is not too farcial to believe. The story,
as well as the characters, lends itself to amusing theatre.
SYNOPSIS:
GAI LEGRANDE is the blase and blasphemous director of the Jolly Clipper,
a summer theatre on Cape Cod. His staff is composed of arty semiprofes-
sionals and a group of young apprentices who are impressed by Gai's
theatrical curses. Legrand.e gets the outfit into deeper financial dif¬
ficulties by turning classical with a revival of "The Duchess of Malfi".
HAWKINS, the business manager, advises the company that they will have
to secure the patronage of the better families visiting the Cape. ELIZA¬
BETH ATKINSON, one of the apprentices, inveigles the BOSTON BOWDOINS in¬
to inviting the entire troupe to a cocktail party. Although the Bowdoins
are Back Bay aristocrats, they are as mad as the actors, but differently,
and the party is devastating. PAPA BOWDOIN is not amused, but AUNT SARAH
takes a fancy to PAUL REVERE, the languid costume designer, and UNCLE
CECIL is smitten with AMY, the ample character actress. By the time the
party is well under way, Papa succumbs and presents the theatre with a
large check. ABBY BOWDOIN joins the troupe and deserts her Boston friend,
HAROLD. Rehearsals proceed amidst bedlam and word is received that two
producers from New York are to attend the opening. The company is in a
panic, knowing how Broadway frowns on Elizabethan Drama, and they force
Legrande to do the play in modern dress, emphasizing its bawdy quality.
Revere resigns in a huff. Harold, seeing a chance to retrieve Abby, in¬
forms the constable that an indecent performance is to be staged. It is
raided. The NEW YORKERS consider it a sensation and buy it. Abby re¬
turns to Harold, and Legrande, artistically outraged, goes to the Federal
Theatre.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Comedy
28 characters - ium, 13F; 1 child;
U
Full evening
Modern and Elizabethan
Must be thoroughly professional
Moderately difficult
Pinker & Morrison
515 Madison Avenue
New York City
extras
-U2-
THE TAILOR BECOMES A STOREKEEPER
Three-Act Farce
by
David Pinski
Translated by Elihu Winer
A social theme usually solemn is treated here with the long-overdue
light and hilarious touch. All the heavy and murderous obstacles in
the way of the little workman out for the fabulous big money, nop up
formidably, instructively and yet remain deliciously comic, and light¬
ly touched. Wittily written and headlong in plot, the play abounds in
comic situations sure to fetch many a laugh. It's fault, possibly lies
in its exaggeration, but on the whole it emerges grotesquely and laugh¬
ingly true to life throughout.
SYNOPSIS:
SAM, the sweated little tailor, is tired of bis sewing machine and yearns
to go into business for himself. Accordingly he opens a delicatessen
store and on the first day finds himself in great luck. Business is brisk
and Sam makes two nice deposits in his bank. Presently however some hold¬
up men appear and relieve Sam of his remaining cash. A STRANGER, attract¬
ed by these goings on, endeavors to cheer him up, but only succeeds in im¬
pressing on him the fact that even the banks are not safe nowadays. In
fact the very bank Sam had made a deposit in has just closed. And to top
it all off a RACKETEER pays Sam a visit, demanding a. fat down payment in
protection money. The last straw comes in the shape of a chain-store out¬
fit, that opens shop directly across the street. Sam, stranded and strip¬
ped, philosophically decides that he had better get back to his old sewing
machine again.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social farce
33 characters - 28M, 5^1 extras
6-7 changes
Full evening
Modern
Stylized grotesque, or of simple comedy
Fairly difficult
David Pinski
2178 Broadway
New York City
Consult publisher for price and royalty
-b3-
THE VERY GREAT MAE
Three-Act Comedy
hy
A. E. Thomas & Jack Hn.ussmann
The authors of this comedy know their theatre and use it intelligently
in this fast moving, at times scatter-brained, hut always amusing -play.
Although unpretentious this comedy will appeal to most any type audience.
SYNOPSIS:
"Blatz, Blatz, Breezer and Blatz" is a high powered publicity or public
relations organization. JOE BLATZ is the head of the firm and the cen¬
tral character in the play. He is visited by an old college chum, JIM
ROBINSON. Jim does not take Blatz' business seriously. In an effort to
impress, the public relations expert boasts of his achievements, having
done great things for gangsters, clergymen and similar varied characters
and enterprises. He makes a bet that he can make anybody famous. Robinson
takes him up on the bet. He selects an obscure broken down old German,
known as GUS, and turns him over to Blatz to be immortalized. Blatz goes
to work. Gus is shipped off to Europe, in the guardianship of MISS COLE,
a hard-boiled secretary. After a world wide build-up he returns as PRO¬
FESSOR SCHMIDT, discoverer of the "fifth dimension". He is wildly ac¬
claimed and is to be received by the mayor. But Gus begins to feel he is
a real personage. He becomes a troublesome problem to Joe Blatz. Many
embarrassing situations and complications arise and in the end Blatz is
forced to extreme measures to supress Gus. He calls the whole deal off
and willingly forfeits his bet to Robinson.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Comedy
28 characters - 21M, 7F
2 - interiors
Full evening
Modern
Skilled comedy direction
Relatively difficult
A. E. Thomas
c/o Players' Club
l6 Gramercy Square
New York City
Consult author for price and royalty
-U1+-
CREATED EQUAL
Documentary Piny in Two Acts
Ly
John Hunter Booth
Containing some of the characteristics of a Living Newspaper, this
remarkable documentary play casts light on the critical points of
the struggle of the American people for genuine freedom and democracy.
SYNOPSIS:
It is difficult to synopsize this play in conventional terms. It sur¬
veys the high points of the struggle for equality and democracy a,s it
has taken place during the various phases of our national history. The
subtle manipulations of Tory reactionary elements, from pre-revolutionary
days to the present is remarkably dramatized. More valuable than any
other aspect is the light thrown upon the origin and history of our much
debated Constitution, the potentially undemocratic nature of which is
clearly analyzed in the light of objective history.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Documentary play - American history
8 characters - 5M, 3^; extras
Literal or suggestive as facilities permit
hours
Changing American periods
Must be highly professional
Relatively difficult but not too expensive
John Hunter Booth,
c/o Eederal Theatre Project
711 Boylston Street
Boston, Mass.
-U5-
POOR LITTLE CONSUMER
A Living Newspaper
by
Robert Russell
In a clear and impressive survey and analysis of the history, origin
and potentialities of the Consumers' Cooperative movement Mr. Russell
has compiled an excellent "Living Newspaper". It is simple in its
planning and production necessities, making for practical presentation
by small groups.
SYNOPSIS:
Such a work can hardly be synopsized. Suffice to say that, after demon¬
strating the sore need for cooperative distribution, and the fact that
producers have, for some time, realized the commercial merits of such
a system on their own behalf, it goes on to show that the Consumer finds
himself facing an inevitable necessity for some such purchasing plan if
he is to subsist under the present difficult economic conditions. It
then goes into the background of the cooperative movement and traces its
growth, step by step, up to the present time.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Living Newspaoer - documentary
26 characters - 21M, 5F; 1 child
Curtain or any permanent background
About 2 hours
Modern
Requires skill in this technique
Relatively simple and inexpensive
Robert Russell
c/o George Terwilliger
National Service Bureau
1697 Broadway, N. Y. C.
-U6-
SPIROCHETE
A Living Newspaper in Two Acta
by
Arnold Sund.ga.nrd
Written in a variation of the Living Newspaper style, having, however,
less of a coldly documentary tone than many others of its general tyre,
this is a remarkably interesting script. It would probably be beyond
the resources of small groups but is recommended for production wher¬
ever possible since it constitutes a. tremendous weapon in the fight
against syphilis.
SYNOPSIS:
Interestingly and vitally this Living Newspaper traces the growth and
spread of syphilis, from the time of Columbus, when it was first intro¬
duced into Europe, to the present. We see how the wars of Europe were
instrumental in spreading its course. We see the work of the master
physicians, including Hieronymus Erancastoro, who named the disease;
Schaudinn, who recognized the spirochete, Metchnikoff and Roux, Bordet
and Wassermann. We see how pruriency and political interests have con¬
spired to supress new and vital knowledge but we see, before us, the
road to the ultimate complete liberation of men from this, one of his
greatest scourges.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Living Newspaper
Large cast
Unit set
Full evening
Various periods
Must be thoroughly professional
Difficult and expensive
National Service Bureau
1697 Broadway
New York City
-Ly-
BIG WHITS FOG
Three-Act Drama
by
Theodore Ward
Commanding respect because of the sincerity and integrity with which it
is written, this is certainly a play which deserves production by any
advanced Negro group. Artistically it is somewhat confused, and suffers
largely from the attempt to be all things to all men. It covers the
material of several plays and spreads itself out of all proportion. There
is, however, excellent writing and characterization in it.
SYNOPSIS:
Essentially the play is the story of VICTOR MASON, a leader of the
Garveyite movement for migration of American Negroes to Africa. Mason
is an idealist and he sweeps his family along with him, down this mis¬
taken path, in spite of the scoffing of his more practical FRIENDS and
RELATIVES. Ultimately, the movement comes to destruction. Mason loses
his earnings in the crash of GARVEY'S dishonest machinations. The depres¬
sion sweeps down unon him, at this critical time. He and his FAMILY go
from bad to worse, economically until finally they are starving and faced
with eviction. A mass demonstration, led by COMMUNISTS, attempts to pre¬
vent the eviction but, in the fracas, Mason is shot and dies a tragic
death.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Negro tragedy - social drama
lU characters - 9M, 5F; many extras
1 - interior
Full evening
Contemporary
Must be sensitive and thoroughly professional
Relatively difficult and expensive
Enquire, National Service Bureau
1697 Broadway
New York City
~Lg_
DARK CORNER
Two-Act Melodrama
■by
Bernard Davis
The restraint end skill with which life in the Harlem slums is vividly
portrayed, marks this a "'ork of uncommon distinction, to he classed
among the very best of Negro plays. Unlike many Negro -plays there is
no reaching out for -physical violence, or violence of situation. When
they do occur, they are in the key and flow from genuine and convincing
sources. In the same genre with plays like STREET SCENE and DEAD END,
it is superior to these in its humor and pungency, speech and characteri¬
zations, and closeness to life and the cross-currents of contemporary
social problems.
SYNOPSIS:
The entire action of the play takes place on a street corner in Harlem.
BEN WATERS, devout, hard-working Negro, was once the owner of three tracks,
but is now on relief. He is janitor of a Harlem tenement house owned by
whites and filled with Negroes on relief. Surrounded by living symbols of
the bitterness and disillusionment of his oppressed, poverty-ridden race,
such as his restless, hard-drinking brother, JAKE, Ben accepts the offer
of a. job as caretaker of his former white employer's country estate. With
joy and gratitude, he prepares to take his motherless twelve year old son,
DAVID, and his aged MOTHER with him. Ben witnesses the brutal clubbing
of his sullen, embittered brother in a street melee. Disgusted with the
repeated and calloused refusal of the white owners to repair the tenement
house, which is rapidly falling to pieces Ben also stands by helplessly
when the rebellious TENANTS begin pulling down rotten sections of doors,
stairways, etc., and piling them in the street. MR. HOWARD, the insolent
white agent, upbraids Ben, who quits then and there. But Ben soon begs
to be taken back, when his new job falls through. Howard refuses and in¬
sists on the eviction of all the tenants. Desperate, Ben pleads with the
RELIED INVESTIGATOR not to cut him off relief. The investigator is alarm¬
ed by Ben's shouting and hysteria and calls a COP. Ben's brother, Jake,
who has not forgotten the clubbing he received from this same policeman,
steps in and stabs him. The officer empties his revolver and accidentally
kills Ben's little boy. The embittered Negroes arm themselves with all
kinds of weapons and, led by Jake, break into a riot. Ben almost joins
them, but he is held back by a young southern Negro. Dazed Ben asks,
"How can killin' be de answer to living"?
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social melodrama - Negro
30 characters
1 - street scene
Full evening
Street apparel
Requires moderate skill
Simple
Pinker & Morrison
515 Madison Avenue
New York City
_h9_
HAITI
Three-Act Drama
t>y
William Du Bole
Full of color and action, HAITI la an excellent vehicle for Negro
players. A roaring melodrama, the situations of the play are drawn
from authentic historical sources. It is instructive as well as un-
flaggingly entertaining and will prove exciting dramatic fare for
any type of audience.
SYNOPSIS:
It is the year 1S02 and FRENCH TROOPS are landing on the Island of
Haiti, threatening to overwhelm the Negroes and betray them into
slavery. CHRISTOPIIE, a huge Negro fighter under the command of
GENERAL L'OUVERTURE, has beaten a strategic retreat to the hills,
leaving behind JACQUES, another aide of the general. Jacques, yearn¬
ing for the presence of his natural daughter, ODETTE BOUCHER, has in¬
evitably been drawn to her house, where French military headquarters
have been set ut>. Odette, ostensibly a Frenchwoman, and married to
a brutal French officer, never suspects colored blood in her veins,
least of all that Jacques is her father. Strangely attracted to him,
she appoints him her steward, in which guise Jacques procures inside
military information which he hastens to transmit to the harduressed
Christophe, who continues for months to wage the bitter struggle for
independence. At last the commanding GENERAL of the French and BOUCHER
invite Christophe to a peace conference, intending to betray him. But
warned by Jacques, Christophe kills Boucher and escapes, in due time
to emerge victorious. Odette, who has been informed of her true uaren-
tage, decides on throwing in her lot with the Negroes, and remains be¬
hind, a lone Frenchwoman to greet Christoohe as conquering hero and
saviour of her people.
PRODUCTION NO
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION :
SOURCE:
Negro historical drama
17 characters - iHm, 3^
1 - interior
Full evening
Period
Moderately skilled
Not difficult
Alice Kauser
152 West U2nd Street
New York City
-50-
SHADOW ON THE RIVER
Three-Act Drama
*>y
R. Edgar Moore
Life among the poor Negroes and Whites in a disintegrated factory village
is graphically portrayed in this social drama. The play is honest and
outspoken in its condemnation of race prejudice. The Negro characters
are developed with fine humor, and the Whites are distinctive, interest¬
ing personalities. The play deserves consideration because it possesses
the admirable qualities of simplicity, honesty, and fairness, and is for
the most part effective drama.
SYNOPSIS:
On the banks of a river in the deep South lives a settlement of unemployed
black and white workers. The cotton mill which has long dominated the
community has closed before the action begins. On either side of a squa¬
lid street live former workers in the now deserted, factory. LUKE and
MAMBA inhabit one disreputable shack, and DICEY lives in another with
SHOOFLY, her temporary lover while her man, BIG JOHN, reposes in the peni¬
tentiary. Opposite these colored folk lives the HUGGINS FAMILY. PA and
MA are religious fanatics and violently anti-Negro. On one side of them
lives LENA, a little prostitute, and on the other sid.e CHARLES and ANN
PATTERSON, a young married couple of distinctly higher calibre than the
other residents of the street. Most of them are on relief, and each
household stalls off the rent collector who weekly tries to chisel from
each group as much as the traffic will bear. Ann is expecting a child,
and Charles' frantic efforts to get a doctor from the local clinic are
of no avail. Big John returns embittered by seven years of imprisonment.
He is immediately harassed by the RENT COLLECTOR and his henchman, the
SHERIFF. Charles sticks up for Big John and acquires from the Sheriff
and the Huggins family the name of 'nigger lover'. When Ann's confine¬
ment takes place she is attended only by old Mamba who acts as midwife.
The child dies. Later the rent man and a group of ROWDIES set upon
Charles and beat him. Big John, coming to Charles' defense, is shot and
killed. During the excitement the LITTLE SON of the Huggins pair falls
from a porch and breaks his leg. His parents will not permit a doctor
to see him and the child becomes very ill. Grief and illness have af¬
fected Ann's mind, but Charles, determined that the Huggins boy must be
saved, takes it from their porch and rushes it to a hospital. The
Mugginses resent this action, but when Ann returns to normal she and
Charles have little difficulty in persuading them that his cure is a
sign sent from the Lord approving Charles' action. Now, because Charles
insists upon making trouble for the murderers of Big John, the OWNER of
the shanties retaliates by ordering the eviction of the tenants and the
destruction of the settlement. But Charles bands both Blacks and Whites
together to demand the job of razing the town with adequate pay so that
they will have money to move elsewhere.
PRODUCTION NOTES:
TYPE: Social drama
CAST: 15 characters - 9M, 5F; 1 child
SETS: One
PLAYING TIME: Full evening
COSTUMES: Modern
DIRECTION; Vigorous and professional
PRODUCTION: Simple and inexpensive
SOURCE: Adrienne Morrison, 515 Madison Avenue, New York City
-51-
BR' EE. RABBIT AND THE TAR BABY
Comedy in Three Scenes
Ruth Mitchell and Alfred Allen
Children will be delighted with this new adventure of Br'er Rabbit. It
is an imaginative and unusual comedy, both fantastic and humorous and
affords an opportunity for a very colorful production.
SYNOPSIS:
BR'ER RABBIT and his wife, MIS' MOLLY COTTONTAIL, have continually to be
on the alert, for BR'EE FOX has long had in mind a rabbit stew, and he
has tried every possible way to lure some of the rabbit family into his
den. Br'er Rabbit, who is very, very smart, finally can't resist the
temptation to walk straight into the jaws of danger; he is sure that he
can outwit Br'er Fox and have quite a lot of fun for himself and some of
the children. He takes WINKY, who is the eldest and his pa's pride and
joy, and a few of the other OLDER CHILDREN, and they arrive at the Fox's
den for a visit. Br'er Rabbit has instructed his children to keep their
eyes and ears open for danger every instant, to do just the opposite of
whatever the fox children suggest, and warns them that if they fail to
obey they will end up as a rabbit stew. Br'er Fox has told his eldest
child SLINKY to suggest the bag game, an innocent appearing amusement,
but with the sinister design of getting one or more of the little rabbits
tied up inside. But Winky is too smart for Slinky and it is the latter
who is tied up. Br'er Rabbit gets Br'er Fox's false teeth so he can't
eat, and finally outwits his ancient enemy with the Tar Baby.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Comedy
14 characters - 7M, 5F; 2 boys; extras
3 - nursery; home of Br'er Rabbit; home of Br'er Fox
Short evening
Babie s
Must be imaginative
Moderately difficult
L. G. Wiswell
British-American Film Agency
9010 Sunset Boulevard
Los Angeles, Calif.
Consult agent for price and royalty
-52-
THE HONORABLE ALADDIN AND HIS LAMP
Fantasy in Five Scenes
by
Sally Coulter
Treated in the manner of the traditional Chinese theatre, this version
of Aladdin and his lamp is a highly original one, dramatically conceived
in a unique form that is successfully carried out. The play as a result
is a very engaging piece of work, possessing charm, humor and vitality.
Children will find it irresistible, as will many adults. It calls for
the simplest production facilities.
SYNOPSIS:
ALADDIN, a poor Chinese lad, is lured by a MAGICIAN into a cave to ob¬
tain a magic lamp. The sight of dazzling jewels delays the boy in hand¬
ing over the lamp to the sorcerer, who leaves, shutting up the opening
to the cave. Attempting to get out Aladdin clasps the lamp and GENII
are thereby summoned. Brought home on a cloud of magic smoke, Aladdin
soon secures a palace for his MOTHER and beautiful clothes for himself.
He is in love with the PRINCESS and sends a I/IATCHMAKER loaded with jewels
to the SULTAN. The match is successfully arranged and Aladdin marries
the princess. In the absence of Aladdin, who is away on a hunting trip,
the old sorcerer returns in the disguise of a benign old man selling new
lamps for old. He appears at the palace and succeeds in getting hold of
Aladdin's lamp, and the princess and Aladdin's mother are transported to
Africa, where the magician makes vain overtures of love to the princess,
who touches the lamp while longing for her husband. Aladdin appears.
He conceals himself behind a screen. The princess leads the magician to
the window while Aladdin seizes the lamp. The magician is seized and
Aladdin and his family are taken back to Cathay, where he is bequeathed
the Sultan's kingdom, the latter desiring to retire in order to devote
himself to his stamp collection.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Children's fantasy
37 characters - 30M, ?F; extras
Curtains may be used
About 40 minutes
Chinese
Moderate skill required
Very simple and inexpensive
Sally Coulter
420 West 24th Street
New York City
-53-
LITTLE BLACK SAMBO
Three-Act Fantasy
t>y
C. B. Chorpenning
This delightful and imaginative version of the story of Little Black
Sambo affords a splendid opportunity for a colorful production. Ideal
for Children's Theatre.
SYNOPSIS:
Little Black Sambo's MOTHER is annoyed with him because he is always
making songs instead of grinding corn for the pancakes upon which they
live. His father, JUMBO, returns from the bazaar with some cloth, in¬
stead of the butter, eggs and milk he was ordered to buy. The cloth is
to be made into a pair of beautiful blue trousers for Sambo. His mother
agrees to make the trousers if Sambo can provide the eggs, milk and but¬
ter for the pancakes, and some sugar as well. SAMBO goes into the jungle
to get the provisions, and here he,is helped by MALIHKE, a charming mon¬
key whose companions have always teased and humiliated him. Malinke at
last has a friend in Sambo, and she gets the eggs and sugar for him, and
helps to get the milk by kidnaping a tiger cub and holding it until the
mother agrees to fill Sambo's jug. Sambo goes home with the provisions,
having promised to return the next day to show the jungle folk his beauti¬
ful clothes. Jumbo returns again from the bazaar, having bought instead
of butter, a green umbrella arid shoes with crimson soles and lining.
Malinke's enemies, the jealous monkeys, contrive to lure Sambo into the
path of the tigers who take all his lovely clothes from him. They have
a great fight over who is the grandest tiger and when they are finished
there is nothing but a mound of butter. The jealous monkeys tie Sambo
up and then take him further into the jungle. His frantic parents can¬
not find him. Through a clever ruse, Malinke manages to find him and
bring him home, and they all sit down to enjoy dishes of pancakes.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Fantasy
12 characters - 4M, 2F; 5 children animal impersonators,
1 boy
2
Full evening
Animal, Sambo's clothes
Must be imaginative and professional
Moderately difficult
Dramatists' Play Service
6 East 39th Street
New York City
NOTE: Miss Chorpenning is also the author of a new Christmas play for children
titled A LETTER TO SANTA CLAUS, which is a refreshing and original depart¬
ure from the usual routine of Christmas plays.
-54-
PETER GOES TO THE PAIR
Comedy in Eight Scenes
hy
Mary Morley Crapo
Really charming and full of the make-believe quality that delights
children, this whimsical comedy should be very successful with young
audiences. It would easily be adaptable to a New York World's Pair
background.
SYNOPSIS:
PETER ROBINS is a charming little fellow of ten, the son of rich society
parents, who love him but find little time to play with him. Peter's
MOTHER and FATHER are getting ready to start off on a cruise, and RE¬
PORTERS and PHOTOGRAPHERS clutter up the place getting pictures and
stories, which bores Peter most profoundly. He has half determind in
his little mind to run away and go to the World's Fair in Chicago. His
father comes home, accompanied by three depressing BUSINESS MEN and a
KANGAROO, a present for Peter. Peter names the kangaroo Alex and they
become friendly at once. Peter is tucked into bed by NANETTE, his
mother's French maid, and this is the last straw. Peter sets out for
Chicago accompanied by Alex and ENC-ELS, the Robins butler, who feels
that he ought to go along. Their money is so limited that they have to
ride in the baggage car. Here they meet FRAGILE, a little Negro who is
thrown off the train with them at Whapensack. They get Fragile's UNCLE'S
car and tootle off to Chicago, and eventually arrive there. Peter's
mother and father, having lost all their money, find him at the Fair, and
he is delighted to be with them again.
production notes:
type:
cast:
sets:
playing tims:
costumes:
direction:
production:
source:
Whimsical comedy for children
29 characters - 16M, 9F; 3 boys; 1 girl; extras
Unit set
45 minutes
Modern
Moderately simple
Simple
Experimental Theatre
Vassar College
price 50(£
Royalty $10
-55-
SIR FROG GOES A-TRAVEILING
Three-Act Comedy
by
Isabel Anderson
Children will be delighted with this excellent comedy. It has humor,
an impish kind of philosophy, good dialogue and deft characterization.
Well-written and constructed, it will appeal to the imagination of both
children and grown-ups. Its colorful Japanese background gives it an
added theatrical value.
SYNOPSIS:
In Japan, the land of the Gods, there is a proverb: "The frog in the
well knows not the great ocean". Once upon a time there lived a frog
in the Well of Kyoto, and this condition of affairs, that is to say,
"knowing not the great ocean" irked him tremendously. He yearned for
the great ocean and felt that life would never be complete until he had
seen it at least once. Much to his WIFE'S distress, he set out one day,
painfully walking on his legs upright, dressed respectably like any other
traveller, for the city of Osaka, from which vantage point he hoped to
glimpse the great ocean. His name was SIR FROG. After a weary journey
he reached Osaka and there he met another discontented frog, GAMATARO,
Prince of the Lotus Pool of Osaka. Gamataro was not interested in glimp¬
sing the ocean - he wanted to see Kyoto, the seat of culture and learning.
He offered to show Sir Frog the path up to the bridge from where both the
ocean and Kyoto could be sighted, in opposite directions, of course.
Painfully they climbed up the incline onto the bridge. Because their
eyes were in the back of their heads, and they were not used to standing
upright, they became confused, stood back to back to support one another,
and looked in the wrong direction! Therefore Sir Frog saw not the great
ocean, but Kyoto, his home, and Gamataro not Kyoto but Osaka. They con¬
cluded that since both places were identical, travel was stupid and tire¬
some, and Sir Frog went gratefully home, fretfully relating that there
was no great ocean - and Gamataro was contented to remain in his lotus
pool.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Children's comedy
13 characters - 5M, 3F, 5 boys; extras
2 - exteriors
Full evening
Japanese; animals
Must be professional and imaginative
Moderately difficult
Isabel Anderson
34 Concord Square,
Boston, Mass.
Consult author for price .and royalty
-56-
THE BASTION SAINT GERVAIS
One-Act Drama
by
Maxwell Anderson
The reasons why men fight and die for the cause of liberty and a con¬
cise interpretation of that idealistic condition are here set forth
in a highly dramatic fashion. Although originally written for radio
its production on the stage will present no difficulties.
SYNOPSIS:
In the broken end of a whitewashed quadrangle, once the outwork of a
castle on the heights east of Teruel, the remnant of a company of
AMERICAN VOLUNTEERS to the Loyalist cause in Spain, are counting their
last moments. Franco' s troops are between them and their regiment;
they are completely surrounded and their ammunition is almost gone; to
add to their discomfort, a dying MOOR whose intention was to murder them
before he was riddled by their machine-gun bullets, is continually cry¬
ing for water, which they have mercifully given him in spite of the fact
that they need it desperately. As they prepare to make their last stand,
any hope of escape from the trap they're in having been shattered, they
discuss the revolution in Spain and revolutions in general, and analyze
the reasons why they joined the Loyalist cause, bitterly regretting
their untimely but now inevitable deaths, and wishing that they had
stayed at home. One of the boys likes to think of the trio he is part
of as The Three Musketeers. MYRON, who is a poet, says that the liberty
that men fight and die for is the flesh and blood of life. Seven hundred
men are coming up the hill after them, and BOB gives the futile order to
fire.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama - Spanish Civil War
4 characters - 4M
1 - ruins east of Teruel, Spain
20 minutes
Loyalist uniforms and 1 Moorish uniform
Easy
Simple
Brandt & Brandt,
101 Park Avenue,
New York City
Consult agent for price and royalty
-57-
DEVIL TAKE A WHITTLED
One-Act Folk Fantasy
Weldon Stone
A delightful play of the Ozark Mountains. It is in the finest tradi¬
tion of the folk drama and merits the attention of any producing group
in any part of the country. Offers great opportunities to an imagi¬
native director.
SYNOPSIS:
This is the story of how LEMUEL SKAGGS, "a real fine-purty whittier"
consorted with the DEVIL on his wedding day and did one of the finest
pieces of whittling ever to be seen. But the CEDAR GIKL he whittled
in the image of his wife to be and the Devil stir up such a ruction
that Lem and HIS GIRL both come mighty near to losing their good names,
as do likewise the PARSON, the SHERIFF, and the BRIDE'S PA. But the
Parson wins the day in the long run and Lem settles down to respecta¬
bility and labor.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Folk play - fantasy
11 characters - 8M,
1 - exterior
-§• hour
Ozark Mountain
Highly imaginative
Simple
Samuel French
25 West 45th Street
New York City
3F; several extras
-58-
EXILED IN EDEN
One-Act Comedy
by
Georglana Adams
Style, intelligence and a feeling for sophisticated comedy distinguish
this work. It is thoughtful and wise, well-written and charming and
should play excellently.
SYNOPSIS:
ADAM and EVE are driven from Eden and are living just outside, where
they can see the exit gate and the Angel that guards it. Adam builds
a small grass hut and Eve is kept busy with household work and sewing
fig-leaf garments. She is already busy nagging Adam for a new fur coat,
although Adam reminds her that it was only recently that she was glad
enough to go around in the same skin day after day. Eor the first time
in their lives they know what work means. Adam has a garden to care
for and a sick dinosaur to nurse. He regrets that there is no time to
play games and longs for the paradise they lost because of Eve's delin¬
quency. Adam makes such an eloquent and intelligent plea to the Angel
that they are allowed once again to enter Eden. Eve is discontented
from the beginning, for she feels an honest satisfaction in the work
they were doing outside .and is bored by the leisure and security the
Garden affords. Adam too is disgusted when he meets a lion and it licks
his hand, for gone is the thrill of the chase. Nothing to do finally
wearies them both so completely that they again go to the Angel and ask
him to allow them to leave, this time forever. Their argument is so
convincing that the Angel opens the gate and they go back to the outside
world of work, excitement and continual struggle.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Satirical comedy
3 characters - 2M, IF
1 - outdoor setting
30 minutes
Adam and Eve and Angel's
Easy
Simple
Sucalyptus Press
Mills College
Oakland, Calif.
-59-
FAREWELL TO LOVE
One-Act Comedy
dy
Florence Ryerson and Colin Clements
Although somewhat trite in conception, this is a smoothly written farce
of the hyper-drawing room style. It has a sureness of touch and the
skill in its assembly is such as to make it an eminently playable piece.
SYNOPSIS:
A famous ACTOR-ACTRESS star combination are about to part after years
of successful playing together. They theatricalize eloquently about the
separation and reminisce about their early days together. Without diffi¬
culty they persuade themselves that they are really ii» love with one an¬
other. But then the question of another play arises, each of them wish¬
ing to branch out alone. At once their inveterate professional jealousies
are at high pitch until their row culminates in the abandonment of their
romantic illusion but the determination to go ahead with their successful
professional partnership.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Farce
2 characters - 1M, IF
1 - simple interior
About 15 minutes
Ordinary dress
Not difficult
Simple and inexpensive
Samuel French
25 West 45th Street
New York City
-60-
GOODNIGHT PLEASE!
One-Act Farce
by
Jnmes Daggett
This splendid farce is brief, light, and skillfully handled. The theme
startles a little when first encountered but rapidly grows upon one to
the point of obsession.
SYNOPSIS:
MEREDITH WEITEHOUSE, a banker, suddenly determines to gratify a life¬
time wish and remain in bed for a week for the sheer luxury of it. He
does so. By the third day he has created a crisis of such proportions
that practically the whole town is demoralized. His action is considered
unconventional and outrageous, almost immoral. It is not that anyone
objects to his loafing.,,but in such a manner! The worst comes to the
worse when EVERYONE suddenly begins getting jealous of him. His example
has aroused the same basic yearning in the hearts of all of them.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:'
High farce
7 characters - 4M, 3F
1 simple interior. Could be draped
About twenty minutes
Everyday dress
Easy
Simple and inexpensive
Samuel French
25 West 45th Street
New York City
-61-
MONSIGNOR'S HOUR
One-Act Drama
by
Emmet Lavery
A strong plea for world peace 1b the theme of this well-written drama.
Advanced amateur groups will find it splendid for production. It was
well received in Vienna and Budapest and was first produced in this
country hy Federal Theatre in New Orleans.
SYNOPSIS:
MONSIGNOR MICHAEL CAREY, from a small parish in America, is traveling
in Europe and has only one hour in Rome. He chooses to spend it in the
Vatican art gallery before a painting, "The Key of Heaven", under which
is printed Christ's words at the Last Supper, "My peace I leave with you;
my peace I give unto you". A group of SIGHTSEERS approach. A young
LAWYER and his pretty FIANCEE appeal to the Monsignor to settle an argu¬
ment: the girl, a devout Catholic, maintains that the Pope will give an
audience to anyone, the lawyer insists that only people of importance
would he allowed to see him. The Monsignor admits his lack of knowledge
about the customs but volunteers to obtain an audience during his hour
in Rome. MONSIGNOR PEREZ stops briefly before the painting and Monsignor
Carey asks him if it is possible to see the Holy Father. Monsignor Perez
informs him that His Holiness is preparing his speech for the World Con¬
ference for Peace and can see no one. Monsignor Carey questions MONSIGNOR
AMATO about His Holiness and his decision for peace. Monsignor Amato is
suspicious and orders the SWISS GUARD to watch Monsignor Carey. A CARDI¬
NAL with a white cap comes and stands before the painting and Monsignor
Carey speaks of the message of peace in Christ's words. The Cardinal en¬
courages the Monsignor from America to tell how he thinks world peace can
be effected. Impulsively and honestly the Monsignor says that the res¬
ponsibility is in the hands of the Holy Father, for the millions of
people who deplore war hope for a leader who will declare for peace, and
all churches would join in the great cause. The simple philosophy and
faith of the Monsignor convinces the Cardinal that the world is but a
small parish multiplied many times and essentially the same in religion
and viewpoint. The guide returns with the sightseers and the Monsignor
explains the argument between the young people. Smiling, the Cardinal
promises them the audience on another day. Monsignor Amato hurries in
to warn the Cardinal that he has kept the peace conference waiting for
his message and Monsignor Carey learns that he has been talking to the
Holy Father. Abashed by his boldness Monsignor Carey apologizes and asks
a blessing. His Holiness blesses him, refuses his humble apologies, and
invites him to come with him to the conference to proclaim peace.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
-62-
Drama - peace
14 characters - 11M, 3F; adults; extras: tourists, -oil-
grims
1 - The Vatican art gallery, or can be played before
curtains
1 hour
Modern; robes of Monsignor and the Cardinal; Swiss
Guard uniforms
Requires careful direction and experienced actors
Can be simple or elaborate. Note on production in¬
cluded in book
Samuel French
25 West 45th Street, New York City
ONE CAR WEDDING
One-Act Comedy
Seyril Schochen
The struggle of two young people to triumph over their poverty-scarred
existence and to assert their dignity as human beings is convincingly
portrayed in this one-act drama. The mood which it creates at the open¬
ing is beautifully sustained throughout. The dialogue pulses with a
passionate sincerity and establishes the two characters with surprising
speed as authentic personalities. The girl, whose intuition and woman¬
liness is contrasted with the indecision and perplexity of her young
husband, is especially fine.
SYNOPSIS:
A YOUNG FELLOW and a GIRL, still in their teens, have just been married
and are driving away from their home town in a decrepit car which he has
bought with his small savings. They are bound for the girl's uncle who
may give the boy a job in his grocery store. The boy has just been dis¬
charged from a factory where his services have been usurped by a new
labor saving machine and the girl is glad to escape from a drudgery job
in a cheap restaurant kitchen. The girl is insistent upon their spending
their wedding night in at least a half-way decent hotel room but the boy
has figured that he has only just about enough money to buy enough gas to
get them to their destination. He proposes consummation of their mar¬
riage in the closed car. The girl's instincts rebel against this shabby
makeshift. She would rather drive all night and wait though the two
youngsters are frantically in love. But now they find that the gas has
already given out. The boy runs back to the last town in order to get
a can of gas. While the boy is gone the girl comes under the spell of
some merry-go-round music from a country fair in the distance and the en¬
chantment of the night. Filled with longing she executes an impromptu
epithalamial dance but her hea.rt knows a sense of shame and indignity at
the prospect of consummating her wedding in a roadside car. A mood has
come over the boy. He is sick and tired of being treated like a dog, of
the grime of poverty and of his enforced idleness. He is willing to
drive on through the night and find work at any cost. But now the girl
wants only to be loved, even in the shabby car. Two state troopers sur¬
prise them. The marriage certificate saves them from arrest and needless
insult. The boy and girl decide to return to their home town and to
fight for decent living conditions and the right to work.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Social comedy
2 characters - 1M, IF; extras
1 - a country road
15 minutes
Contemporary
Requires delicacy and skill
Of the simplest
Seyril Schochen
435 East 74th Street
New York City
-63-
THE PEOPLE OP THE CAGE
One-Act Drama
by
Nelliae Child
The misery of the laborer and his struggles towards better living condi¬
tions are portrayed in this powerful and symbolic drama. The dialogue
is trenchant and the characterization stands out boldly. Its length
makes it difficult to fit it into an ordinary program but it could easily
be combined with a one-act play. The novelty of its form and approach
fits it admirably for an experimental theatre tryout.
SYNOPSIS:
This play is highly impressionistic and symbolic, and therefore difficult
to put into a synopsis. It deals, in a very interesting way, with the
misery of the laborer and his struggles towards better living conditions.
The dramatist has set himself the task of making all the workers of the
world realize that they are living in a cage,that this cage itself rep¬
resents society and that the entire social system is really a cage in
which we are imprisoned and in which we keep each other prisoners. It is
an indictment of our entire social system. SCOVEL, a negro worker, re¬
ceives a salary cut. He quits, but this is only a beginning of a series
of cuts. The rest of the WORKERS become inflamed against Scovel, not
realizing that they are the victims of the economic system which is des¬
troying them. One of them, SHATTER, who is half crazed, has a vision of
the cage which encloses them all, but nobody will listen to him. ANOTHER
MAN has a moribund CHILD whom he cannot help or cure. ANOTHER ONE is
deeply in love with a GIRL but is in no position to marry her. They are
all paralyzed by the iron economic law. There is a strike. The OWNERS
call in the MILITIA who fire upon the workers. This becomes an entirely
symbolic scene in which the workers are mown down but arise unscathed as
they realize that they are all helpless in the same cage and that they
must assert their manhood. They have given up their idea of lynching the
negro, Scovel, and have become adamant against the fascistic arguments of
the hired orators of their employers. This last scene is very powerful
and rises to tragic heights as the workers seek to come into their own.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama - symbolic - expressionistic
22 characters - plus extras
1
1 hour
Contemporary
Skillful, imaginative
Simple, inexpensive
Curtis Rrown
18 East 48th Street
New York City
-64-
THE TORCH
One-Act Drama
by
John Broome
Taut with brutal drama and full of suspense this very short but fast-
moving play is theatrically effective, well written, and worth pro¬
ducing.
SYNOPSIS:
In the lockhouse of a railroad on the Southern California border, BLADY,
who is a young hobo trying to get across into the sunny state, and an
OLD MAN, are disconsolate at their failure. They have been roughly shoved
into the lockhouse by CLEVELAND SAM, one of the toughest and most brutal
railroad "bulls" in the country. Cleveland Sam is outside at the moment
with MURPHY, his stooge, chasing MOTHER COUPLE of freight-travellers to
the lockhouse. EDDIE, a young and somewhat frightened fellow and his
friend MYRON, whose ankle has been broken in the chase, are pushed inside.
Cleveland Sam has found a pamphlet, union propaganda, and he is looking
for the "sonofabitch" who dropped it. As Sam has quite a reputation for
murder of the more coldblooded sort, all of the men with the exception of
Myron are terrified. Cleveland Sam bullies his frightened victims until
Myron by confessing that the pamphlet was dropped by him, stops him.
"Yeah, I'm a union organizer", Myron admits. "I'm gonna do you a favor,
Red" - Sam says. "I'm gonna stand in the doorway and give yuh. a thirty
second startl" Cleveland Sam has his gun pointed at Myron. Eddie is
shaking with an agonizing desire to rush in and help his friend, but
Myron begs him to keep out of it. Myron stands up to Sam and doesn't
flinch even at the moment when the brutal bull fires the first shot.
Myron is horribly murdered before their eyes. "I'm coming backI" -
Eddie says through his teeth. "I'm coming back!"
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIMS:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Drama
6 characters - 6M
1 - interior of lockhouse
15 minutes
Modern
Simple
Simple
John Broome
80 Columbia Heights
Brooklyn, N. Y.
Contact author for price and royalty
-65-
WATER AND WINE
One-Act Comedy
by
Prances Gordon Strunsky
Theseus, the Greek who slew the Minotaur, is featured in this charming,
satirical short comedy. The locale is the island of Naxos in the Aegean
Sea.
SYNOPSIS:
THESEUS, son of the king of Athens, is returning from Crete, where he
slew the Minotaur, with SEVEN YOUTHS and SEVEN MAIDENS who were to be
sacrificed, but who are now saved because of his heroism. Theseus has
holped himself to ARIADNE, daughter of the king of Crete, whom he intends
to marry when they reach Athens. They have stopped off at the island of
Naxos, and in this idyllic setting Ariadne becomes very romantic and de¬
plores the necessity of hanging a curtain at the entrance of the cavern
where she is to sleep, to separate her from Theseus. Theseus, who is a
stickler for convention, insists that everything must be done very pro¬
perly, and Ariadne, who might be ecstatically happy if he were not quite
so virtuous, is vastly disappointed in him. He has begun to sound a bit
priggish to Ariadne, whose blood runs warmer than his. Into this scene
of pastoral charm and simple beauty, steps BACCHUS, the god of wine, who
promptly woos Ariadne in a passionate, abandoned and lyrical manner, so
much to her liking that Theseus is forced to admit that he could never
make her happy. The restrained and virtuous young Greek sails back to
Athens and leaves Ariadne alone with her beautiful god.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Comedy
17 characters - 9M, 8P
1 - drapes to represent cave
20 minutes
Grecian
Easy
Simple
Experimental Theatre
Vassar College
50 cents a copy
Royalty $5 a performance
-66-
YELLOW FEVER
One-Act Drama
ty
Peter Arnow
Any cycle of plays dealing with great moments in medical history should
offer a legitimate place for this sketch. It is none the less dramatic
for being objectively scientific in its approach and recreating a momen¬
tous experiment of this sort in terms of the stage without injecting any
extraneous theatrical effects. The human element is sufficiently rep¬
resented in the talk of the sentries and dramatic suspense is provided
by the bigoted opposition of Col. Saunders.
SYNOPSIS!
A dramatization of Dr. Walter Reed's memorable experiment to determine
the source of yellow fever. This famous surgeon played what was little
more than a hunch that this dread disease was transmitted through the
bite of a particular species of female mosquito. The opposing theory
had been that it was transmitted by general contagion from those already
suffering from yellow fever. In order to prove his point REED called
for volunteers among enlisted men stationed at an array camp in Cuba. ONE
GROUP of men wore the clothes and lived in the quarters of victims of
the disease. At the same time they were carefully guarded from insect
bites. The OTHER GROUP lived in sanitary, carefully disinfected quarters,
but were exposed to mosquitoes. When this latter group came down with
yellow fever while the first group remained in perfect health, Dr. Reed's
point was proved and yellow fever ceased to be a scourge. This sketch
graphically portrays Reed's epoch making experiment. An added element
of drama arises from the jealous opposition of COLONEL SAUNDERS who op¬
posed Reed all along the line.
PRODUCTION NOTES:
TYPE!
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
SOURCE:
Biographical drama
10 characters - 10M
1
20 minutes
U. S. military uniforms of Spanish American War
Professional, knowledge of military etiquette
Simple
National Service Bureau
1697 Broadway
New York City
-67-
READY! AIM! FIRE!
Two-Act Musical Satire
"by
Gene Stone and Jack Robinson
This is a broad, decidedly slap-stick satire which, nevertheless, would
be useful to groups that wish to lampoon the folly of dictatorship. It
gives ample scope for striking production effects; the score and lyrics
are gay and singable.
SYNOPSIS:
HINKLE and MAGEE, two impoverished Hollywood song writers, are offered a
contract by the Dictator of Moronia to write a war song which will in¬
spire his people to go to war with Berengaria, a neighboring country.
The song is written. Hinkle and Magee are imprisoned when they allow it
to be stolen by a Berengnrian spy. They are sentenced to die unless they
produce another and better song. This they succeed in doing at the last
moment. But they write a peace song which is so much better that the war
is abandoned by both sides. The DICTATOR flees and the countries are
united under Hinkle and Magee as rulers. A Hollywood offer suddenly turns
up and they turn the country back to its little king in order to accept.
PRODUCTION NOTES:
TYPE:
CAST:
SETS:
PLAYING TIME:
COSTUMES:
DIRECTION:
PRODUCTION:
MUSIC:
SOURCE:
Musical satire
8 characters - 6M, 2F; many extras; bits and chorus
12 - 10 interiors, 2 exteriors
2 hours
Imaginative
Professional
Fairly elaborate
Score not with script, but available
Federal Theatre Project
Los Angeles, Calif.
-68-
NATIONAL SERVICE BUREAU
W P A FEDERAL THEATRE PROJECT
1697 Broadway
New York City
I
Hallie Flanagan. Director
FEDERAL THEATRE PROJECT
J. Howard Miller. Deputy Director
NATIONAL SERVICE BUREAU
Irwin A. Rubinstein, Manager
v
John McGee, Associate Director
The NATIONAL SERVICE BUREAU was organized primarily to secure and
develop dramatic material of the highest standard for Federal Theatre Proj¬
ects throughout the country. The BUREAU now offers a similar service to
Little Theatre groups, community and school theatres and amateur and
professional drama organizations.
hes e publications
and many others are
supplied ic i t h o u t
charge to WPA Fed¬
eral Theatre direc¬
tors. The prices
charged to individu¬
als and private insti¬
tutions merely cover
the cost of mimeo¬
graphing, _and are
payable in advance.
Among its varied functions will be found the following:
Publication of lists of outstanding ROYALTY and NON-ROYALTY
PLAYS for all occasions. These lists of recommended plays
contain complete analyses, source information, important director's
notes and suggestions for production.
Among the published lists which contain a wealth of highly recom¬
mended plays are:
Anti-War Plays
Catholic Plays
Children's Plays
Christmas Plays
Easter Plays
Historical Plays
Irish Plays
Jewish Plays
Marionette Plays
Musical Plays
Negro Plays
New One-Act Plays
90 New Plays
Religious Plays
Thanksgiving Plays
Vaudeville Sketches
Publication of scripts which have been prepared by Federal
Theatre playwrights and which cannot be secured elsewhere —
Living Newspaper Plays, National Youth Administration Plays,
Americana and Marionette Plays and important Folk Song
collections with texts and tunes. ^
I
—- j