\ IT 1 I wr (^i^lNOnCOCJ 014 458 088 6 • -i r » \ -T J « « MEG'S DIVERSION A DRAMA IN TWO ACTS by; h:''t:%raven New American Edition, Correctly Reprinted from the Original Authorized Acting Edition, with the Original Casts of the Characters, Argument of the Play, Time of Representation, Description of the Costumes, Scene and Property Plots, Dia- grams of the Stage Settings, Sides of Entrance and Exit, Relative Posi- tions of the Performers, Expla- nation of the Stage Direc- tions, ETC., AND ALL OF THE Stage Business. Copyright, 1890, by Harold Roorbach. NEW YORK HAROLD ROORBACH PUBLISHER r MEG'S DIVERSION. CAST OF CHARACTERS. New Royal Theatre, London, Oct. 17th, 1866. Jeremy Crow,« Devonshire ^^^_ j^^^^^j,_ farmer. ) IVallack^s Theatre, New York, Nov. i2th, 1867. Mr. John Gilbert. Mr. B. T. Ringgold. Mr. A. W. Young. Mr. J. B. Polk. Mr. J. W. Leonard. Cornelia, 'X daughters o/"l Miss Annie Bourke. Mrs. W. Winter. Margaret, j Crow. / Miss M. Oliver. Mrs. Clara Jennings, MRS.NETWELL,./M.(7r«;/,./. ^^^_ ^^ ^ ^^.^^ ^^^^.^ ^.^^^_ /T '7ft7/7/l'7fl I O J Villagers and Farm Laborers. } Mr. H. T. Craven. Jasper Pidgeon, a village carpenter. Roland Pidgeon, his brother. Mr. F Dewar. Eytem, an Exeter latvyer. Mr. Kenvvard. — a widow. Act I. — Parlor in Crow's Farm-house. Act II. — Garden in Crow's Farm. (In this act is realized Calderon's celebrated picture of " Broken Vows.") Three months are supposed to elapse between Acts I and II. Period, — The Present. Time of Playing, — One Hour and Three Quarters. 4 MEGS DIVERSION. THE ARGUMENT. Jeremy Crow, a farmer supposed to be rich in owning the largest farm in the county, which for many years, however, has been mortgaged to its full value, hopes and intends that his two daughters shall marry rich men who will supply the funds necessary to relieve him from embarrassment rather than see their father-in-law disgraced by financial ruin. These matrimonial plans are strengthened by his elder daughter's betrothal to Ashley Merton, an aristocratic Squire who prides himself on being some- thing of a philosopher and is directing Cornelia's education so as to fit her to become mistress of Merton Hall. This is a sore trial to Mrs. Netwell, whose residence adjoins that of the Squire, who is sacrificing his regard for his fair neighbor in order to be philosophical. Meg, the farmer's younger daughter, is still fancy free but has an ardent admirer in Jasper Pidgeon, a young carpenter whose suit is discouraged by Meg's relatives because of his plebeian origin. But Jasper has recently been the recipient of a large fortune ; and for the sake of securing a loan with which to make a necessarily immediate payment, Crow induces Meg to let Jasper suppose himself an accepted suitor, which she consents to, accompanying the supposition with much ridicule and teasing. Jasper's brother, Roland Pidgeon, had been brought up by an uncle whose property he had expected to inherit; but for some slight misdemeanor on his part, the uncle's estate had, instead, been left to Jasper. The latter generously wishes to share his inheritance with Roland who, in turn, good-naturedly declines the generous offer, and, at the same time, resolves to avenge Meg's ill-treatment of his brother. Roland's education and experience, his appearance and manner being greatly superior to Jasper's his retaliation becomes easy and has a favorable opening through his saving Crow's life, which enables him to become a frequent visitor at the farm ; and he readily wins Meg's regard, which causes her much regret for Jasper whom she has learned to respect as a friend while the time approaches when she has promised him her definite answer. Mrs. Netwell's tenderness for the Squire has caused her to refuse repeated offers of marriage from Mr. Eytem, her lawyer, who is connected also in a business way with farmer Crow and the Pidgeon brothers. Ashley Merton becoming gradually conscious of his cooling affection for Cornelia, and desiring that her regard for him should be tested, induces RoLAND, ever ready for frolic, to profess love to the young lady who is away at school. Again, as in Meg's case, Roland woos success- fully, but this time loses his own heart ; and shortly afterward he and Cornelia return to the farm and make their intentions known, to the Squire's relief, and Crow's resentment until he learns that Roland is his uncle's heir after all. At first this sudden turn of affairs causes Meg much grief and humiliation, but she acknowledges that the unsparing lesson was richly deserved. Jasper, however, angrily resents his brother's conduct, in s]3ite of the latter's motive, and a furious quarrel is averted only by the interference of Meg who has found that she can and does love Jasper. The latter finally proves acceptable as a son-in-law to Crow, whose pecuniary hopes are now realized ; Eytem makes a virtue of necessity ; MEGS DIVERSION. 5 Mrs. Netwell and Merton unite philosophy and matrimony; and general happiness results from Meg's Diversion. COSTUMES. Crow. — The usual dress of a substantial farmer ; cord breeches and top boots. Merton. — First Dress — Fashionable morning suit. Second Dress — Black ditto, white vest, and hat band. Jasper. — First Dress — Cord trowsers, brown short-tailed coat, blue velvet waistcoat, scarlet neck-tie, and white hat. Second Dress — Blue frock coat, drab trowsers, and billycock hat. Roland. — Fashionable morning suits. Eytem. — Black, with white neck-tie. CoRNELiA.--First Dress — Traveling dress. Second Dress — Light silk, with hat or bonnet. Margaret. — First Dress — Light print trimmed with blue, broad straw hat. Second Dress — Violet velvet jacket, black handkerchief on head, Mrs. Netwell. — Handsome silk dresses, shawl and bonnet. PROPERTIES. Act I. — Cheet of drawers, with mirror hanging over it, R., against flat. Table, with writing-materials on it, and two chairs, down R. c. Arm chair up R. C Small table L., against the flat. Chair up L. Basket of eggs, letter, and large placard bearing the word "Engaged," for Meg. Parcel and bank check for Jasper. Letter for Eytem. Glass and bottle (filled) in cupboard. Bonnet-box. Act II. — Rustic garden seat, R. c. Bundle of law papers and tape for Eyte.vi. Flower for Roland. Notes, in pocket-book, for Jasper. STAGE SETTINGS. ACT I. Door W/id-.. < I 1 ^- TubUW ^ Chair Do, ,-*> Tablrll, n,Hlrs MEG'S DIVERSION. ACT II. Landscape Backing ^ Gate I- Fence SCENE PLOT. Act T. — Plain chamber set in 3 G. Landscape backing in 4 G. In fiat, door c, and latticed window l. c. Door l. 2 e. Fire-place R. i E. Cupboard R. 3 E. Act II. — Garden in 3 g., backed with landscape backing in 4 g. Set house L., with entrance and porch at 1.. 2 e. Set wall, overgrown with ivy etc., running obliquely from house to fence which e.xtends across stage in 3 G. A gate, R. c, in fence. Gravel paths and made-up flower-beds in the foreground. STAGE DIRECTIONS. In observing, the player is supposed to face the audience. R., means right; L., left; c, centre; R. c, right of centre; L. c, left of centre; u. p., door in the flat or back scene; R. f., right side of the flat; l. f., left side of the flat; R. D., right door; L. D., left door; C. D., centre door; I E., first entrance; 2 E., second entrance; U. E., upper entrance; I, 2 or 3 G., first, second or third grooves ; UP STAGE, toward the back; down stage, toward the audience. R. R. C. L. C. L. Note. — The text of this play is correctly reprinted from the original authorized acting edition, without change. The introduction has been carefully prepared by an expert, and is the only part of this book protected by copyright. MEG'S DIVERSION. ACT 1. Scene. — The parlor of Jeremy Cko'V^' s farm-house — the apartment is well furnished, yet with much of the farm-house style. Crow and Cornelia are discovered, the latter fashionably attired for traveling. Crow, {at table, R. C. — L. of table) Well, lass, you look well fed and thriving, and though I'm no judge of edication, I dare say you're becoming quite accomplished like. Squire Merton has pro- mised to send in a pianoforte, to stand in that there recess ; so that you can practize your veryations and scaly things when you come home for a day or two. Let's see ! you're learning Italian, French, JoUick Cornelia, [putting on her bonnet before glass, R.) Logic, Moral Philosophy, Deportment, and many other things, papa. Crow. Papa! that gets over me — papa! That ever I, Jerry Crow, farmer, should be called papa ! but I suppose it's all right, as I'm to have the presumptuous heir to a baronacy for a son-in- law. Corn. Has Ashley told you when that is to be, papa? Crow. As soon as his uncle, who inherited an asthma, and the rest of the entailed property, dies ; he objects to the squire marry- ing " below par," as the pompous old aristocrat calls you. Now I consider edication is making you very much above pa, and fitting you for the envious position to which a marriage with Ashley Mer- ton, Esq., will elevate you. Corn. Well done, mon pere ; but grammar hardly comme ilfaut. How strange it seems, though ; a young lady of my age sent to boarding-school, and her schooling paid by her husband that is to be. Crow. It's only like buying the carcase of a house, and furnish- ing it to your own taste. Corn. Oh ! now you've upset all by your coarseness. Crow, (risiftg) Bless her; she's found out her father's coarse. 8 MEG'S DIVERSION. There's the first good effect of edication. But I'm nous-y eh, Nell ? Many a man would have thrown up his cards with such a hand as mine ; but I've played on, and kept up the impression that I was rich in trumps. Corn. But you are rich, papa, are you not? Crow. Sit down, Nell ; it's only right you should be undeceived. [they sit) I'm in Queer-street, and that's the truth. Corn. (r. ) Queer-street! where' s that? Crow. (r. c. ) I'm not rich ; to be sure I have the reputation of farming my own freehold, and I haven't felt bound to tell people that my farm has been for many years mortgaged to its full value, so that in fact if I was wound up I couldn't go on. Corn. You astonish me ! I have boasted to all our young ladies that you owned the largest farm in the county. Crow. Well, you can still boast ; it does no harm. If I can but get my two girls well married, I shall have reaped the crop for which I have tilled ; and then, if my rich sons-in-law won't back me up, I must disgrace them by being sold up. Corn. Oh, horrible ! it will disgrace mc, papa. Crow. Of course it will, and very soon, too, unless I can borrow two thousand pounds to pay arrears of interest ; and that's what I call being in Queer-street. Corn. Do you not know anybody who might, could, would or should lend you the money ? Crow. Only one, and he might, could, and won't. Corn. Who is that ? Crow. Jasper Pidgeon. Corn. The carpenter ? Crow. The carpenter. His uncle has died abroad and left him considerable property, when he didn't look for a shilling, for his brother Roland was the old man's favorite — brought up by him as a gentleman with expectations — but, by George, he doesn't get a blessed fraction. Corn. And have you asked that simpleton, Jasper, to do it? Crow. I have ; but to use his own unedicated words, he " didn't seem to see the pull ! " The truth is, I have no security to offer. Corn. Then it's a hopeless case ? Crow. No, it isn't, if your sister Meg will assist me ; the fellow is head-over-ears in love with her. Corn. Plebeian individual ! Dear papa, you would never think of espousing her to a mechanic ? [rising] Crow, [rising) There you go ! there you go ! I don't want her to " espouse " him, as you call it ; but if we could only get her to let him suppose that he might be an accepted beau, I am sure he would readily buy my consent by the loan I want. Corn, (r.) Margaret doesn't care anything for him, does she ? Crow. (l. ) Lord, she is so full of coltish skittishness, plaguing the MEG'S DIVERSION. 9 poor simpleton out of the little sense there is in his glue-pot of a head — in fact, Jasper Pidgeon is Meg's diversion ! Corn. Then, we must persuade her it would be a good joke to let him think she's fiancde to him. Crow. Feearncy ? Oh, I know what you mean — humbug him to any extent ! Hush ! here she is. Meg, with a basket of eggs, runs in door, R. Meg. [down c.) Fourteen eggs this morning ! where's Corny ? Ah, there she is, as large as life, [puts down her hat attd basket on table, .K.) Oh, you dear, pretty fine lady of a sister, how thorough- bred you look ! Going away again to school ? — ha, ha, to school ! " A was an archer and shot at a frog ! " What's French for frog ? Is it masculine or feminine? Answer me. Miss, without hesita- tion, or ril complain to your French master. Corn, (r.) Oh, Margaret, don't be so obstreperous! Meg. (C.) There's a word! oh my ! — obstreperous! Father calls it " obstroporous," don't you, daddy .-' Corn. He's most indiscriminate in his vowels. Crow, [aside, L.) Now my vowels arn't right ! Corn, [to Meg) Wow frivo/e you are. dear. Meg. Here we are again — "fjivole ! " Paries vans Franc ais? qu'estce que cest toujours jamais paddy-whack? Ha ! ha ! ha ! give us all French, or all English, Corny. Crow. Don't be so infernally flighty ! Meg. There, that's English — such as it is — but what's the mat- ter. Corny, dear ? you look out of sorts ; don't mind me ; I won't be frivole if you don't like it, for I do love my sister, and admire her too! Forgive my nonsense, won't you, dear? [kisses her) Crow, (l.) Lord bless you, Meg, she doesn't mind, no more do I ; we have just been splitting our sides about your cracking your jokes on Jasper Pidgeon. I do enjoy it and that's the truth. Meg. (c.) Poor Jasper ; but doesn't he take it good-naturedly! What do you think, Corny ? The other day I pinned a duster to his coat-tail, and as he went home the boys began to shout " what a tail our cat's got," and then he found it and hunted the boys for having put it there — I was never suspected, ha ! ha ! Corn. I'm told he has ?^ penchant for you. Meg. Penchant! The idea of Jasper having a French sensation. Well, I think he is fond of me. Oh, I could have a lovev if I liked, as well as my lady sister. Corn, (r.) It would bean exquisite diversion to make him believe you loved him. Crow, (l.) It would, and that's the truth ; for the impudent fel- low told somebody the other day, who told me the day after, that love was like water to you, and your heart was like a duck's back. lO MEG'S DIVERSION. Meg. Well, you know, the duck's back was clever. Crow. But he needn't have called you marble — no by-the-bye, " stone " was the word ; he said you was a precious stone. Meg. Does the young slanderer talk of me in that way? He shall have the stone back again. I'll make him believe that I'm dying of love for him. Crow. Ha ! ha ! and let him suppose that I set my face against it ; eh, Nell ? Corn. Yes, to see what the simpleton will do. Meg. Oh, he's not such a simpleton as you think ; he can give a rub if he hkes ; but he'll take anything from me, and would it be quite right to take advantage of that weakness? Crow. Pooh, pooh, it will take him down a peg, if you just keep up the game for a week or two. Corn. Yes, do, and write me full particulars. I shall enjoy the fun as much as though I were here to see it. Meg. Poor Jasper ! Crow. He deserves it — you know that. Meg. He has a very tender heart, I know that. Crow. Hang it, Meg ! don't go and really fall in love. Meg. Oh, no fear of that. Corn. Now do it to oblige me ; there's a darling. Meg. I will, Corny ; I'd do anything in the world ^ov you. Corn. Stone as you are ? Meg. The monster, to set about such a repoit as that ! I'll have no mercy on him. Crow. Ha, ha, ha ! Well, Meg does cheer me up with her frolics, and that's the truth. Meg. Yes, dad ; I'm so " frivole,'' ain't I ? [a loud single knock at door in flat, which makes thetn start) Crow. Bless us, and save us ! Corn. Bon Dieu! Meg. It's Jasper ; he always knocks as if he'd thrown a brick at the door, [ppejts door in flat) Jasper appears, in his holiday suit, holding a parcel in his hand. Meg. [up stage, R. c.) Oh, what a swell ! Jasp. {up stage c.) Out for the day. D'ye like this style? Meg. How genteel ! Jasp. Well, it's neat and unpresuming, isn't it? Oh, lor! there's Miss Cornelian, I declare ! [goes down to her, R. c. — Meg remains up, R. C.) 'Pon my word, I'm glad to see you. Miss Crow, senior ; you don't look half so peaky as you used to. Of course you're still delicate and lady-like ; but I mean you look fresh and whole- some. Corn. (r. ) Wholesome — the idea ! MEG'S DIVERSION. II Jasp. No, I don't mean you look wholesome, but — {drops parcel) I beg your pardon, that's a little present for — [sees Crow and crosses over io him, L. c.) How are you, governor? Crow, (l.) I'm glad to see you, Jasper, [shakes hands — Jasper drops parcel) Jasp. (l. c. ) Then it's lucky I dropped in — isn't it? I say, somebody important has arrived, [puis parcel on table at back l. ) Meg. (r. c, upstage) So it seems. Jasp. No ; 1 mean — who do you think has come down to stay with me ? Why, brother Roly ! Such a noble-looking fellow ! his moustachios alone command respect — at right angles with his nose, bless you — a la Hemperor. Meg. Like pussy's whiskers. Jasp. And such a gift of the gab — there — talk about flowency — but it's the style, mind you ! Corn, (r.) Distingue? Jasp. (r. c. ) Distinctly! And he's a perfect Tower of Babel in languages ; why there was an Italian organ-grinder came before the window this morning, and to hear the no-mistaky way in which Roly directed him, in his own language, to go to the — I beg pardon, ladies, I was going to say, the devil, [crosses to R. C.) Corn. Oh! Jasp. Devil-o is what he called it, Miss Cornelian. Corn. My name is Corneha. Jasp. Ah ! so it is ; though why and wherefore, I never could guess. Meg. [who has come down L. c.) She was named after the neck- lace her godmother gave her, of course. Jasp. Well, my godfather gave me a silver spoon, but they didn't christen me " Spoony." Meg. No ; your sponsors didn't do the correct thing. Jasp. Correct ! Now, that's sourcaustic ; but I don't mind you, Meg — you're always giving me a dig. But look out when Roland comes! — talk about Rolands for Olives — eh, governor? Crow, (l. ) Well, bring him here to amuse us. Jasp. (r. c.) Oh! he's not particular as to his company ; I'll bring him. Corn, (r.) And the mustache recherche? Jasp. Ah ! your remarks are French polished — a cut above me that; though this morning I partly translated a Scotch song into Latin. Meg. (l. c.) Who said "learned pig?" — that's very rude! Jasp. [expostulating) Now, governor Crow. I didn't say it; but bless us and save us — a carpenter learning Latin! Meg. The learned gentleman of the bench. Corn. Favor us with your chanson in the dead language. 12 MEG'S DI VERSION. Meg. Dead ! Yes, if Jasper sings, he'll nuivder it. Jasp. Go it, Meg ! Well, I saw in a book that corpus was Latin for "body," so it immediately occurred to me to adopt it to music. [si?igs) " Gin a corpus meet a corpus, coming through the rye, Gin a corpus kiss a corpus, need a corpus cry." All laugh — Meg crosses at back to R. C. ; Qkovj goes up to window. Well, that's the way Miss Cornelian speaks French. Meg. {aside to Cornelia) There, I told you he could give a rub. Crow. There's Merton waiting to escort you to the coach, Nell. Jasp. (l.) Talking about him reminds me to tell you that I made an investment yesterday. Crow, {at table, R. c.) You mean that you bought a new waist- coat, or Meg. (r. C.) a straight-waistcoat. Jasp. [expostulating') Now, governor. Crow. [ pointing to iA'^G) 6"//^ said straight-waistcoat — goon. Jasp. You know Eytem, of the firm of Pepper and Gulp, the Exeter lawyers? — well, he comes to me and says he's got Mrs. Netwell's little estate to sell for three thousand pound — dash'd if I didn't clinch it, there and then. Meg. Who said " fools and their money ? " Jasp. (l. — expostulating^ Now, governor ! Crow, [coming dcnvn c.) I didn't say so ; but, my lad, I think you've put your foot in it. Jasp. No, I shan't even put my foot in it ; for I sold it to-day for four thousand^ha, ha ! Had you there, governor ! Who do you think bought it? Corn. Some madman, I should think. Jasp. [crossing to L. c.) Yes, your lover, Hashley Mutton, Esq. Corn. "Ashley Merton," if you please, sir. Crow. (l. to Jasper) How queer you are in your vowels ! Jasp. Now, governor — well, a thousand clear shan't be such a bad spec, eh ? Crow. Ah! luck's better than brains ; but I think Ashley has acted rashly. Corn. The estates join ; he knows what he is about, papa. But I mustn't keep him waiting. Bon jour, Mr. Pidgeon. [aside to him) Don't trifle with poor Margaret. Jasp. Eh ? Corn, [goes to Meg. r. c.) Margaret, a7i revoir! I shall see you again in a month. Don't come to see me, dear ; the young ladies are such quizzes. MEG'S DIVERSION. 1 3 Meg. (r.) Ah! you're ashamed of homely Meg — well, I don't wonder at it; but they can't quiz my own sister, she's better than any of them, [kisses her) Good bye, darling ! Crow, {^at back, putting on hat, and taking up a bonnet-box) I'lt see you on to the road. Corn, [aside to Meg) Don't forget your diversion. Exeunt Crow and Cornelia, door in flat. Meg. (r. c. ) Isn't she a pretty creature? Jasp. (l. c.) Well, I'm not given to soap, or I'd venture upon saying I know a prettier, [fetching parcel from tab/e at back, i..) Now, look here, Meg ; I've been and took the liberty of buying you a shawl — [gives parcel) — 'cause in that easter wind on Easterly Sunday, you looked as cold as a stone. Meg. Ah ! you think me as cold as a stone, do you ? Jasp. Put the thing aside — don't undo it till I'm gone. Meg. [p2its it in drazuer, R.) How am I ever to return it ? Jasp. Return it — nonsense — keep it ! Meg. [coming forward, R. c.) I'm sure the shawl will increase the warmth of my feeling, but you don't expect it will make me love you, do you ? Jasp. (l. c. ) Oh, no ; I'm not such a fool as that comes to ; you are too superior an article for me, and I know it — you don't care two-pence for me, and I know it — and if I love you, Meg, it's because I can't help it, in spite of all your sky-larking. Meg. Oh Jasper ; I'm not a stone ! Jasp. Yes you are, Meg — a precious stone. Meg. You don't believe I've a heart for anybody. Jasp. [with a little emotion) Yes ; when Mr. Wright comes, I shall have the — the undescribable pleasure of seeing him walk off with you, and I only hope that Wright will be up to the mark, and make you a good husband. Meg. Oh, go along, now, do ! Don't say such things, don't. Jasper, I care for nobody in the world but you ; I'm a weak, foolish girl, I know, but your charms have conquered. Jasp. My what? Meg. Don't you see that I adore you ? Jasp. Meg ! Meg. Now despise me! It's like all the men — as soon as they know a poor girl dotes on them they trample her under foot, [^she pretends to cry, and sits R. ) Jasp. You — you take my breath away ! Don't joke — don't joke with me, Meg, pray don't. Meg. Joke! There you go ! that's right I trample on me — dance on my tenderest feelings — accuse me of joking — do ! Jasp. You mean to say you — oh lor ! — 1-love me ? Meg. Oh, don't I ? Jasp. And I ignorant 14 MEGS DIVERSION. Meg. No doubt of it. Jasp. Look here, Meg. You are too good to deceive a poor fellow who worships the ground you sit upon. Say you love me, in three words, and I'll beheve you. Meg. In three words — don't I love you ! No, that's four. Never mind — keep in " don't." But why did I tease you so, Jasper, if I didn't? — answer me that, [rises and comes forward, R. c.) Jasp. Well, if that's a proof of love, I'm convinced on the spot. But, Meg — dear Meg, you never gave me the faintest hint. Meg. Because I thought father would never consent. Jasp. And do you think he will now ? Meg. I don't know — ask him. Jasp. I will. Lord ! it gives me such a palpitation, because it's come on me in such a clap-of-lightning way ; I've often gone so far as to dream of you, but I never dreamed to such a pitch as to — oh ! may I — excuse me if it's coming it too strong — may I mortise our httle understanding with a — excuse me for giving it a name— a kiss? Meg. Oh, I couldn't ; 'pon my word, I couldn't. I'll bank it for you till father consents. You may kiss the back of my hand, if you please ; it's just as good, {offers her hand) Jasp. Well, that's a matter of opinion ; but I've a lively imag- ination, so upon these hps [kissing her hand) which matter-of-fact people would call fingers, I swear you've made me as happy as any fellow can be, without going ramping mad. Meg. [going to cupboard, ^.) Won't you take something after your fright ? Have a glass of wine. Jasp. I will, and pledge myself to you. A glass of wine from your hands is something to smack my own lips over. Meg. [fills glass and gives it) Make haste! here's father com- ing. Jasp. (c.) I was going to make a few pre — pre — liminary remarks Meg. Make haste ! Jasp. [tips it off) Bah — booh— phit ! Why, that's vinegar! [crosses over to fireplace, R., spitting) Meg. [smelling the bottle) Oh, lor ! so it is. Forgive me — forgive me, Jasper — my own one ! I have done for you! Jasp. (r.) No, but you've pickled me ; but you didn't do it on purpose, did you ? Meg. (l.) Oh, Jasper! can you think me such a stone? Jasp. It wouldn't be the first trick you'd played me ; but I don't think you'd do such a thing now. (Meg replaces bottle and glass in cupboard — Jasper crosses to l.) Enter Crow, door in flat. Crow. There, I've handed Nell over to the care of her lover ; no MEGS DIVERSION. I 5 doubt he's bursting to say some tender things, for a lover's mouth is full of sweets— isn't it, Jasper? Jasp. (l.) Well, there's a slight acidity about mine. Crow, (c.) Ah, but you arn't a lover. Jasp. That's all you know about it, governor. Crow. Meg, you're my secretary ; drop a line to Eytem, the law- yer; say he shall hear from me next week — that's all ; here's pen and paper. Meg. All right, dad. [takes paper, &->c., crosses to L., and speaks aside /w;; R., and through gate. Roland, {down, R.) Ah, Jasper, boy, here I am, you see, well and happy. Jasp. (l.) So you ought to, Roly ; if ever a man had a right to be, you have. {gf'<-isping his hand) You are loved by an angel, Ro ; be good to her ! What an ass I am to say such a thing — of course you will! I con-con-grat — Well, that's a hard word for me to say ; but you know what I mean. Roland. Yes, she has told you already ; you're right, I am a lucky fellow. By-the-bye, have you heard from Eytem to-day ? Jasp. No. Roland. He has bad news for you, lad, but don't be cast down. You shan't want for money. Jasp. Oh, I know what you mean — that paltry money — a fleabite ! Roland. Fleabite ? Jasp. The thousand I cleared by Mrs. Netwell's estate, Eytem persuaded me to throw into a healthy Australian Company — so healthy that it burst itself, I suppose — never mind. Roland. No, it isn't that. Jasp. Then never mind what it is now. When you are mar- ried — to — to — Meg, brother, you shall have joint stock in all that I've got, and ■ Roland. Married to Meg ! What are you thinking about? I care nothing about Meg. Jasp. Don't jest, Roly ; I know all — Meg loves you, and a king might hold his royal head a little higher at that. Roland. Ha! ha! ha! What, have you been sold too? Pooh! pooh ! lad — she derided — insulted you ; I swore internally that I would pay her back in her own spurious coin — and I did; the finest bit of counterfeit you ever saw. I declared that I loved her — that I lived but for her — hers and hers only — without her, most lonely, and a lot more balderdash so artistically dehvered, that, hang me if she didn't believe it. Jasp. You did this? you? Roland, {taking Jasper's hand) For my brother's sake, my boy 40 MEGS DIVERSION. Jasp. {^snatching his hand away) Then you're a villain — a cow- ardly, cruel villain ! Roland. Hilloa ! Jasp. You own, deliberate, to have made a good — afifectionate girl wrongfully believe you loved her. Roland. Didn't she do the same to a good, affectionate brother of mine ? Jasp. What's that to you, if I choose to let her? Roland. Didn't she ticket your innocent back ? Jasp. What's my innocent back to you, if I like to be ticketed "} Roland. Well, there certainly is something fascinating about the little gipsy, but Jasp. [earnestly) Roly, you mustn't break her heart ; you shan // If you are a gentleman — and I have felt rather proud that we had one in the family — if you are a gentleman, you must act like one. Roland. But a gentleman can't fall in love simply because you command it. Jasp. He can ! you must ! Oh, brother, that is no difficult task with her; the more you know her, the more you'll find you can't help it. Roland. But I love another Jasp. It's false ! it's false ! Enter Meg, unseen by them, from the house, L. , and remains up stage. Roly, Roly, I have thought you better than other men — prove that you are ; I love you ; but all the brothers in the world are nothing to me where she is concerned. Wrong her, and I'm your deadly enemy — and that I shouldn't like to be to you, Roly. Perhaps you shrink from a girl who hasn't a purse ! then what I have is yours — take it freely — I want nothing! Ro', this is no brag, I mean it ; but carry out the hopes you have raised in that poor girl's heart. Roland. I tell you I am pledged to her sister. Jasp. Her sister ? Roland. Cornelia ; and as to your generosity, dear boy, I am sorry to break the news in the midst of your anger, but you have nothing. Eytem has just discovered, what I all along sus- pected — our uncle made a recent codicil, stating that, though some little folly of mine had incensed him, he forgave and left all to me. Jasp. And take it! What is wealth to me who have no one to share it? But won't _yf« prove yourself worthy of it, by acting with honor to Meg ? MEGS DIVERSION. 4 1 Roland, Once for all, I can't. Jasp. Then, brother be hanged ! you are no brother of mine, and I have no means of revenging poor Meg's wrong but by this arm, which before now has fought for justice in the workshop, and thrashed a rascal as I will you — ya,you! [throws off his coat) The name of a penniless mechanic^ — the name of his father, is dis- graced by a gentleman ! Let manhood be the referee— come on ! (Meg rushes between them, C.) Meg. (C.) Jasper, for my sake, no ! I heard all, with what utter change of feelings I have no words to tell ; but were he free from every other tie, could affection deeper than that he so admirably feigned possess this gentleman at your bidding — I should reject him, because — I love no longer! the magic has melted — the infat- uation is over! [to Roland) Sir, though I truly feel this, don't think it is said in anger. I richly merited your unsparing lesson, and if I am a wiser girl for the future, 'tis you, perhaps, I have to thank. There is my hand. I ask one favor in waking from this foolish dream — don't let your triumph over me be mentioned to my sister. Roland, (r. ) I promise, Meg, faithfully, for I'm not at all vain of the part I have played ; if Jasper had thrashed me it would have served me right, though 'tis as well that Pidgeons of one family shouldn't " fall out, and chide, and fight," as Doctor what's- his-name says. Meg. And since kindred had nearly been forgotten on my account, let me restore the link, {joins their hands) Remember, Jasper, your brother was your champion. Jasp. (l.) a pretty sort of cliampion to go in right and left at a woman — excuse me for calling you a woman, Meg ; but if I see you pining about him, my glue-pot will boil over again. I will see you the Meg I used to know, before I cross the briny ocean. Meg. Stay here, Jasper. Roland. Of course he will. He offered to share his sum total with me, and he shall find that I can do simple division in my sums as well as he can. Jasp. Not a pound, Ro'. [crosses to C.) I'll hand you over all I have had ; but there's one thing troubles me — I have lent two thousand pounds. Roland. Cornelia has told me all about it ; that debt I insist upon taking on my own shoulders. Give me the notes of hand. Jasp. [takes ttotes out of a pocket-book — as he is giving them, dra7us back) You won't trouble Meg's father about them? Honor bright ? Roland. As a brass-knocker, [lakes notes and tears them tip) Nobody shall say, " I owe " to Roly ! 42 MEGS DIVERSION. Jasp. He's not all bad — is he, Meg? Roland. Oh, Jasper and I are made of the right stuff — eh ? Meg. (l. ) You have both been good to my father — very good, and to me — but there — I cannot wrong Jasper by saying you have his heart. Roland, {aside') Hanged if I don't think there's hope for Jasper yet. [aloud) Well, I must go and find our agricultural parent. [crossing to L.) And I hope in a serene state, for I shall make a clean breast, and then its tenant won't be ashamed to display its palpitations. Exit itito house, L. Jasp. (/// c.) Now, I'll put on my jacket, and stick to the bench till I've earned a passage to Australia. Meg, (l. c, picking a flower) And what will you do there ? Jasp. I don't know — perhaps get a government appointment as bushranger. Oh, mind you, I know something about farming, and Meg. And who is to befriend me when you are gone, Jasper? [lookitig off, R. U. E.) Poor Sir Ashley is coming ; I must get out of his way ! I haven't the heart to be the first to tell him of his misfortune. Jasp. Oh, bless you, he's a philosopher ; he isn't such a fool as I am, Meg. (looks off, r.) There ; the silly fellow has dropped his kid glove into the hog-wash ! If you want to slip off, now's your time ! — let's go and cheer one another by indulging in our melan- choly thoughts, [as iliey go t /trough gate /o L. ) Do you ever won- der what harm you'd done to your mother, that she should have punished you by bringing you into the world? I do. Exit Jasper, l. u. f.. , folloived by Meg, talking. Enter Crow, followed by Roland, /;w« house, L. — Roland goes down, L. Crow, [speaks as he enters) What, sir? What? How dare you name such a thing ? Love my daughter Cornelia ! Why, con- found it, if I didn't owe my life to you, I'd take yours on the spot! — Cornelia^ — Lady Merton — good gracious ! I had begun to think you was dangling after Meg, and even that was — but Corn-e-lia indeed ! Oh, here comes Sir Ashley himself. Confound you, I'll expose you ! — I'll have no pity on you — I'll hand you over to him ! Enter Merton, through gate C, and down R. Here, Sir Ash ; resent your own insult ; here's this here individual — I don't know what else to call him — has dared — with full knowl- edge of your priory right and title, to ask my sanction to his mak- ing love to Cornelia ! MEGS DIVERSION. 43 Mert. (r.) Well, I really don't know anything against the gen- tleman. Crow, (c.) Against the what ! the " gentleman ! " Did you hear what I said? He pits himself against _y^« with my daughter. Mert. I must decline to be pitied ; it must not be said in history, that Sir Ashley Merton, fourth baronet of that name, was an obstacle to the course of true love ; so if Corneha loves him Crow. If she — loves him ! Is this a conspiracy to drive me mad ? Sir Ashley, is that girl— who has been studying unnatural phi- losophy, and the deuce knows what all, to prove her affection for you, to be vilUfried by such an insinuation as that? Oh, here she is! Enter CORNELIA, _/>o;;z house, L., mid doivn, L. c. Nelly ! Nelly ! here's pretty scandal going on about you, but to cut the matter short — you see these here two— a gentleman, and a — individual, don't you? Well, which of them do you love? Corn, [^turning L. to Roland) This gentleman, dear father. Mert. (r.) Pardon me — that's the "individual." Crow. Fire and fury ! this is a conspiracy ; but I'll soon bring this fine boarding-school miss to her senses. As for you, [to Roland) you penniless scamp, I'll prosecute you for — for — I don't know what ; but it's felony. Sir Ashley, I shall forthwith take proceedings against you for — for — well, never mind what it's called — I can afford to go to law. Enter Eytem andM.^^. Netvvell/ww« R., through gate — Jasper and Meg /rotn L., and remain at gate tatking — Mrs. Netwell remains up, r., and is joined by Merton. Eytem. [coming down, R. ) Who talks of going to law ? Law has come to you. Crow, (c.) Here's a breach, Mr. Eytem. I lay my damages at twenty thousand at the least- — Sir Ashley cries off — he deserts my daughter ! Eytem. So my fair client tells me ; and it appears that Mr. Roland Pidgeon is now the lucky man. Crow. He shall have the luck of my horsewhip about his shoul- ders if Eytem. Sir, this young gentleman is now proved to be the real claimant of his uncle's estate, value twenty thousand at the least. Crow, [cooling dorvji) Oh, is he? And you say, Sir A., that you decline off niy daughter? Mert. [up, R.) I have no alternative. Crow. "Turnative" indeed! then I'll punish you^sir, by — by 44 MEG'S DIVERSION. accepting this young bull-fighter ; hang'd if I don't ; but I've been deceived once — I'll keep a pretty sharp look-out on my other wench, [to Meg) What are you doing, talking to that mechanical pauper ! Eytem. [aside) I must put in a word for hiiii too. [aloud) Mr. Crow, I have consulted my partner, and he refuses to rent the farm to you. Crow. He does? Eytem. Jasper, my lad, (Jasper doivn R.) you entrusted a thou- sand pounds to me for investment ; I bought and sold your shares at an extraordinary crisis, and doubled your capital in a week. One half of this farm now belongs to us ; throw your cash into it, and show this farmer of the old school what intelligence and manure will do with waste land. Jasper, (r. ) Set up an opposition shop to Meg's father ? No, I'm blessed if I do, Mr. Eytem! but, if you will let the land to Mr. Crow, and he likes to take me as a sort of partner, now Crow, (l.) Worse and worse I why, he'd be plowing the land with a jack-plane. Meg. [aside to Crow, L.) Father! father! Jasper was a good friend to you when you needed it. Eytem. [to Crow) Come here, and listen to counsel /n? and cofi. [aN retire up — Merton atid Mks. N. come fojivard) Mert. (r. C.) Now, Sophia, the spell is withdrawn from my tongue and I may fearlessly declare I love you ; yes, it has been coming on, so to speak, for the last three months. Mrs. N. (l. c.) Then, Sir Ashley, you must take me as I am— a mere woman. If 'tis a question of love, I relinquish philosophy and mathematics, Mert. What, won't you study Euclid ? Mrs. N. I'll study you, and you only ! you were vay pons asin- orum, and I have mastered you — O. E. D. I have discovered that you have great intellect Mert. Dear Sophia ! Mrs. N. But you require the guidance of a practical mind. Mert. I think I do. Mrs. N. Be ruled by me in «:// things ; and like poor dear Net- well, your home will be your heaven. Mert. Yes, Netwell " went home" very soon after he was mar- ried. Well, do as you please with me, but be mine. Eytem. [coming doion) Pardon me. Sir Ashley. (Merton goes up R.) Mrs. Netwell, can I have the happiness of speakmg a few words — privately ? Mrs. N. (r., aside to him) Too late, Mr. Eytem — engaged! Eytem. (aside) Deuce take it, the baronet has been before me— [to Mrs. Netwell) I see, madam — I now see why you held me MEGS DIVERSION. 45 on and off a corps de reserve — in fact you considered me a decoy duck. Mrs. N. Mr. Eytem! I never considered you a duck — come, don't be vexed ; I'm not worthy of it. Eytem. Vexed ! no ; but I've been taught a lesson — Pepper, Gulp & Eytem are not to be trifled with generally, but old Harry himself may be taken in by a widow. Mrs. N. Oh, Mr. Eytem, for shame ! I really didn't even know your name was Harry, {they separate mid go up — Jasper and Meg come fonvard ) Jasp. (l. c.) Then it's settled. Pidgeon & Crow ; I'm to be the governor's partner ; but I'll work early and late — and mark my words, the farm shall all be his again by-and-bye, for your sake. Meg. (r. c.) For jny sake, Jasper! Is it possible you can have a kind thought of me still ? Jasp. Meg, I think better of myself since I've discovered my thoughts of you are not at all selfish, and I'll keep so — at least, I'll try. Meg. That word, Jasper; don't you remember reproving me for saying I'd try ? Jasp. Poor girl, and so I did ; well, don't try any more, there's no need. Meg. There is not, indeed ; the very error which led me astray proved the generous heart I had deserted, and made me humbled ; know that — I cannot say it Jasp, Whisper it, Meg, and then I'll pretend not to hear it. (Meg wJvspers') C.-ow. {coming down, L. c.) Hoa, there! what's that whispering abou t ? {all come fotwa?'d ) Roland. (a«c/(? /i9 CoRNELiA, L.) I can guess. Another Pidgeon will pair off with another Crow. Crow. There's no occasion to ■ conceal nothing from me, I'm sure. A baronet throws over my daughter and I forgive him ; a young bull-fighter seizes her, willy nilly — I tumble to it ; my daughter herself makes an ass of me, and I'm patient; a lawyer chisels me, and I take it as a thing of course. A bread-and-cheese carpenter is thrust on me as partner, and I receive him with open arms. So hang me if I haven't come to the belief that I'm an angel in top-boots, and that's the truth. Eytem. {leaning 07i back of seat, R. c.) Well done, farmer ; I see you know how to make a virtue of necessity. Crow. But what's the secret, Meg? Meg. I whisper'd, " Don't condemn my errors past. The heart may stray, yet, turning right at last, Learn to reward an honest, pure affection." Roland, {aside) Soh ! my suspicion took the right direction. 46 MEG'S DIVERSION. Jasper, [fo audience) She said — but no ! it isn't fair to tell — Yet, Meg's Diversion, may, we hope, end well ; For Pidgeon's proud to own he's caught and caged, Don't ask me to say more — look here ! Pulls the placard used in Act I from his pocket, and pifis it on his breast, displaying the word — " Engaged." TABLEAU. Meg. Jasper. Eytem. [leaning on back of seat) Mert. and Mrs. N. [on seat) Crow. Cornelia. Roland. L. CURTAIN. SAVED FROM THE WRECK. A DRAMA IN THREE ACTS, BY THOMAS K. SERRANO. PRICE, 15 CENTS. Eight male, three female characters: Leading comedy, juvenile man, genteel villain, rough villain, light comedy, escaped convict, detective, utility, juvenile lady, leading comedy lady and old vi'oman. Two interior and one land^cape scenes. Modern costumes. Time of playing, two hours and a half. The scene of the action is laid on the New Jersey coast. The plot is of absorbing interest, the "business" effective, and the ingenious contrasts of comic and serious situations present a con- tinuous series of surprises for'the spectators, whose interest is increasingly maintained up to the final tableau. SYNOPSIS OF INCIDENTS. Act I. The Home of the Light-house Keeper. — An autumn afternoon. — The insult. — True to herself. — A fearle.'s heart. —The unwelcome guest. ^Only a foundling. — An abuse of confidence. — The new partner. — The compact. — The dead brought to life. — Saved from the wreck. — Legal advice. — Married for money.— A gi Men chance. — The intercepted letter. — A vision of wealth. — The forgery. — Within ail inch of his life.-^The rescue. — Tableau. Act II. Scene as befork ; time, night. — Dark clouds gathering. — Changing the jackets. — Father and son. — On duly. — A struggle for fortune. — Loved for himself. .—The diviied greenbacks. — The agreement. — An unhappy life. — The detective's mis- take. — Arrested. — Mistaken identity. — The likeness again. — On the right track — 1 he accident. — "Will she be saved ? " — Latour's bravery. — A noble sacrifice. — The secret meeting. — Another case of mistaken identity. — The murder. — " AVho did it ? "—The torn cuff. — "There stands the murderer!" — " 'Tis false!" — The wrong man mur- dered. — Who was the victim ? — Tableau. Act III. Two Days Later. — Plot and counterplot. — Gentleman and convict. — The price of her life. — Some new documents. — The divided banknotes. — Sunshine through the clouds. — Prepared for a watery grave — Deadly peril. — Fatherand daugh- ter. — The rising tide. — A life for a signature. — True unto death. — Saved. — The mys- tery solved. — Denouement. — Tableau. BETWEEN TWO FIRES. A COMEDY-DRAMA IN THREE ACTS, BY THOMAS A'. SERRANO. PRICE, 15 CENTS. Eight male, three female, and utilitj' characters: Leading juvenile man, first and second walking gentleman, two light comedians (lawyer and foreign adventurer), Dutch and Irish character comedians, villain, soldiers ; leading juvenile lady, walk- ing lady and comedienne. I'hree interior scenes ; modern and military costumes. Time of playing, two hours and a half. Apart from unusual interest of plot and skill of construction, the play affords an opportunity of representing the ]irogress of a real battle in the distance (though this is not necessary to the action). The comedy business is delicious, if well worked up, and a startling phase of the slavery question is sprung upon the audience in the List act. SYNOPSIS OF INCIDENTS. Act I. At Fort Lee, on the Hudson. — News from the war. — The meeting. — The colonel's strange romance. — Departing for the war. — The intrusted packet. — An honest man. — A last request.— Bitter hatred. — The dawn of love.— A northerner's sympathy for the South. — Is he a traitor? — Held in trust. — La Creole mine for sale. — Financial ;igents. — A brother's wrong. — An order to cross the enemy's lines. — For- tune's fool. — Love's penalty. — Man's independence. — Strange disclosures. — A sha- dowed life. — Beggared in pocket, and bankrupt in love. — His last chance. — The re- fusal. — Turned from home. — Alone, without a name — Off to the war. — Tableau. Act II. On the Battlefield. — An Iri'ihman's philosophy. — Unconscious of danger. — Spies in the camp. — The insult. — Risen from the ranks.— The colonel's prej- udice. — Letters from ho ne. — The plot to ruin. — A token of love. — True to him. — The plotters at work. — Breaking the seals.— The meeting of husband and wife. — A forlorn hope. — Doomed as a spy. — A struggle for lost honor. — A soldier's death.— Tableau. Act III. Before Richmond. — The home of Mrs. De Mori. — The two docu- ments. — A little misunderstanding. — A deserted wife. — The truth revealed. — Brought to light. — Mother and child. — Rowena's sacrifice. — The American Eagle spreads his wings. — The spider's web. — True to himself. — The reconciliation. — A long divided home reunited. — The close of the war. — Tableau. 'Copies tnailedy postpaid, to any address^ on receipt of the annexed prices. UNCLE TOM'S CABIN (NEW version.) A MELODRAMA IN FIVE ACTS, BY CHAS. TOWN SEND. PRICE, 15 CENTS. Seven male, five female characters (some of the characters play two parts). Time of playing, ■2'% hours. 'X his ii a new acting editiun of a prime old favorite, so simplified in the stjge-setting as to be easily represented by dramatic clubs and travelling companies with limited scenery. UnCLS Tom's Cabin is a play that never grows old ; being pure and faultless, it commands the praise of the pulpit and sup- port of the press, while it enlists the favor of all Christians and heads of famili*. It will draw hundreds where other plays draw dozens, and therefore is sure to fill any hal'. Synopsis of Incidents: Act I. — Scene I .—T\il climax of wonderful power. The wit is bright and sparkling, the action terse, sharp and mpid. In touch- ing the great chord of human sympathy, the author has expended that rare skill which has given life to every great play known to the stage. This play has been produced under the author's management with marked success, and will prove an unquestionable attraction wherever presented. Synopsis or Incidents: Act I.— Parkhurst & Manning's law office. New York. — Tim's opinion. — The young lawyer. — " Majah Billy Toby, sah ! " — Love and law. — Bright prospects. — Bertha's misfortune. — A false friend. — The will destroyed. — A cunning plot. — Weaving the web. — The unseen witness. — The letter. — Accused. — DishonDred. Act II. — Winter quarters. — Colonel Hastings and Sergeant Tim. — Moses. — A message. — Tim on his dignity. — The arrival. — Playing soldier. — The secret. — The promise. — Harry in danger. — Love and duty. — The promise kept. — "Saved, at the loss of my own honor ! " Act III. — Drawing-room at Falconer's. — Reading the news. — " Apply to Judy ! " — Louise's romance. — Important news. — Bertha's fears. — Leamington's arrival. — Drawing the web. — Threatened. — Plotting. — Harry and Bertha. — A fiendish lie. — F'acc to face. — " Do you know him ? " — Denounced. — " Your life shall be the penalty 1" — Startling tableau. Act IV. — At Uncle Toby's. — A wonderful climate. — An impudent rascal. — A bit of history.— Woman's wit. — Toby Indignant. — A quarrel. — Uncle Toby's evidence. — Leamington's last trump. — Good news. — Checkmated. — The telegram.— Breaking the web. — Sunshine at last. P^ Copies mailed, postpaid, to any address, on receipt 0/ the annexed prices. _^d ROORBACH'S AMERICAN EDITION,— Continued, 25. MURDER WILL OUT. A farce in one act. Six female characters. Time, thirty minutes. 36. APRIL FOOLS. A farce in one act. Three male characters. Time, thirty minutes. 27. OLD CRONIES. A comedietta in one act. Two male characters. 'I'ime, thirty minutes. 28. CUT OFF WITH A SHILLING. A comedietta in one act. Two male, one female characters. Time, forty-five minutes. 29. A CASE FOR EVICTION. A comedietta in one act. One male, two female characters. Time, thirty minutes. 30. A HAPPY PAIR. A comedietta in one act. One male, one female characters. Time, forty-five minutes. 31. UNCLE'S WILL. A comedietta in one act. Two male, one female charac- ters. Time, thirty minutes. 32. POPPING THE QUESTION. A farce in one act. Two male, four female characters. Time, forty minutes. 33. THAT RASCAL PAT. A farce in one act. Three male, two female charac- ters. Time, thirty minutes. •^4. SOLON SHINGLE. A comedy in two acts. Seven male, two female charac- ters. Time, one hour and a half. 35. NOT SUCH A FOOL AS HE LOOKS. A comedy in three acts. Five male, four femaH characters. Time, two hours and a half. 36. OUR BOYS. A comedy in three acts. Six male, four female characters. Time, two hours. 37. CASTE. A comedy in three acts. Five male, three female characters. Time, two hours and half. 38. HOME. A comedy in three acts. Four male, three female characters. Time, two hours. 3g. MEG'S DIVERSION. A drama in two acts. Five male, three female charac- ters. Time, one hour and three quarters. 40. MIRIAM'S CRIME. A drama in three acts. Five male, three female charac- ters. Time, two hours. 41. BY FORCE OF IMPULSE. A drama in three acts. Nine male, three female characters. Time, two hours and a half. 42. BETWEEN TWO FIRES. A comedy-drama in three acts. Eight male, three female characters. Time, two hours and a half. 43. SAVED FROM THE WRECK. A drama in three acts. Eight male, three female characters. Time, two hours and a half. 44. A LESSON IN ELEGANCE. A comedietta in one act. Four female charac- ters. Time, thirty minutes. 45. ■WANTED, A CONFIDENTIAL CLERK. A farce in one act. Six male characters. Time, thirty minutes. 46. THE TRIPLE WEDDING. A drama in three acts. Four male, four female characters. Time, one hour and a quarter. 47. SECOND SIGHT; OR, YOUR FORTUNE FOR A DOLLAR. A farce in one act. Four male, one female characters. Time, one hour. 48. UNDER A CLOUD. A comedy-drama in two acts, Five male, two female characters. Time, one hour and a half. 49. STRIFE. A comedy-drama in four acts. Nine male, four female characters. Time, two hours and a quarter. 50. TRIED AND TRUE. A drama in three acts. Eight male, three female char- ters. Time, two hours and a quarter. SX. CRAWFORD'S CLAIM. A drama in prologue and three acts. Nine male, three female characters. Time, two hours and a quarter. 52. TEN NIGHTS IN A BAR ROOM. New Copyright Version. A drama in five acts. Seven male, four female characters. Time, two hours. t^' Any o/the above will hi sent by inaii, post-paid, to any address, on receipt of the price, HAROLD ROORBACH, Publisher, 9 Murray St., New York. LIBRARY OF CONGRESS TOWNSENl ' ' AMATEUR THE A . ? ?y .l^s j^s e A Fraciical Guide for Amateur Actors. PRICE, 25 CENTS. This work, without a rival in the field of dramatic literature, covers the entire sub- ject of amateur acting, and answers the thousand and one questions that arise constantly to worry and perplex both actor and manager. It tells how to select plays and what play^ to select ; how to get up a dramatic club— whom to choose and whom to a\ oid ; how to select characters, >howing who should assume particular roles ; hew to rehearse a play properly — including stage business, by-play, voice, gestures, action, etc.; how to represent all the passions and emotions, from Love to Hate (this chapter is worth many times the price of the book, as the same information cannot be found in any similar work) ; how to costume modern plays. All is told in such a plain, simple style that the veriest tyro can understand. The details are so complete and the descriptions so clear that the mo^t inexperienced can follow them readily. The book is full of breezy anecdotes that illustrate different points. But its crowning merit is that it is thoroughly TKACTiCAL — it is the result of the author's long experience as an actor and manager. Every dramatic club in the land should possess a copy of this book, and no actor can afford to be without it. It contains so much valuable information that even old stagers will consult it with advantage. H ELM ER'S ACTOR'S MAKE-UP BOOK. A Praetieal and Systematic Guide to the Art of Making ii/> /or the Stage. PRICE, 25 CENTS. Facial make-up has much to do with an actor's success. This manual is a perfect encyclopedia of a branch of knowledge most essential to all players. It is well written, systematic, exhaustive, practical, unique. Professional and amateur actors and act- resses alike pronounce it the best make-up book ever published. It is simply indis pensable to those who cannot command the services of a perruquier. CONTENTS. Chapter I. Theatrical Wigs. — The Style and Form of Theatrical Wigs and Beards. The Color and Shading of Theatrical Wigs and Beards. Directions for Measuring the Head. To put on a Wig properly. Chapter II. Theatrical Beards. — How to fashion a Beard out of Crepe Hair. How to make Beards of Wool. The growth of Beard simulated. Chapter III. The Make-up. — A successful Character Mask, and how to make it. Perspiration during performance, how removed. Chapter IV. The Make-up Box. — Grease Paints. Grease Paints in Slicks ; Flesh Cream ; Face Powder ; How to use Face Powder as a Liquid Cream ; The various shades of Face Powder. Water Cosmetique. Nose Putty. Court Plaster. Cocoa Butter. Crepe Hair and Prepared Wool. Grenadine. Dorin's Rouge. " Old Man's" Rouge. *' Juvenile" Rouge. Spirit Gum. Email Noir. Bear's Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hare's Feet. Camel's-hair Brushes. Chapter V. The Features and their Treatment. — TheE'yes: Blindness. The Eyelids. The Eyebrows: How to paint out an eyebrow or mustache; How to paste on eyebrows ; How to regulate bushy eyebrows. The Eyelashes : To alter the appear- ance of the eyes. The Ears. The Nose : A Roman nose ; How to use the nose putty ; a pug nose; an African nose ; a large nose apparently reduced in size. The Mouth and Lips: a juvenile mouth ; an old mouth ; a sensuous mouth ; a satirical mouth ; a one-sided mouth ; a merry mouth ; a sullen mouth. The Teeth. The Neck, Arms, Hands and Finger-nails : Finger-nails lengthened. Wrinkles: Friendliness and Sullen- Tiess indicated by wrinkles. Shading. A Starving Character. A Cut in the Face. A Thin Face made Fleshy. Chapter VI. Tvpicai. Character Masks. — The Make-up for Youth : Dimpled Cheeks. Manhood. Middle Age. Making up as a Drunkard : One method ; another method. Old Ace. Negroes. Moors. Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. Clowns. Chapter VII. Special Hints to Ladies.— The Make-up. Theatrical Wigs and Hair Goods. ZS^ Copies of the above viii be mailed, post-paid, to any address. Oft receipt of the annexed prices. ,,,^^ HAROLD ROORBACH, Publisher, 9 Murray St.. New York. LIbHAHY OF CONGRESS 014 458 088 6 # LIBRARY OF CONGRESS 014 458 088 6 #