PS 1939 
 .H4 H4 
 Copy 1 
 
 i PLAY in one Act 
 called Her Last 
 
 ^^te Rehearsal as wr 
 itten by Willard Hoi 
 comb & done into print 
 byWiirA.Page 
 
 ■'#* 
 
/ n 
 
^ 
 
 ^ 
 
HONE ACT PLAY CALLED 
 HER LAST REHEARSAL OR 
 DISENCHANTING AN AMAT 
 EUR AS WRITTEN BY WILLARD 
 HOLCOMB ESQUIRE AND DONE 
 INTO PRINT BY WILL A PAGE AT 
 WASHINGTON 
 
 pAJTfci^.-»nAl<Ujr j^/v^J^ (i ju^ ! V: \M^ dL ^'^^0 
 
COPYRIGHTED MDCCCXCVII AND 
 ALL RIGHTS RESERVED BY WILLARD 
 HOLCOMB DRAMATIC EDITOR THE 
 WASHINGTON POST 
 
 1- 
 
 i^/ 
 
 H-tH-f 
 
HER LAST REHEARSAL 
 
 Dramatis Personam 
 Romeo, a Professional Leadine: Man. 
 Juliet, An Ambitious Amateur. 
 Stage Manager, a Discoverer of Talent. 
 
 Scene 
 Bare Stage of a City Theatre 
 
 Time 
 
 Morning of To-day 
 
BUT FORTY-TWO COPIES EACH 
 NUMBERED AND SIGNED BY MR 
 HOLCOMB HAVE BEEN PRINTED 
 OF THIS EDITION FOR PRIVATE 
 CIRCULATION ONLY THIS BEING 
 NUMBER 
 
 WuIa^ /i'-^^^^-^ 
 
HER LAST REHEARSAL 
 
 CURTAIN discovers Stage Manager sitting 
 at prompt table. Enter ROMEO in street 
 clothes, reading letters. 
 
 Man. Ah, good morning, my boy. 
 
 Romeo. Good morning. 
 
 Man. Well, I see you are on time, old man. 
 
 Romeo [curlly] Did you ever know me to 
 be late at a rehearsal when 1 could pos- 
 sibly get there? S^Comes doiun front and 
 stands by prompt table\. 
 
 Man. S^jocosely\ That's so; you're a pheno- 
 menal leading man, Tm afraid you"re 
 afflicted with that very rare disease 
 among actors, — a varicose conscience. 
 
 Romeo [coldly^ I try to keep my engage- 
 ments — and my temper, too. 
 
 Man. {still joking'lOX^ your temper's all 
 right. In fact, the only complaint I ever 
 heard of you was that you didn't have 
 fire enough about ycu,— but that was 
 
 5 
 
Her Last Rehearsal 
 
 from the leading lady, not the manager. 
 She said you made love beautifully from 
 a long distance, but personally she had 
 as lief be kissed by a snow man. 
 [^Laughs] Rather chilly, wasn't it? 
 
 Romeo [^sternly'] I have never believed in 
 the doctrine that an actor must live his 
 part. So long as he creates the proper 
 impression on the spectator, there is no 
 need for sincerity on his own part. 
 
 Man. Well, you always were a queer duck. 
 How is it that you have never married? 
 \^Romeo hiriis away coldly'] Most lead- 
 ing men at your age have played half a 
 dozen engagements in that line. 
 
 Kof\io[curtly'] I have never cared to marry 
 
 Man. How about Marie Mazanetti? She was 
 clean gone on you the season we were 
 out with her. 
 
 Roi'AEO[impalie?iUy'] I should never marry 
 in the profession. It's a dog's life at the 
 best, but single, one is at least free. 
 
 Man. Well, you used to make plenty of 
 "mashes" in front. Matinees were al- 
 
 6 
 
Her Last Rehearsal 
 
 ways good when you were in the cast. 
 
 Romeo [dtiler/y] Pshaw! An affection that 
 can be thrown over the foot-Ughts like a 
 cheap boquet cannot be worth much, 
 and I have never had time to cultivate 
 the acquaintance of a woman of family 
 and refinement. \_Takcs chair aL side of 
 stage\. 
 
 Man. I always thought you too tine-haired 
 for this business. How did you come to 
 get into it, anyway? 
 
 Romeo \^gloomily'\ It was simply a case of 
 making my living. I chose the only pro- 
 fession for which my training fitted me. 
 I was "raised as a gentleman," taught to 
 wear a dress suit and do nothing grace- 
 fully. What more do you want for a 
 modern leading man? 
 
 Man. Got one of your sarcastic moods on 
 to-day, eh? S^Rises and zvalks up stage 
 impatienth^ Well, if that girl ever 
 comes, we'll cut this rehearsal short. 
 l^Looks at his watch'] She's fifteen min- 
 utes late already! 
 
 7 
 
Her Last Rehearsal 
 
 Romeo [rising quickly] She pays us well 
 
 for our time, doesn't she? 
 Man. Why, of course she does. We don't 
 
 "teach the young idea how to shoot" off 
 
 Shakespeare for nothing. 
 Romeo \deliberaiely\\\vtx\ let's not cheat 
 
 her any more than we have done. 
 Man. [surprised] What do you mean by 
 
 that? You aren't soured on your job, 
 
 are you? 
 Romeo [(^eV/^r/y] Yes, 1 am. I'm very much 
 
 obliged to you for throwing it in my 
 
 way when I was out of work, but I wish 
 
 I hadn't taken it. 
 Man. It's better than walking around on 
 
 your uppers, isn't it? 
 Roffi^o[vehemefitly] No! That is at least 
 
 honest. 
 Man. [hotly] Come, now, I'm no common 
 
 swindler. 
 Romeo [firmly] No, but you are deceiv- 
 ing this girl. 
 Man. How? She pays me ^500 to prepare 
 
 her for the stage. It's worth it. It's no 
 
 8 
 
Her L3st Rehearsal 
 
 more than I would charge anybody else. 
 
 Romeo That's all right, but in addition, 
 she must buy costumes, hire a company 
 and rent the theatre. 
 
 Man. Well, you don't expect me to do 
 that for her, do you? If these young 
 fools will get stage struck, they must 
 pay for it. They come to take the bread 
 and butter out of our mouths. 
 
 Romeo Yfirmly^ Right there's the pointi 
 you are encouraging her to risk her all 
 in an experiment that must fail. 
 
 Man. How do you know it will fail? 
 
 Romeo \loiidly\ Come, now, you and I 
 know this business too well to discuss 
 that. You know as well as I do that she 
 can never play Juliet. 
 
 [Juliet appears at side of stage and 
 sta n ds listen ing\ . 
 
 Man. \sighing'\ Well, I've done my best 
 for her, anyway, 
 
 Romeo \_frankly\ You certainly have, and 
 so have I; for I would like to see her a 
 success. She is a good little girl, and a 
 
 9 
 
Her Last Rehearsal 
 
 hard worker, but her ambition is beyond 
 her ability. She will fail — she will be 
 laughed at— pel haps hissed, for she can- 
 not even look the part. I dont care for 
 myself— I can stand it— but it makes me 
 sick to think of her disappointment. It 
 will break her heart. 
 
 [Juliet drazvs back out of sight.'\ 
 
 Man. Well, it's started and it's got to be 
 gone through with. 
 
 Juliet \outside^ Here we are, mamma. 
 
 Man. Hush! There she is now. 
 
 Juliet [«/ side of siage\ Now, you sit 
 there, mamnia, and don't come on the 
 .stage at all. You'll disturb us. {^Turn- 
 ing to the others], Good morning, gen- 
 tlemen. 
 
 Romeo [ quietly^ Good morning. 
 
 Man. {effusively] Ah, how fares me gentle 
 Juliet this morning? {^quoting] "It is 
 the East; and Juliet is the sun." 
 
 Juliet [coldly^ Those are Romeo's lines. 
 He does not speak them. 
 
 10 
 
Her Last Rehearsal 
 
 Romeo I beg your pardon; I said "good 
 morning." 
 
 Juliet Only that and nothing more? 
 [Stage Manager shows her his watch.'] 
 
 Man. Fifteen minutes late, my dear young 
 lady— fifteen minutes late. Now, if you 
 are going into this business, you may as 
 well learn right at the start that punctual- 
 ity is the first virtue of a player. There 
 is only one thing that can excuse an 
 actor from rehearsal— and that's death. 
 Even then the ghost walks. — Romeo 
 has been waiting for you for nearly half 
 an hour, and that is enough to make 
 such a punctual fellow as he is a little 
 bit short. 
 
 Juliet \confused'\ Really, I'm sorry. 1 was 
 out selling tickets for my benefit and 
 forgot all about rehearsal. 
 
 ROMEO \kindly\ Never mind! I can stay 
 half an hour overtime if necessary— and 
 1 guess we'll need it. 
 
 Man. Well, then, let's get to work. What 
 did we do last time? 
 
 11 
 
Her Last Rehearsal 
 
 Juliet The balcony scene. 
 
 Man. That's so. I think you did that very 
 well. {Gets prompt book'] Now let's try 
 the parting scene — act third, scene V. 
 "Wilt thou be gone, it is not yet near 
 day",^ — that's your cue. 
 
 Juliet {hesitating'] Why do you rehearse 
 that scene so much? Why, we know it 
 by heart. 
 
 Man. [impatiently] My dear young lady, 
 you've got the lines, maybe, but not the 
 action. Lines are nothing — action is 
 everything. Now, you do the balcony 
 scene very well together; that's mostly 
 elocution. But when you get together, 
 you are like a couple of ice-bergs. You 
 want to warm up in this scene. [Goes 
 about stage arranging chairs to repre- 
 sent scenery.] Now, give me ' your at- 
 tention a moment, please! Here, imagine 
 these chairs the window going out onto 
 the balcony. There will be cushions 
 piled up here, and here's a rug tor you 
 to faint on later. There's a couch over 
 here, and here's a stand with a butter- 
 
 12 
 
Her Last Rehearsal 
 
 bow! lamp burning on it. All ready, 
 now. {^Stands at prompt tabic. Juliet 
 recites stiffly, looking upward.'\ 
 
 Juliet "Wilt thou be gone? It is not yet 
 near day " 
 
 Man. No, no! My dear young lady, Romeo 
 is not up there in the gallery — he's down 
 here. You are supposed to be talking 
 to him. 
 
 Juliet Oh, excuse me. {^Turns to Romeo 
 & recites once more but stands at a 
 distance. Gestures wiidty.'\ 
 "Wilt thou be gone? It is not yet near 
 
 day- 
 It was the nightingale and not the lark 
 That pierced the fearful hollow of thine 
 
 ear. 
 Nightly she sings on yon pomegranite 
 
 tree "' 
 
 [stopping] Oh, where did you tell me 
 that pomegranite tree was? 
 
 Man. [impatiefitly'] There's no pomegran- 
 ite tree except in your imagination out 
 the window there somewhere. 
 
 13 
 
Her Last Rehearsal 
 
 Juliet Oh, I forgot. — "Believe me, love, 
 it was the nightingale." 
 
 Mak. {interrupting^ Now, that won't do 
 at all. That may be very fair elocution, 
 but it's not acting. You must get into 
 the atmosphere of the scene. Now stand 
 down here and let me show you. Now 
 remember, you are a young bride, just 
 bidding good-bye to your husband for 
 the first and perhaps the last time. — 
 What would you do under such circum- 
 Sxances.^ 
 \ Juliet shakes her head helplessly-'] 
 
 Man. Why, you d embrace him, like this— 
 "Wilt thou be gone — .''[Embraces him 
 and recites effusively.'] You see, that 
 makes a picture! Now, try it all over 
 a,::iin. 
 
 [Juliet recites again, somewhat better.] 
 
 Man [interrupting] You wouldn't stand 
 ort" and talk to him through a telephone 
 like that. Hang onto him. 
 
 [She 'ays her hand gingerly on Romeo's 
 collar. ] 
 14 
 
 I 
 
Her Last Rehearsal 
 
 ^ 
 
 Man. Pshaw! That's the way a poliCv^- 
 man takes hold of a prisoner. Throw 
 your arms around his neck and hold 
 him tight. Juhet's modesty is all gone 
 now, and she only thinks of keeping 
 Romeo with her as long as possible. 
 [Stage Man. mops his brow & lakes 
 off coat. Juliet holds off stiffly front 
 Romeo's efnbrace and recites again.'] 
 
 Man. [breaking in] That's better! — Now, 
 Romeo. 
 
 Romeo "It was the lark, the herald of the 
 morn. 
 No nightingale; look, love, what envious 
 
 streaks 
 Do lace the clouds in yonder East. 
 Night's candles are burned out and 
 
 jocund day 
 Stands tip-toe on the misty mountain top 
 I must be gone and live, or stay and die. 
 
 Man. Good! Now, Juliet. 
 
 [Her hat gets in Romeo's eyes and she 
 removes it.] 
 
 Juliet "Yon light is not daylight—" 
 15 
 
Her Last Rehearsal 
 
 Man. Not the footlights, my dear young 
 lady. The light you see streams in this 
 window. Now, try again. 
 Juliet '-Yon light is not daylight. I know 
 it, I: 
 It is some meteor that the sun exhales 
 To be to thee this night a torch-bearer 
 And light thee on thy way to Mantua; 
 Therefore stay yet; thou needst not to be 
 gone." 
 Man. Now grab him again. Remember, you 
 are trying to make him stay against his 
 will. 
 S^Rovieo caresses her and starts to recite. 
 
 She shrinks.'] 
 Man. Don't draw back. Stick to him like 
 a burr.— You're getting your own way 
 now. 
 Romeo "Let me be ta'en, let me be put to 
 death, 
 I am content so thou wilt have it so."" 
 I'll say yon gray is not the morning's eye 
 'Tis but the pale reflex of Cynthia's 
 brow; 
 
 16 
 
Her Last Rehearsal 
 
 Nor that is not the lark whose notes do 
 
 beat 
 The vaulty heaven so high above our 
 
 heads. 
 I have more care to stay than will to go, 
 Come Death, and welcome; Juliet wills 
 
 it so. 
 How is't, my soul? Let's talk, it is not 
 day." 
 Man. Now, Juliet, you can break away. 
 Look out of the window and listen to 
 that imaginary lark. 
 \^Julict starts to cross to window behind 
 
 Romeo. ] 
 Man. Not that way — in front of him. 
 Juliet I thought you told me never to 
 
 turn my back on the audience? 
 Man. My dear girl, there's no audience 
 out there. This room is supposed to 
 have four sides, and there's only one 
 person in it with you, — that's Romeo 
 Some confounded elocution teacher put 
 
 that idea into your head. That's 
 
 better: now go on, 
 
 17 
 
Her Last Rehearsal 
 
 Juliet '-It is, it is: hie hence — begone — 
 
 away! 
 It is the lark that sings so out of tune 
 Straining harsh discords and unpleasing 
 
 sharps. 
 Some say the lark makes sweet division 
 — This doth not so, for she divideth us. 
 Some say the lark and loathed toad 
 
 change eyes — 
 Oh, now 1 would they had changed 
 
 voices too 
 Since arm from arm that voice doth us 
 
 affray 
 Hunting thee hence with hunt's up to 
 
 the day. 
 Oh, now be gone! More light and light 
 
 it grows." 
 Man. Put more pathos into your tones; 
 you are convinced now, against your 
 will. 
 Juliet "Oh, now be gone; more light and 
 
 light it grows." 
 Man. That's better. Now, Romeo, it's 
 your turn. 
 
 18 
 
Her Last Rehearsal 
 
 Romeo "More light and light. More dark 
 
 and dark our woes." 
 Man. ril read the nurse's lines. {^Knocks 
 
 o7i table.'] "Madame!" 
 
 1 Juliet stands quite still.] 
 Man. [impatiently] My dear girl, what 
 
 would you do if the nurse knocked at 
 
 your door under these circumstances? 
 
 [Juliet shakes her head helplessly.] 
 AUn. Why, you'd start — you couldn't 
 
 help it. 
 Juliet Why, of course I would. How 
 
 stupid ot me! 
 Man. Now try it again. [>^«or/^.y] "Madame." 
 Juliet [with an awkward .y/ar/f] "Nurse." 
 Man. [disgusted] No, no, no! Not as if 
 
 someone had stuck a pin into you. See 
 
 here — more like this. [Shows her how. 
 
 Juliet does it somewhat better.] 
 Man. [7^eadi7ig] "Your lady mother's 
 coming to your chamber; 
 
 The day is broke: be wary: look about.'' 
 JiLiET "Then window, let day in, and let 
 life out." 
 
 19 
 
Her Last Rehearsal 
 
 Man. Take him to the window — you want 
 
 him to go now. Then fall into his arms 
 
 for a last embrace. 
 \^ Juliet approaches Romeo shyly. Business 
 
 getting into place.'] 
 Romeo "Farewell, farewell! One kiss and 
 
 I'll descend." 
 \^Romeo clasps her in his arms and kisses 
 
 her heartily.'] 
 Juliet {breaking away] Oh! Don't hold 
 
 me so tight, please. 
 Man. Why not? Romeo should hug the 
 
 very life out of you. 
 Juliet {confused] But he needn't kiss 
 
 me. 
 Man. What do you suppose that's in the 
 
 book for? "One kiss and I'll descend." 
 
 You can't get around that. 
 Juliet {hesitating] Couldn't he kiss me 
 
 on the forehead? 
 Man. And get hair in his mouth? Well, he 
 
 may if he likes, but that's the regular 
 
 business of the scene. 
 {Stage Man. walks down front disgusted'] 
 
 20 
 
Her Last Rehearsal 
 
 Juliet \decidedly\ Well, I don't like it, 
 
 that's all. 
 Romeo [>rm/r] That is the way I have 
 
 always played the part. If it offends you 
 
 I can resiiin. {Goes to get hat and cane.] 
 Juliet [ quickly\ Oh, no, please don't do 
 
 that. \Shyly\ I guess I can get used to it. 
 {They take positions again.] 
 
 Man. {Smili?ig] Hem! Now Romeo starts 
 down the ladder. JuHet, lean over and 
 cling to him as though you couldn't let 
 go. 
 
 [ Juliet puts one arm around Romeo's 
 neck but drops other hand at side. He 
 reaches for it while she recites.] 
 
 Juliet "Art thou gone so? Ay, husband, 
 love, lord, friend. 
 I must hear from thee every day in the 
 
 hour, 
 For in a minute there are many days; 
 Oh, by this count I shall be much in 
 
 years 
 Ere I again behold my Romeo." 
 
 21 
 
Her Last Rehearsal •- 
 
 — N 
 
 Romeo "Farewell! I will omit no oppor- 
 tunity 
 That may convey my greetings, love, to 
 thee." 
 Juliet "Oh, think'st thou we shall ever 
 
 meet again?" 
 Romeo "I doubt it not; and all these woes 
 shall serve 
 For sweet discouises in our time to 
 come." 
 Juliet "Oh, God, 1 have an ill-divining 
 soul; 
 Methinks I see thee now thou art below 
 As one dead at the bottom of a tomb. 
 Either my eyesight fails or thou look'st 
 pale." 
 Romeo "And trust me love, in my eyes, 
 so do you. 
 Dry sorrow drinks our blood. Adieu! 
 Adieu!" 
 \^They finish the sceiie very creditably.'] 
 Man. That's very good. Now you can 
 sprinkle in as many kisses through there 
 as you can stand. — Mazanetti used to 
 
 22 
 
Her Last Rehearsal 
 
 haul Romeo back and kiss him halt a 
 dozen times. It was one of her prize 
 scenes, and always made a hit. Now 
 we'll rest a little while! \_Fuis on coat.] 
 
 Juliet Excuse me, please, while I speak 
 to mamma. \_E.x'it\ 
 
 Man. \_Jocosely'] You did warm up in that 
 scene, old man. If ycu kiss her like 
 that on the night of the performance, 
 you'll create a sensation. Every woman 
 in the audience will want to play Juliet 
 to your Romeo. — Now I must go and 
 jolly the old lady a little. 
 
 \_Meets Juliet.] 
 
 Man. You two can talk over your busi- 
 ness in that scene while I talk to your 
 lady mother, Juliet. 
 
 \^Exit. Juliet stands off.] 
 
 Romeo I hope I did not offend you with 
 any undue ardor in my manner just 
 now? 
 
 Juliet ^coldly] Oh, I suppose that is your 
 usual way. 
 
 Romeo [approaching her] Be assured I 
 
 23 
 
Her Last Rehearsal 
 
 should take no liberties which the lines 
 did not warrant or which I thought 
 would be offensive to you. But, serious- 
 ly, you should feign a little more ardor 
 even if you don't feel it. You will par- 
 don my asking the question, but— were 
 you ever in love? 
 
 Juliet [cnri/y'] What difference does that 
 make? 
 
 Romeo A great deal with your under- 
 standing of Juliet. 
 
 Juliet [(fe/ideraiely] I have never been in 
 love. — Have you? 
 
 Romeo [con/used] No! [A/ler a pause'] — 
 Yes! 
 
 Juliet \^fiefcely'\ Then why did you kiss 
 me like that? You had no right when 
 you love another. 
 
 Romeo It was because I love you. 
 
 Juliet \staHs, then exclaims] But 1 hate 
 you. 
 
 Romeo You hate me?— Why? 
 
 Juliet \_bitler y] Because you don't believe 
 in me. You discourage my ambition. — 
 24 
 
Her Last Rehearsal 
 
 Oh, I overheard what you said just now 
 — about my being certain to fail. It 
 wasn't kind of you— it wasn't just. 
 
 \_Her voice chokes and she turns away.'] 
 
 Romeo I have not been just to you. I 
 ought to have told you before. — But it 
 is true. I spoke in all kindness and from 
 my ov/n bitter experience, which I 
 hoped you might be spared. I might 
 have told you the first 4ay we rehearsed 
 together— but one never gets thanks 
 for advice of that kind. Flatter and 
 foster false hopes if you would be be- 
 lieved; tell the truth and you will be 
 hated. 
 
 Juliet [/aint/y] Oh, I don't exactly hate 
 you. I believe you mean well. 
 
 Romeo Ido mean well, but I was weak 
 enough to yield to the charm of your 
 company. 1 should have told you frank- 
 ly at first, but I feared to lose you. — 
 However, that is all over now — you can 
 never forgive what I have said. 
 
 [ Turns to go. ] 
 
 Juliet 'igently'\ It pains me only because 
 
 25 
 
Her Last Rehearsal 
 
 it is what I myself iiave feared. This 
 great broad stage looked so pleasant 
 from out there in front, I fancied it 
 must be fairyland, and to be an actress 
 the easiest thing in the world. But since 
 I've been back here, all the charm is 
 gone; it's nothing but hard, dismal 
 work, with failure in the end for me. 
 
 Romeo But if you should succeed, — you 
 might learn to do as well as many so- 
 called actresses. 
 
 Juliet [ea^-erlyl 1 believe you could teach 
 me, if anyone — 
 
 Romeo [bi^lerly] But after that— the jeal- 
 ousies, heart-burnings and disappoint- 
 ments of an over-crowded and undisci- 
 plined profession. The actor's trials are 
 not all before the footlights. It's the 
 petty rivalries, slanders and back-bitings 
 that make one bitter against his own 
 kind. But hard as is an actor's lot, 
 that of a young actress is harder still. 
 A man can protect himself. 
 
 Juliet [g'ently'] But could not you protect 
 me ? 
 
 26 
 
Her Last Rehearsal 
 
 Romeo [eag-erlv] Would you give me that 
 right ? 
 
 Juliet [s/iyly] Perhaps, 
 [//if starts toward her but hesitates. '\ 
 
 Romeo \ster7ily\ Merely as a means of at- 
 taining your ambition? 
 
 Juliet No — because I love you ! 
 
 [Romeo clasps her in his arms and kisses 
 her. Stage Manager appears at side.] 
 
 Man. \apptauding'\ Bravo! Bravo! That's 
 the best bit of acting you've done yet. 
 but what do you mean— those are not 
 Romeo's lines? [Hunts for prompt 
 book.'] 
 
 Romeo [luith pi'etended seriousness] We 
 have decided to play a modernized ver- 
 sion of "Romeo and Juliet," with the 
 tragedy left out. 
 
 Man. [horrified] What? In this theatre? 
 
 Romeo [gaity] We shall not need your 
 theatre, thank you, but if you could 
 recommend us to a Friar Laurence in 
 the neighborhood we'd be obliged. 
 
 Juliet Yes, I guess I'll have to cancel my 
 engagement. You see — 
 
 27 
 
Her Last Rehearsal 
 
 [ Juliet hesitates. Romeo takes her hand 
 
 gallantly. '\ 
 Romeo You see— she's going to join my 
 company — for life. 
 
 [ROMEO KISSES HER AND LEADS HER TOWARD 
 
 SIDE— STAGE MANAGER SINKS IN 
 
 A chair] 
 
 CURTAIN 
 
 ON CURTAIN CALL ROMEO AND JULIET SEEN 
 
 WALKING OFF— STAGE MANAGER 
 
 THROWS DOWN BOOK 
 
 Man.— Well, I'll be dinged! 
 
 csljere then cometh to an 
 
 JPTend the one act play 
 
 called her last rehearsal 
 
 OR DISENCHANTING AN AMAT 
 EUR AS ^WRITTEN BY WILLARD 
 HOLCOMB ESQUIRE AND DONE 
 INTO PRINT BY WILL A PAGE AT 
 WASHINGTON 
 
This play was presented for copy- 
 right purposes on May 27, 1896 at 
 the Grand Opera House, Washington 
 with the following cast : 
 
 ROMEO, MR. A. T. SEAMAN 
 
 JULIET, MISS FRANKLYN LYNCH 
 
 STAGE MANAGER, MR. WM. BOAG 
 
 It afterwards ran for two weeks at 
 the New National Theatre with Mr. 
 Boag as the Stage Manager, Charles 
 Mackay as Romeo, and Mary Sanders 
 as Juliet. 
 
 It was also presented, week of May 
 10, 1897, at the Castle Square Theatre 
 at Boston, by Miss Sanders and Mr. 
 Mackay, with Mr. Tony Cummings 
 as the Stage Manager. 
 
 Permission to present this play 
 must be obtained from Mr. Willard 
 Holcomb, Dramatic Editor, The 
 Washington Post. 
 
LIBRARY °L,?,JjS,f ill 
 
 016 112 663 9 #