NO PLAYS EXCHANGED. DAHERo or Edition PL7\Y3 13 The Corner -Lot Chorus r, 1889, BY WALTFy H. BAKER & CO. piays for ^mateur 5l7eatrleals. BY GEORGE 2VT. BKKER. Author of ^'Amateur Dramas" "The Mimic Stage" "The Social Stage" "The Draining- Room Stage" "Hajidy Dratnas," '^The Exhibition Dramas" *'A Baker's Dozen," etc. Titles in this Type are New Plays. Titles in this Type are Temperance Plays, DRAMAS. In Fo2ir A cts. Better than Gold. 7 male, 4 female char. 25 In Three A cts. Our Follts. 6 male, 5 female char. . 15 The Flower of the Family. 5 male, 3 female char 15 Enlisted for the War. 7 male, 3 fe- male char 15 My Brother's Keeper. 5 male, 3 fe- male char 15 The TAttle Uroivn J'%ty. 5 male, 3 female char ,....15 In Tivo A cts. Above the Clouds. 7 male, 3 female char 15 One Hiindred Years Ago. 7 male, 4 female char 15 Among the Breakers. 6 male, 4 female char 15 Bread ON THE Waters. 5 male, 3 female char 15 Down by the Sea. 6 male, 3 female char. 15 CE ON A Time. 4 male, 2 female char. 15 e Last Jjoaf. 5 male, 3 female char. 15 In One A ct. TAND BY THE Flag. s male char. . . 15 The Tempter. 3 male, i female char. 15 COMEDIES AND FARCES. A Mysterious Disappearance. 4 male, 3 female char 15 Paddle Tour Own Canoe. 7 male 3 female char. . , 15 A Drop too Much. 4 male, i female char. . 15 A Little More Cider. 5 male, 3 fe- male char 15 A Thorn Among the Roses. 2 male, 6 female char 15 Nevbr Say Die. 3 male, 3 female char. 15 !5eeing the Elephant. 6 male, 3 female char 15 The Boston Dip. 4 male, 3 female char. 15 The Duchess of Dublin. 6 male, 4 fe- male char '5 Thirty Minutes for Refreshments. 4 male, 3 female char 15 We're all Teetotalers. 4 male, 2 fe- male char ,....15 Male Characters Only. A Close Shave, ft char 15 A Public Benefactor. 6 char. ... 15 A Sba OF Troubles. 8 char 15 COMEDIES, etc., continued. Male Characters Only, A Tender Attachment. 7 char. . . 15 Coals of Fire. 6 char. ...... 15 Freedom OF the Press. 8 char. ... 15 Shall Oar Mothers Vote? 11 char. 15 Gentlemen OF the Jury. 12 char. . . 15 Humors OF THE Strike. 8 char. ... I? My Uncle the Captain. 6 char. . . . 15 New Brooms Sweep Clean. 6 char. . 15 The Great Elixir. 9 char 15 The Hypochondriac. 3 char 15 Tlie Man with the Demijohn. 4 char 15 The Runaways. 4 char 15 The Thief OF Time. 6 char 15 Wanted, a Male Cook. 4 char. ... 15 Female Characters Only. A LovH OF a Bonnet. 5 char 15 A Precious Pickle. 6 char 15 No Cure No Pay. 7 char 15 The Champion OF Her Sex. 8 char. . 15 The Greatest Plague in Life. 8 char. 15 The Grbcian Bend. 7 char 15 The Red Chignon. 6 char. 15 Using the Weed. 7 char 15 ALLEGORIES. A rranged/or Mttsic and Tableaux. Lighthart's Pilgrimage, 8 female char 15 The Revolt of the Bees. 9 female char. 15 The Sculptor's Triumph, i male. 4 fe- male char. . . J 15 The Tournament of Idylcourt. 10 fe- male char 15 The War OF THE Roses. 8 female char. 15 The Voyage of Life. 8 female char. . 15 MUSICAL AND DRAMATIC. An Original Idea, i male, i female 15 Bonbons; or, the Paint King. 6 male, I female char 25 Capuletta; or, Romeo and Juliet 15 Restored. 3 male, 1 female char. . 15 Santa Claus' Frolics 15 Snow-bound; or, Alonzo the Brave, and the Fair Imogene. 3 male, i female char • 'S The Merry Christmas of the Old Woman who Lived in a Shoe. ... 15 The Pedler of Very Nice. 7 male char 15 The Seven Ages. A Tableau Entertain- ment. Numerous male and female char. 15 Too Late for the Train. 2 male char. 15 The Visions of Freedom, h female char. 15 WALTER H. BAKER & CO., 23 Winter Spriggie ? Lav. I am wild with curiosity. Mrs. W. Hark ! {Runs to door, looks out, runs back to girls.) She's coming. {All cross to I., front, stand facing door. Music as Spriggie runs in, comes down C, drops courtesy _; all l^ugh. Left side of Spriggie's gown white Greek drapery, hair in Clytie knot. Right side gown severe black, big sleeve, bunch of curls shad- ing face. One slipper white, one black.) Sprig. Well, how do you like it ? Pen. What is it? Lav. Before, and after taking — Chal. {giggling)- What does it mean ? Sprig. I have simply doubled up with Maudie's part. {Turns \.. profile to audience.) On this side I am the district attorney for Oskaloosa. {Waves arm.) Your Honor, I appeal to you. {Turns right profile.) On the other side I am Clytie Brown, the defend- ant. {Turning rapidly.) Plaintiff, defendant, plaintiff, defendant. See ? Mrs. W. You look very funny. Chal. Awfully. {Giggles.) Lav. Rather far-fetched. Pen. The audience won't understand. THE CORNER LOT CHORUS. I 3 Sprig. Yes, they will ; they've got to. I can't replace Maudie ; and after selling eight hundred tickets we must give a performance. Mrs. W. {looking at watch). It is five o'cbck, Spriggie. Sprig. Couldn't you possibly manage to go over the tirst act 'i All. No ! Sprig. Very well, clear the stage, Mrs. Wiggins : you open. Come, girls ! {Runs off with Lavender and Penelope. Mrs. Wiggins sits on Judge's seat, opens book.') Mrs. W. What do I say? Oh, yes. Send the jury into court. (^Music. /toy girls dance on as before; sing, " Oh, no, we never 7Jiention it,''' etc. At finish cross to i^. front, file from there to chairs L., bowing to Judge as they pass ; sit, take up note-books. Spriggie enters, zvrappcd in cloak j goes to L. of Judge, drops cloak. Jury bursts out laughing.) Chick. That's the worst I ever saw. {Rises.) Spkig. Please don't interrupt, Miss Niles. Chick. Keep cool ! I just want to say, that if this rehearsal isn't over by six o'clock prompt, you'll be sorry. Sprig. I am stage manager, and shall rehearse as long as I see fit. Chick. Don't say I didn't warn you. (Sits.) Jury. Didn't warn you ! (Sit.) Mrs. W. What is the first case before the court ? Sprig. Suit brought by city against Clytie Brown, sculptor, for non-fulfilment of contract. Mrs. W. Clytie Brown is wanted in court. Sprig, (running around behind Judge, appears R. as defendant). Your Honor, as a free born American I demand justice. Mrs. W. Justice you shall have. In Oskr.l. a the senseless technicalties and forms of the law are abolished by the rule of woman. In Oskaloosa justice is free. Unhampered by counsel, state your case, produce your witnesses, and abide by the verdict of your fellow-women. Jury (rising, sing). Guilty, your Honor, guilty We tind the plaintiff to be'; If any one's wrong in the case, We rather think it's she. Sprig, (over her shoulder). Sit down ! The idea of giving the verdict before the trial ! Chick. She said, — verdict. Sprig. No matter ! Sit down ! Chick. Snubbed. (Sits.) Jury. Snubbed ! (Sit.) Mrs. W. Proceed with the case. Sprig. Your honor, I am Clytie Brown, a sculptor. The city ordered a statue of Justice for the new city hall from me. When it was complete they refused it on the ground that it was out of proportion. 14 THE CORNER LOT CHORUS. Mrs. W. Did they prove this ? Sprig. No. The expert who judged my work is a rival sculptor. By your leave, I will presently produce her in court, and expose her ignorance. Mrs. W. I don't doubt it. I shall probably decide in your favor, but first I must hear from the district attorney. There are two sides to everything. Sprig, {j-jins around behind Judge, appears l. as plaintiff). Your Honor, there are. Chick. Now you see it, and now you don't. Sprig. Don't interrupt. Chick. Crushed. Jury. Crushed. Sprig, (plaintiff). Your Honor, I will now call a witness in behalf of Oskaloosa. Mrs. W. Bring it into court. Sprig. Reporter of tlie Oskaloosa Garblcr wanted in court. (Challie enters giggling ; wears tilster and hat, carries note- book.) Bow to the Judge ; take your place there. {Points R. of Jndgei) Chal. What fun ! (Boivs, stands r. of Judge.) Sprig, {plaintiff, severely). You represent the Oskaloosa Garbler ? Chal. Yes. Sprig, {plaintiff). You recently interviewed Clytie Brown, the sculptor ? Chal. I did. Sprig, {plaintiff). What is her age? Chal. {consulting book). Eighteen summers and seventeen winters. Sprig. Your Honor, having seen the defendant, can readily de- tect the falsity of that statement. Mrs. W. Of course. Sprig, {running around to r., appears as defendant). Your Honor, that is my newspaper age. Mrs. W. Of course. Sprig, {returning to L. as plaintiff). Ladies of the Jury, make a note of that : you observe she has two ages. Jury {rising, write). Her newspaper age is eighteen summers and seventeen winters. {Sit.) Chick. It is half-past five, Miss Van Der Hunk. Sprig. Don't interrupt the rehearsal. Chick. Floored again. Jury. Floored again. Sprig, {plaintiff to Challie). Had you any previous ac- quaintance with the defendant ? Chal. Oh, dear, yes. I went to school with her. She wasn't a bit pretty or smart, so 1 was amazed to hear that she had be- come a sculptor. Queer, how things turn out! I used to be rich, « THE CORNER LOT CHORUS. 1 5 and now I am a reporter ; and a good one, too. I can hash a rep- utation with any girl alive ; spice a scandal, pepper a para- graph — Mrs. W. Keep to the point, witness. Sprig. We want to hear about Clytie Brown. CiiAL. Oh, I never thought much of Clytie. You know how it is, when you know people it seems as though they couldn't amount to much. {Giggles.) Chick. Get on to that rippling giggle. Jury. That rippling giggle. Sprig. Be quiet. Chick. Another snub. Jury. Snubbed again. Sprig, {plaintiff, to Challie). You say the defendant is a dreadful liar. Chal. I — Sprig, {plaintiff). Ladies of the Jury, make a note of that. Jury, {rising). The defendant is a dreadful liar. Sprig, {plaintiff). These details affect your verdict. Jury, {rising, sing). Guilty, your Honor, guilty, ■ We find the plaintiff to be — Sprig. Sit down. Chick. You said verdict. (Jury sit.) Sprig, {plaint ff). You have seen this statue ? Chal. Yes ; it looked like the dickens. Sprig, {plaintiff' to Jury). Ladies of the Jury, make a note. Jury {rising, write). The statue looked exactly like Charles Dickens. {Sit.) Sprig, (running to R. as (defendant). Your Honor, the witness did not say my statue looked like Charles Dickens. Mrs. W. I never heard of any other. Sprig, (defendant). But, your Honor, — Mrs. W. I'll fine 3-ou for contempt of court, if you are not silent. Sprig, {returns to l. plaintiff'). Your Honor, I rest my case here. The defendant has been proved incompetent, and a liar. Witness, step down. Chal. (giggling)- I will write up my notes. (Sits 'L. front.) Mrs. W. Now, I will hear from the other side. Sprig, (running to r., appears as defendant). Your Honor, disre- garding the disreputable slanders of my opponent, I will produce their expert in court, and let her prove my case. Mrs. W. The expert is wanted in court. (Lave.xder enters, dressed in extreme of prevailing style j car- ries lorgnette J looks about superciliously.) Sprig, {defendant). Sit there, please. {Points to chair i.. of fui^e.) l6 THE CORNER LOT CHORUS. Lav. {eyvif^ Challie). What is that young woman doing? Chal. Writing up the trial. Lav. {nts/ii/ig to her). Then I want to tell you all about my gown, and my divorce, and — Mrs. W. Proceed with the case. Sprig, {defendant). Witness, come back here. Lav. But I want — Chal. Don't you worry. I'll give you half a column. Lav. {goes to chair'). Now, I am ready. Sprig, {defendant). Are you prepared to swear that you: judgment is infallible ? Lav. I am. Sprig, {defendant). Ladies of the Jury, make a note ; this will influence your verdict. Jury {rising, ^i'^g)- Guilty, your Honor, guilty, Mrs. W. Sit down ! Jury. We find the plaintiff — Sprig. Will you sit down ? Chick. Watch me fall dead. {Sits.) Jury. Fall dead. {Sit.) Sprig, {defendant). ^ You are an expert on statuary, I believe. Lav. Yes, and a sculptor. Sprig. {defe)idant). You pronounced my statue a bungling piece of work. Anatomically incorrect. Lav. It was. Laughably so. Sprig, {defendant). You are sure your decision was not biassed by jealousy. Lav. Jealous of you ! Nonsense. Your work was an offence to my artistic eye. Sprig, {defendant). Your Honor, with your permission, I will test the judgment of this complacent lady. {Goes to L. c. en- trance.) I have here a model in clay of my statue of Justice. {To Lavender.) Will you now kindly point out to the Judge and Jury each and all of the anatomical defects in my work. Lav. I shall be happy to do so. {Goes to l. front, stands looking at cnrtaiii.) Mrs. W. Draw the curtain. (Spriggie draws cnrtain hack, disclosing Penelope made tip as statue, with Greek drape7'ies, seated; head resting on ha)idj bandage over eyes.) Lav. Preposterous ! Sprig, {defendant). Your Honor. I rest my case here. (IVaru clock.) Mrs. W. We will now hear the other side. Sprig, {crosses to L. of statue as plaintiff). Your Honor, I THE CORNER LOT CHORUS. I7 accept tlie test for our expert. Can any woman alive look at this pitiful attempt without laughter? Mrs. W. Certainly not. Ladies of the Jury, laugh. Chick. Funny. {Langhs.') Jury. Funny. {Laug/is.) Lav. The extent of its absurdity is only apparent to an artist's eye. Sprig, {plaintiff). Kindly point out the details to the Jury. Lav. First, the pose. Human muscles could not be twisted into that strained and artificial pose. (Challie begins to assiune saf/ie posei) Sprig, (plaintiff). True! Lav. The face is lop-sided, the ears too far forward, and the nose on one side. Chal. Fve got it ! {Giggles.) Lav. What ? Chal. The strained and artificial pose. Lav. Nonsense ! Not a IMt like it ! Mrs. W. You will be fined for contempt of court directly, reporter. Sprig, {plaintiff). True ! Unfortunately tKue ! Lav. Next, the arms : one is longer than the other, and both are out of drawing; and, worse than all, — the — er — limbs exist only by courtesy. Beneath that stiff drapery there can only be a shapeless lump of clay, incapable of form or motion. Sprig, {running round to R. as defendant). You are sure .-' Lav. Qi-i'te. Animate that wretched attempt at a model with life, and it would fall flat. Pen. {tearing off bandage). What.'' All. It is alive. Pen. {rising). My arms are out of drawing, are they ? {Strides to Lavender.) I am incapable of form or motion, am I ? Lav. Oh ! {Runs across to Jury, followed by Penelope. They dodge about, Penelope catches Lavender, brings her to fudge by her ear.) Sprig, {goes behind fudge, comes out R. as defendant). Your Honor, I rest my case here. It was the testimony of this expert tliat condemned my statu^ and you see what her judgment is ■" , 1. J Av. Your Honor, this young woman is out of drawing. Pen. What ? {Clock ready, l.) Lav. You were born so. Pen. What ? {Strides to her.) Lav. Oh, I take it all back. You are adorably lovely. Pen. {folding arms). Well, I should say so. Mrs. W. Ladies of the Jury, consider your verdict. Jury {rising, sing). Guilty, your Honor, guilty We find the plaintiff to be ; If any — I 8 THE CORNER LOT CHORUS. {Clock strikes si.t loudly.') Chick. Six o'clock, girls. Sprig. Go on with the rehearsal. Chick. Not much ! You see, mamma said I should resign my part if I was kept here after six o'clock : so I am going. Jury. Same here ! Sprig. I will not permit you to leave. {Crosses to L. froftt, folloived by R. F. £;irls.) You must finish the rehearsal. Chick. Not much ! R. P. Girls. Oh, Hsten ! Chick. In fact, me and my friends will resign our parts. Sprig. Resign! {^Begiri second ending here. Seep. 19.) Jury. We've all played Juliet. Chick. And we all act better than you ; you're " not in it." Sprig. Indeed ! Perhaps you would like to change parts. Chick. Good idea! If you'll change, I won't resign. Now that goes, see ? Sprig. No, I don't see. Chick. Come on, girls ! {Starts for door.) Sprig. Oh, wait, wait ! I've sold eight hundred tickets. I must give in. Here, take the part. {Holds out part.) R. P. Girls. Oh, oh ! Pen. That's rather good! Slight your own friends for that girl ! If you are going to give the part up, I'll take it. Chal. Nonsense! It's not your style : I'll take it. Lav. You are too large. It should be played by a dainty little girl, like me. Mrs. W. On the contrary, it requires a dignified presence, — like mine. Jury. I want it. Sprig. Then I refuse to give it up. All. Selfish! Chick. It might mean a corner lot, if I had it. Sprig. I will not give it up : I refuse. All. Then we resign ! Selfish ! Jury. We resign ! We won't stay! {Skip out.) R. P. Girls. And we resign. {Exit, talki/nr, and ^larincr at Spriggie.) ^ Sprig, {looking after them). Well,Xhickie said the cast was "out of sight," and it is. I don't care. {Coming down front.) Ladies and gentlemen, " Oskaloosa Justice" will be given to- morrow night, as advertised. But, owing to — er — er — circum- stances, I will present it to you as a monologue, claiming the usual indulgence for a quick study. Curtain. Note. —The version thus concluded is that finally adopted in the performance by the Twelfth Night Club. The original ending, and the one preferred by the author, is also given for the benefit of those who may agree with her taste in the matter, The change begins after the speech, " Spriggie. Resign ! " THE CORNER LOT CHORUS. ' I9 Chick. First, because you are rude ; secondly, because we don't care to play such small parts. I've played Juliet and Portia, so I feel rather wasted in this role. Jury. So do we. Sprig. But we've sold eight hundred tickets. Chick. You're in luck. Sprig. Even a stage manager will turn, and I'm going to give you a piece of my mind. Chick. Don't lose your temper. Sprig. You're an ill-bred — Chick. Tra-la-la ! Jury. Tra-la-la! Sprig. You're a flaunting parvenu. R. P. Girls. You are. Sprig. Your mother sold butter to my mother. Chick. And never got a cent for it. Don't you call names. Sprig. No names could do you justice. I'd like to slap you. Chick, (^dancing about). Try it! Sprig. I will. {Rushes at Chickie. Penelope catches her about waist. R. P. Girls fortn tug-of-war line, hold Spriggie back. Jury girls iti tug-of-war line restrain Chickie.) I'll box her ears ! {Jumps at Chickie. R. P. Girls hold her back.) R. P. Girls. Calm down, darling. Chick. Let me go ! {Ju/nps at Spriggie.) Jury. No, no ! Sprig. Apologize ! Chick. Never ! All {together). Mean cat! Spiteful thing! Hateful! Rude! Horrid! So! Quick Curtain. MISS TIFFANY'S LATEST AND BEST. A n Autograph Letter. * * -t^ -^- -^^ *- -:(;- -:^ -:^ vC- * •^- * * ^5 -:t- ^- A Comedy-Drama in Three Acts. By ESTHER B. TIFFANY. Author of "A Rice Pudding," "Anita's Trial," "The Way to His Pocket," and other favorite pieces. Five male and five female characters. Scenes, two interiors; costumes, modern and simple. Sparkling in dialogue, strong in interest, graceful in idea. Pric«, 2r> cents. SYNOPSIS. ACT I. Staunton's lodgings. Port-wine and poverty. Love's young di .'am. A voice from the tomb. "Why do you haunt me?" A ruined hfe. The Autograph Letter. " I'll destroy it this very day." Troubles thicken. The grasp of poverty. An idea. " Give me one hour and you shall have your money." The key of the secretary. The seed of sorrow. ACT IL John Master's home. The temperance question. Two sides of an old maid. "Aunt Libby, you're a jewel." Reading tiie newspaper. "Black satin's in fashion." The bitter past. A story of a wasted life. The unanswered letter. Aa angel's visit. The letter answered after twenty years. The ring and its motto. " To love is to trust." The harvest of happiness. ACT in. At Staunton's ag.iin. Locking the stable door. White lies and wliile lilacs. A confession. " T/ie letter jiever readied John Master s hands." For love's sake. ^' He must Be told." A daughter's happiness. "She will marry the man she loves, but for you." A sacrifice and a promise. Face to face. " I came to fling his treachery in his face, but it is the face of a dead man." False to the last. " For her sake, not yours, I lied." A noble foe. Young love and old. Ex- plamed at last. " I am no man's wife." The Garnering of the Grain. THE WAY TO HIS POCKET. Price, 15 cents. A comedy in one act, for two male and three female characters. Scene, an interior, costumes modern. All its requirements are simple to the last degree, and offer no diffi- culties. This little play is in Miss Tiffany's best vein, and admirably continues the series of parlor pieces, refined in humor and clever in plan, of which she is the author. Plays about an hour. Out of his Sphere. A Comedy in Three Acts by the Author of the Poik ULAR Military Drama "FORCED TO THE WAR." Price, 15 cents. Tive male, three female characters. Scenery, two simple interiors. The leading character is an old farmer, whose wish for the comforts of city life and th.. luxuries of wealth is answered in an unexpected and embarrassing manner. The piece abounds in rustic humor, the contrast between the simple old countryman and his city surround- ings being ludicrously emphasized. All the characters are good and the piece easy to j^roduce. SYNOPSIS Act I. Kitchen in Jedediah's house. A stormy night. Family jar. Jede- diah's return. A much abused man. "Hain't I been wrecked with floods, an' blizzards, an' hurricanes, an' every other calamity under the sun?" Dissatisfied with his sphere in life. "I want ter be rich, that's what I want, an' with nuthin' ter du but jesi. sit around an' take lite easy." Mr. Markham seeks shel- ter from the storm. Jedediah, relates his troubles, after which he retires. Scheme between Mrs. Blood and Mr. Markham to cure Jedediah from grumbling. Vhe Dutchman let into the secret. " You vhas der doctor, und I \has der gen- ■ eral superintendent. Pizness is pizness." Jedediah placed under the influence of anesthetics and taken to the uiausiou of Mr. Markham. Act II. Eoom in Markham's mansion. Jedediah awakes from his stupor. A bewildered wan. " What — on — airth — Why ! where am I, anyhow ! " Fe- male servants not waute 1, Believes himself to be dreaming and endeavors to «wake. " I've hern tell if you could shout, or thrash yourself about, it would wake you from the toughest aightmare on record. So here goes." Interview between Jedediah and .John. " Wise man holds tongue. Old proverb. Better follow it." Fun by the bushel. More and more bewildered. ' Mrs. Blood as Mrs. Southernwood. An explanation wanted. "For Heaven's sake tell me where I am an' what's the matter." Old home the best. Asleep or crazy — which? "Oh, Lord, I'm in a lunatic asylum, an' these servants are my keepers." Jedediah retires. Once more returned to his old home. Act III. Same as Act I. Conundrums. " Why do some ladies who do up their hair imitate a rooster?" The Dutchman's conundrum. "Vy does der hen move his head back vuid forth vhen she vhalks?" Something about base- ball. Jedediah awakes. " I've had a dream." So have Thomas and the Dutch- man. Jedediah's story. A permanent cure. " No matter under what circum- stances I am placed , or how poor my condition may be, I will never again find (aidt with my sphere ^n life." THE BAT AND THE BALL. A Farce in one Act. Price -------15 cents. Pour male, three female characters. Scenery, costumes and properties simple. Time in playing about 40 minutes. Showing the difficul- ties that may arise from the practice of Amateur Photography. A roaring farce. A NEW PLAY OF COLLEGE LIFE. A FARCE IN ONE ACT. BY THE AUTHOR OF "CLASS DAY." Price . . 35 cents. Three male and two female characters. Scenery and costumes, very easy. Tom Burnham wears ladies' costume throughout the piece, and all the characters may be played by men, if desired, as in the original performance by Graduate Members of the Pi Eta Society, of Harvard College, at Beethoven Hall, Boston, February 29, 1S76. This play was one of the attractions of the Murdock Testimonial Benefit, at the Boston Theatre, January 19, 1S77, and has since been played many times from manuscript with great success. A very fuimy piece and a sure hit. A NEW DRILL. THE TENNIS DRILL By MARGARET FEZANDIE. Reprinted by permission, from Harper's Young People, with the oric;inal diagrams and illustrations. 15 cents. This pretty and picturesque entertainment will be a novel and popular feature for a school exhibition, a parlor entertainment, or a lawn party. Sixteen girls, or less, can take part, regulation tennis suits in two colors, being worn, with fascinating "deerstalkers'' and "blazers" to match. It is very easy to get up, tennis apparatus being universally handy, and is highly recommended for its novelty, picturesqueness and equal adapta- bility for in-door or out-door use.