PRICE IS CENTS THE PENN PUBLISHING COMPANY Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur i-EWis Tubes. For five niale and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Rvith. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD N-EW HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum Of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA A Cure for Hypnotism A Farce in One Act By ASA STEELE Author of *' Greater Than War** PHILADELPHIA THE PENN PUBLISHING COMPANY 1919 -• \- Copyright 1919 by The Penn Publishing Company TiMP96-007lT3 A Cure for Hypnotism Oj3I.D 5 2.116 --O/v c I A Cure for Hypnotism CHARACTERS Harry Janvier - - a lively young man, full of fun Maude IviNS - - . . a pretty young woman Jim Ivins - Maude's husband, a slim^ 7iervous man of forty or thereabouts Time of Playing. — Thirty minutes. STORY OF THE PLAY The domestic bliss of the Ivins home has been sadly upset. Maude Ivins has become fascinated by a book on hypnotism, and tries it on Jim, who doesn't like it. Harry Janvier, an old friend, hears Jim's sad story and undertakes to cure Maude. He pretends she has hypnotized him, and that he now thinks he is her husband. When she objects to being kissed Harry goes wild. " I must break something ! " He chases the now thoroughly frightened pair around the room. Jim yells for help. Maude breaks down. " I'm done with hypnotism." Harry tears up the book and laughs at them. The cure is complete. COSTUMES, ETC. Harry. About twenty-five. Has a very jolly, con- fident manner. Wears business suit. Jim. a little older, perhaps thirty. He is rather thin and nervous, and has slight cough. Business suit, and has on overcoat and hat at entrance. Maude. A pretty young woman in the early twenties. Wears a handsome house gown. PROPERTIES For Harry : Several sofa cushions, and a chair light enough to be picked up and swung over his head. For Jim : Overcoat and hat. Hat-box, containing a woman's hat of striking color and design. A stand or rack containing poker, tongs, etc., such as are used for an open fireplace. For Maude: A small book. A vase, containing water and flowers. SCENE PLOT 5 Other Properties : Telephone on wall or table up R. and a bell to ring. On table down R. c. some books, a small bowl of flowers, a china ash-tray or other small china ornament. The china or glassware should be cheap, as it is to be swept from the table and prob- ably broken during the play. SCENE PLOT BACKING □ rABLE DOOR oQo TABLE a CHAIR Scene.— Mrs. Ivins' sitting-room. Doors R. and l. Window up l. (may be omitted if preferred). Mantel and fireplace up c, with fire-irons on hearth. Vase of flowers on mantel. Small table holding telephone up R, or telephone may be on wall up R. Chair up l. Table and two chairs down R. c. On table are books, china ash-tray, bowl of flowers, or other ornaments to be broken toward close of play. Down l. sofa, with cushions. A Cure for Hypnotism SCENE. — Mrs. Ivins' sitting-room. A how window at the hack, filled with growing plants. Doors, l. and R. A fireplace r., with mantel holding a clock and ornaments. In the fireplace a shovel and poker. A table r. c. with hooks, china ornaments and a howl of water, filled with roses. Chairs r. and l. of tahle. A sofa L. c, with a number of cushions upon it. A telephone is fastened to the wall below the door, r. (At rise of curtain Maude Ivins is sitting on the sofa, L., deeply interested in reading a book.) Maude (reading). " To send a person into a hyp- notic trance " — Do so — and so (She makes the elaborate gestures of a trance medium.) How fasci- nating! (She reads again.) " To bring a person out of a trance " (Enter Jim Ivins, l. He carries a large hat-box.) Ivins. Home again, dearie! (A little cough.) Ahem ! Maude (turning to him with a little start). Oh! (She begins to read again.) It's only you. Ivins. Only me! Ahem! Husbands don't seem to count for much around here. (He puts the hat-box on the table, r. c, and takes off his hat and overcoat.) Maude (as she reads). I've found it at last! The secrets of hypnotism explained. Ivins. Hypnotism? Curse it. (He puts hat and overcoat on chair up l.) 7 8 A CURE FOR HYPNOTISM Maude (sharply). What did you say? IviNS (meekly). Yes, my dear! (A little cough.) Ahem! I said— " hypnotism ! Bless it." Maude. That's the first sensible word you've said in a week. But don't disturb me. (As she reads.) I've this new book to digest. IviNS. I hope it chokes you! Maude (sharply). Jim Ivins! IviNS (up c). Yes, my dear — ahem! Maude. What did you say? IviNS. I said I hope the book — ahem! — the book won't give you indigestion, my dear. (The telephone bell up R. rings. Ivins answers the call. ) Hello ! Yes, this is Mr. Ivins. Mr. Ivins! (Pause.) What? (Very happy.) Harry Janvier! How are you, old man? Thought you were in China. (Pause.) Just back, eh ? May you call ? Sure — delighted ! Ahem ! I'm married now, you know. — Yes, six months ago. I want you to meet my wife. We live at Number yy. Cleremont Avenue car. You'll be here in ten min- utes? Good. (He hangs up the telephone receiver and comes down r. to table.) You hear, Maude. Really good news. My old pal, Harry Janvier, is com- ing in. He's been in business in China for six years. Dear old chap! We'll have a cozy little dinner for three Maude. Dine without me. I must finish this book. (She rises, aossing to c, where she stops, reading intently. ) Ivins (angrily). See here, Maude (Maude turns to him sharply. Ivins becomes very meek.) Yes, my dear. Ahem! (Maude sits at l. of table and starts to read her book. Ivins looks at her in despair, then opens the hat-box on the table and takes out a gorgeous hat.) On my way home I saw a bit of millinery — a trifle — I thought it might please you. (He holds up the hat.) Maude (not looking up from her reading). Jim! A CURE FOR HYPNOTISM 9 IviNS (looking at the hat). Ahem! I thought you'd Uke it. Maude (looking at the hook and not seeing the hat). It thrills me ! IviNS. It ought to. It cost me thirty dollars. (He puts the hat on Maude's head backward.) There ! Maude. Pshaw ! (She takes off the hat, looking at it indifferently.) IviNS. You said it thrilled you ! Maude. This fright? (She throws the hat on the table carelessly, and resumes her reading.) No, this book. IviNs (in despair). Well, I'll be hanged! (He angrily replaces the hat in the hat-box.) Maude (indicating her book). This says I can hypnotize our bull terrier ; make him think he's you ! IviNS. Then what would I be, the bull terrier? I like that ! (Imitating a dog. ) Bow ! Bow ! Ahem I Maude. James Ivins! What are you doing? IviNS. I feel as if I'm going mad ! [ (He angrily puts the cover on the hat-box.) Maude (reading from her book). *' One in a hypnotic trance may be made to think he is any one the medium may desire." Ivins. I wish you'd make me think I was some other woman's husband. Maude (angrily). Wretch! (She throws her book on the table R. c.) IviNS (meekly). Yes, my dear — ahem! Maude. Say that again ! IviNS. I said " yes, my dear — ahem ! " Maude. That's not a remark ; it's a disease. Your words before that ? Ivins. I said — ahem ! — I wished you'd make me think I was some other woman's husband Maude. I thought so ! James, you're impossible ! 10 A CURE FOR HYPNOTISM {She goes up.) IviNS. Here I get mine! {He collapses into chair at r. of table.) Maude {up c). I won't speak another word to you to-night ! {She exits quickly, r.) IviNS {thinking her still there). If I may suggest, my dear — ahem! Hypnotism should be blamed, not me. Morning, noon and night I hear of nothing else. It has got you as completely, I may say — why, it's as bad as the drug habit! {Enter Harry Janvier, l. He stops on seeing Ivins, standing up l. as the latter continues. Ivins, not noticing Harry.) I'd even give a month's wages, my dear, to cure you of this hypnotism. Then our marriage wouldn't seem like such a failure. I'd have a happy little home that was really happy! {He pauses for a reply.) Well, what have you to say to that? {Receiving no anszver, he turns and sees Harry for the first time. Harry laughs heartily. ) Harry ! Harry. Jim! {They meet at c, shaking hands.) I say ! It's good to see you \ Ivins. Same here, old fellow ! Like our office days together! My! You look well. Stouter, per- haps. Life in China certainly agreed with you ! Harry. Same to you, Jim. That is — well, I couldn't help hearing, as I came in. What's all this about not being happy? Ivins {sadly). I haven't been happy for a month. I'm sorry to have to say it — ahem ! — my wife has a craze for hypnotism. Harry. The deuce you say ! Ivins. Before I'd marry such a woman again, I'd run away with a Hottentot ! Harry. A Hottentot! Isn't that putting it rather strong? Don't be disheartened. It's a long lane that has no turning. Ivins. Marriage isn't a lane; it's a blind alley. A CURE FOR HYPNOTISM II (Goes R.) Harry. Hard luck, old man! Wish I could help you. (Harry takes from the table the book on hypnotism, reading the title.) " Secrets of Hypno- tism," by Professor Bonnelli. IviNS. The cause of it all. (He sits R. of table, covering his face with his hands in despair. Harry glances through the book, then turns to IviNS with a sudden inspiration.) Harry. By thunder IviNS. What? Harry. If I could IviNS. Could what? Harry. Cure your wife! IviNS (quickly rising, joy f idly), Harry! You think you could? Harry. I might make her sorry she ever heard of hypnotism ! IviNS. H you could, old man — why, it would mean new life to me ! Harry (reflecting). She doesn't know me — there wouldn't be so much harm done if she'd dislike me (After another moment of reflection.) I'll do it, Jim! IviNS. Great ! Harry. On one condition. IviNS. What's that? Harry. Stand by me. Agree to everything I do and say. IviNS. Will I? Why, I'll die with you! Ahem! But we mustn't let her know. Harry. Of course not. Go I Ask her to come in. IviNS (going up toward door, R.). But we must be very, very careful ! Ahem ! Harry. Remember! You'll agree to everything I say and do ! IviNS. Everything! But — (glancing off R., tim- idly) we must be careful — ahem ! (Exit, R.), 12 A CURE FOR HYPNOTISM -m- Harry (laughs, then sits l. of table and begins to read from the book on hypnotism). "To go into a trance" — ah — um — "the subject seems to sleep." That's easy enough, after Hving in China. (Reading.) " While in a trance, the subject speaks in a sepulchral voice." (He speaks in a deep, hollow voice.) I'll do that, all right. (Reading.) "To come out of a trance " (Closing the book and laying it on table.) Hum — (reflecting) what shall I do while in the trance? (With a sudden inspiration.) I've got it ! We'll cure her ! (IviNS reenters, r., followed by Maude. Harry at once assumes the manner of an invalid.) IviNS. Harry, my wife. Maude (coming down l. c). How do you do? Harry (rising weakly, with a grimace of pain). I feel wretched, thanks. (Coughing and shivering violently.) I wanted so much to meet you the mo- ment Jim said you were an expert in hypnotism. I hoped you could use it to cure me. • (He shivers violently.) Maude. Jim ! Why didn't you say he was ill ? IviNS (up c). Yes, my dear! Ahem! Harry (coughing). I am. Miserably ill. My doctor says that nothing short of the hibetating effect of hypnosis will give me relief. You see, I've very' sensitive nerves. (He shivers violently.) The slight- est thing makes them tremble like — (shivering) like an old flivver. Maude. How very interesting! Harry. In China I had a fever. Maude. A fever? Harry. That's what made my nerves like this. (Shivers violently.) Maude. Poor fellow ! (She goes to him.) You'd make an ideal subject for a hypnotic trance ! Harry. If you only would A CURE FOR HYPNOTISM I3 Maude. May I try? {She slowly makes passes with her hands before his face, looking into Harry's eyes intensely.) Harry. Don't look at me like that ! Your eyes cut right through me ! (He covers his eyes with his hand, as if to shield them, then drops his hand and looks at her again.) I can't resist! (Maude again makes the passes. ) Stop it ! Will you please stop it ! Don't ! You're hurting me ! Ah (Harry shivers. His eyes stare, his fingers twitch, then he stands rigid, apparently in a trance.) Maude (l. c). Now, Jim, carry him to the sofa. (IviNS comes down to the r. of Harry and takes him by the arm. Harry's arm shoots out quickly at right angles from his body and strikes Ivins on the chest. With a cry, Ivins jumps back and falls into chair l. of table. Ivins rises and circles around to the L. of Harry and takes his other arm, stand- ing as far from Harry as he can. Harry's leg shoots out and kicks Ivins in the shins. Ivins groans and nurses his shins. Maude goes up c. She looks nervous.) (After circling around Harry again, Ivins goes up behind him, lowers Harry's arm and brings his legs together. All this time, Harry is very rigid.) (Ivins now leans down and seizes Harry around the waist from behind. Harry sei:ses Ivins' trouser leg. The more Ivins pulls at Harry, the higher Harry pidls Ivins' leg. When Ivins' leg is high in air, he loses his balance and goes over backward, Harry on top of him. Ivins picks himself up, looks at Harry, who is still rigid, and lifts him up. Ivins drags Harry to the sofa, l., and places him on it. Maude comes down behind the sofa and passes her hand over Harry's forehead and eyes.) Maude. How do you feel? 14 A CURE FOR HYPNOTISM Harry. Fine ! You can do that all night. Maude {repeating the passes). I mean — how else do you feel? Harry. I feel — I feel — how do I feel? Such a relief. {With a sigh of contentment.) Nerves all gone. The only other thing I feel is a desire, an insane desire — to break something! {He seizes the cushions on the sofa and throws two of them violently on the floor and two others to R. and up c. One of the cushions hits Ivins. Harry throzvs the rest of the cushions to back, then sinks back on the sofa, shaking with suppressed laugh- ter.) Ivins. Stop him, can't you? Maude. People in trances do that! They break everything! (Harry begins to laugh very loud. Maude runs to the back of the sofa again and places her hands over Harry's eyes. Harry gradually becomes quiet.) Now I'm going to try Professor Bonnelli's experiment; make him think he's some one else. Ivins. Who'll you make him think he is? Maude. I'll make him think he's you! Ivins. No! No! Maude darling! Who ever heard of two husbands; one telling on the other fel- low? Maude. You're afraid! Ivins {with feigned indifference). Not at all! Ahem! {He goes up l. then crosses to R. Maude assumes a solemn demeanor and makes passes in front of Harry's face.) Maude {to Harry). You are my husband, James Ivins! {She pauses.) Who are you? Harry. I'm Harry Janvier! (Ivins chuckles. Maude turns to him angrily. Ivins is suddenly very meek.) A CURE FOR HYPNOTISM 15 IviNS. Yes, my dear! Ahem! You see? You cannot do it. {He comes down and sits r. of table.) Maude. He must come to it gradually! {She repeats the passes in front of Harry's face.) You are my husband, James Ivins! {A pause.) Who are you? Harry. I'm— {hesitating) I'm Harry Janvier! (Ivins laughs heartily. Maude turns to him sharply.) Ivins. Yes, my dear! Ahem! Maude {again repeating the passes with Harry). You are my husband, James Ivins! {A pause.) Who are you? Harry {hereafter mimicking Ivins' voice and man- ner). I'm— I'm your husband, James Ivins! Yes my dear ! Ahem ! Ivins {rising, alarmed). See here! A joke's a joke, but Maude {severely). This is a triumph of science! (Maude turns to Harry, speaking sweetly.) Now tell me, husband dear, what did you say about me to Harry Janvier? Ivins {protesting). Maude! (Maude turns to Ivins, severely.) Yes, my dear! Ahem! Harry {speaking slowly, imitating Ivins). I, your husband, said to Harry Janvier— ahem !— that rather than marry such a woman again, I'd run away with a Hottentot ! Maude {very angry). James! Ivins. Yes, my dear ! Ahem ! Maude {to Ivins). You said that? Harry. Of course I said it ! Ivins. That's my finish ! {He collapses into chair, r.) Maude. Til discuss that with you later! (Harry ts convulsed with laughter. He doubles up on the sofa, shaking. Maude drazvs away from him with a httle shriek of alarm.) James! Quickly! Hold him! Hold him! (Ivins hastens l. to the sofa and l6 A CURE FOk HYPNOTISM tries to straighten out Harry's body. Everj time IviNS tries to approach Harry, the latter kicks at him. IviNS finally straightens out Harry on the sofa. Maude again goes up behind the sofa and repeats the passes. Harry finally lies quietly.) You know who you are? Harry {imitating Ivins). Of course. I'm James Ivins, your husband. Just come home to my dear little wife! {He seizes Maude's hand.) Kiss me, dearie. Maude {astonished and angry). How dare you! Harry. Haven't I the right? I'm your husband. Ahem! {He rises, going toward Maude. Maude backs away from him. Ivins quickly interposes when Harry tries to hug Maude, .yo that Harry embraces Ivins instead. Harry laughs and thrusts Ivins aside, again approaching Maude.) Come! Kiss your hus- band! Ivins {intercepting Harry again). You mustn't kiss her! Harry. Why not? I like it! Ivins (c). Well, I don't! Maude (r. c). I'm not your wife! {Embracing Ivins.) Here's the man I love! Harry (l. c). Leave that fellow! Come here! {He again starts toward Maude.) Maude {retreating to extreme r.). I won't! Harry. Come here ! Ivins {pushing Harry away). Hands off my wife! Harry. Your wife? No! My wife! {To Maude.) I'm your husband! Didn't you tell me so yourself? Oh! This is too much! Let me break something ! {He throws Ivins aside and sweeps the ornaments from the table, r. c.) Ivins. Wake him up! We won't have a thine left ! ^ A CURE FOR HYPNOTISM l"] Maude '{timidly). Ye-ye-yes. I'll wake him up! {She approaches Harry, violently making the passes. Harry leans against the table, staring at her hut making no other response.) Now! Wake up! Wake up! (Harry does not respond. Maude re- peats the passes.) Jim — I'm not sure IviNS. You mustn't lose your nerve ! {Comes down l. c. Maude goes around table to r.) Maude {tearfully). Why doesn't he wake up? What does the book say? {She turns to table, picks up book, opens it anxiously.) Here it is! {Read- ing.) "A sudden slap on the cheek " IviNS. A sudden slap on the cheek! {He starts to strike Harry on the cheek. Harry parries the blow and strikes IviNS on the cheek instead.) Maude. Now both do this together! (Maude throzvs book on table and repeats the passes. Ivins, imitating her, tries to do likewise.) Now he must wake up! {To Harry.) Who are you? Harry {still 'imitating Ivins). I'm your husband, dearie ! Ahem ! ( Coughs. ) Maude {in despair). Still in the trance ! {Goes up c.) Ivins. Wake up! Wake up! Harry. Oh ! I must break something ! {He seizes the hat-box on the table and breaks^ it over Ivins' head, the latter's face protruding through it.) Maude. Give him a shock ! Dash this in his face ! (Maude takes the flowers from the vase on mantel or stand up c, comes down and thrusts the^ vase into Ivins' hands. Ivins throws the water in the jar into Harry's face. Maude is down l. c. ) Harry {to Ivins, fiercely). Blackguard! You l8 A CURE FOR HYPNOTISM take my wife! Now you'd drown me! {He snatches up chair l. of table, and swings it threaten- ingly.) I'll end you both I (Ivins runs l., hiding behind Maude. Harry advances l. Maude and IviNs hide behind each other in turn, retreating step by step, across l., up l., across and down r.) You can't escape me now ! Maude. Oh ! {She hides behind Ivins, who still carries the vase, which he waves wildly.) Harry. Where's the man who'd keep my wife from me ! (Ivins hides behind Maude.) Maude. W-w-what a fool I've been ! Harry. You repent? Give up hypnotism? Maude. No — that is — oh! (Harry swings his chair, and with a scream, Maude hides behind Ivins.) Ivins. Yes — yes! You'll give up 'most every- thing, won't you, dearie? {He pushes Maude forward, hiding behind her.) Harry {now down l., to Maude up l. c). You no longer believe in hypnotism? Maude. How can I help believing? You're hypnotized, aren't you? Harry {apart, glumly). I'd not thought of that. {He turns to Maude and Ivins again 'fiercely.) Then take your punishment ! {He advances toward them.) Ivins. S-s-h-e-e had best speak for herself ! {He pushes Maude forward, hiding behind her.) Harry {now up c, to Maude, now up r. c). Prove that you're done with hypnotism! A CURE FOR HYPNOTISM I9 Maude. How ? How ? Harry. Bring me your book on hypnotism! Say I'm not hypnotized ! Maude (retreating down to R. of table). But you are hypnotized! Harry. What? Not cured yet? Then I'll end you both ! (Harry makes a hinge at Ivins, who evades him. IviNS drops vase, rims wildly up c. to fireplace, backs up to it, reaches out a hand blindly as though to find a poker, backs into stand of fire-irons, which upsets with a crash. Ivins then runs to window up L., or to door up l. if preferred.) Ivins. Help! Help! Murder! ~^ (Maude snatches up the book from table and extends it toward Harry, in terror.) Maude. Take it! Take it! I'm done with hypnotism ! Harry. You're cured? (He laughs, suddenly dropping his wild manner and his mimicry of Ivins, and being himself again. He replaces chair near table.) The murder's postponed! (He bows to Maude, laughing.) And you'll pardon me? Agree that the end justifies the means! (He takes book from Maude, tears it up, and throws it into the fireplace up c. As he does so, IviNS turns from window up l. and comes down L.) Ivins (miserably), Maude! Maude! Maude. Darling ! (She runs across l. to him and embraces him. Harry comes down c. He raises his hands, " blessing " them, and laughing heartily.) curtain Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT \(rOOD HILL SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a hall without scenery. The unusual com-/ bination of a real "entertainment," including music, recitations,' etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions, and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- eludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketcij in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special scenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con« vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainm.ent is a sure success. Price, 15 cents* JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent >©f a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or tw» rehearsals. Price, 25 cents. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire tun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia San ford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest frienJ. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA The Power of F library of. congress 016 103 750 3 Expression and efficiency go hand in The power of clear and forceful ex dcnce and poise at all times — in privalv. ^^ti^Tm^a, m puDIic discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY 1714 De Lancey Street Philadelphia