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 rb^^5 No. 239. 
 .Z^G9*^ 
 
 A SCALE WITH 
 
 SHARPS t FLATS. 
 
 ( MUSICAL COMEDY. ) 
 
 WITH CAST OK CHARACTEUS, ENTRANCKS, AND EXITS, RELATIVE POSITIONS OP 
 THE PERFORMERS OX THE STAGE, DESCRIPTION OF COSTUMES AND 
 THE WHOLE OF THE STAGE BUSINESS, CAREFULLY MARK- 
 ED PKUM THE MOST APPROVED ACT- 
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 ALPHABETICAL LIST DP 
 
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 DRAMAS. 
 
 A Desperate (jiame 3 2 
 
 After Ten Y^ears 7 5 
 
 A Life's Revenge 7 5 
 
 Arrali de liaugli 7 5 
 
 Aurora Floyd 7 2 
 
 Auld Robin Gray 25c 13 8 
 
 Beauty of Lyons 11 2 
 
 Bill Detrick 7 3 
 
 Brae, the Poorlloiise Girl.... 4 4 
 
 Brigands of Calahn;^ 6 1 
 
 Conn; or, Love's Victory 11 3 
 
 Dora 5 2 
 
 Driven to the Wall 10 3 
 
 Driven from Home 7 4 
 
 East Lvnne 8 7 
 
 Eniit;rant',-- Daughter 8 3 
 
 Factory Girl 6 3 
 
 Fielding Manor 9 6 
 
 Hal Hazard, 25c lO 3 
 
 lluroic Dutchman of '76 8 3 
 
 Henry Granden 11 8 
 
 How He Did It 3 2 
 
 Hidden Treasures 4 2 
 
 Hunter of ihe Alps 9 -1 
 
 Hidden Hand 15 7 
 
 Liglits and Shadows of the 
 
 Great Rebellion, 25c 10 5 
 
 Lady of Lj'ons 12 5 
 
 Lady Audley's Secret 6 4 
 
 Man and Wife 12 7 
 
 Maud's Peril 5 3 
 
 Midnight Mi.«take 6 2 
 
 Miriam's Crime 5 2 
 
 Michael Erie 8 3 
 
 Miller of Derwent Water 5 2 
 
 Mi.stletoe Bough 7 3 
 
 Mountebanks (The) 6 2 
 
 Old Honesty 5 2 
 
 Old Phii's Birthday 5 3 
 
 Outcast's AVife 12 3 
 
 Out on the Woi Id 5 4 
 
 Oath Bound 6 2 
 
 Painter of Ghent 5 3 
 
 Poacher's Doom 8 3 
 
 Reverses 12 6 
 
 Ruck Allen 5 3 
 
 Spy of Atlanta, 25c 14 3 
 
 Thekia 9 4 
 
 The. False Friend 6 1 
 
 The Fatal IMnw 7 1 
 
 The Forty-Niners 10 4 
 
 'iliL- Cx-ntlcnian in Black 9 4 
 
 The New Magdalen 8 3 
 
 The B ward of Crime 5 3 
 
 Through Snow and Sunshine 6 4 
 
 The Vow of the Ornani .^. 7 1 
 
 Ticket of Leave Man 9 3 
 
 Toodlcs J 2 
 
 Uncle Tom'.-^ Cabin 15 7 
 
 Will-o'-the-Wisp 9 4 
 
 NO. M. P. 
 
 41 Won at Last 7 3 
 
 192 Zion 7 4 
 
 TEMPERANCE PLAYS. 
 
 73 At Last 7 1 
 
 75 Adrift 5 4 
 
 1S7 Auni Dinah's Pledge 6 .". 
 
 202 Drunkard [Tiie] 13 5 
 
 1.S5 Druiikar 's AVarning (> 3 
 
 1S9 Drunkard's Doom 15 5 
 
 18J Fifte. n Years of a Drunk- 
 ard's Life 13 4 
 
 1S3 Fruits of the Wine Cup 6 3 
 
 104 Lost 6 2 
 
 146 Our Awful Aunt 4 4 
 
 53 Out in the Streets _... 6 4 
 
 51 Rescued 5 3 
 
 59 Saved 2 3 
 
 102 Turn of the Tide 7 4 
 
 63 Three Glasses a Day 4 2 
 
 62 Ten Nights in a Bai-Room... 7 3 
 
 58 Wrecked 9 3 
 
 COM -.LIES. 
 
 165 A Pleasure Trip 7 3 
 
 136 A Legal Holiday 5 3 
 
 124 An Afflicted Family 7 5 
 
 178 Caste 5 3 
 
 199 Home 4 3 
 
 174 Love's Labor Not Lost 3 3 
 
 149 New Years in N. Y 7 6 
 
 37 Not So Bad After All 6 5 
 
 237 Not Such a Fool as He Looks 6 3 
 
 120 Our Daughters 8 6 
 
 114 Passions 8 4 
 
 219 Ra.gs and Bottles 4 1 
 
 221 Solon Shingle 14 2 
 
 87 The Biter Bit 3 2 
 
 TRAGEDIES. 
 
 16 The Serf 6 3 
 
 FARCES AND COMEDIETTAS. 
 
 129 Aar-u-ag-oos 2 1 
 
 132 Actor and Servant 1 1 
 
 12 A Capital Match 3 2 
 
 166 A Texan M<.ther-in-Law 4 6 
 
 30 A Day Well Spent 7 5 
 
 169 A Regular FLx. ....._. 2 4 
 
 80 Alarmingly Suspicious 4 3 
 
 78 An Awful Criminal 3 3 
 
 65 An Unwelcome Return 3 1 
 
 31 A Pet of the Pubiic... 4 2 
 
 21 A Komaiitic Attachment 3 3 
 
 121 A ThriMing Item 3 1 
 
 20 A Ticket of Leave 3 2 
 
 175 Betsey Baker 2 2 
 
 8 Better Half 5 2 
 
 86- Black vs. White 4 2 
 
 22 Caiitain Smith 3 3 
 
 81 Check Will Win 3 
 
 225 Cupi s Caper.-: 4 4 
 
 49 Der Two Surprises 1 1 
 
 .rG 
 
A SCALE WITH 
 
 SHARPS AND FLATS, 
 
 AN OPERATIC 
 
 AND 
 
 MUSICAL COMEDY. 
 
 IN ONE ACT, 
 BY 
 
 F. L. CUTLEE, 
 
 Author of Wanted, a Husband; Old Pompey; Cuffs 
 Luck; Pomp's PraJiks; Seeing Bosting; Aclor 
 and Servant; The Musical Dai-key; Lodg- 
 ings for Two; Lost; or, the Fruits 
 of the Glass; etc. 
 
 WITH THE STAGE BUSINESS, CAST OF CHARACTERS 
 RELATIVE POSITIONS, ETC. 
 
 Sntei'ed according to act of Congresa in the year 1888, hit 
 
 AMES' PUBLISHING CO. 
 in the office of the Librarian of Conyrcss at \Yashinat9n. 
 
 r-TiQ^T^ 
 
 — ~-CLYDE, OHIO: . 
 
 AMES' PUBLISHING 00. 
 
 \X\ 
 
A SCALE WITH SHARPS AKD FLATS. 
 
 -— <?<^^ L<'- 
 
 \^ 
 
 CiniBACTEBS BEPBESENTED/' 
 
 Lucy Sharp's Housekeeper* 
 
 Miss Scale, (Lucy) A Musician, 
 
 Peof. Sharp, A Professor of Music. 
 
 Charles LeGrand, (Sharp) The Lover, 
 
 Sam Flat A. Colored Individual, 
 
 LIST OF PBOFEBTIES. 
 
 Grip sack with old coat and hat — cornet in grip; musig 
 for Miss Scale. 
 
 Time — One and one-half hours. 
 
 Note. — This play is v/ritten to be played by either three 
 or five characters. If by three, Lucy plays Miss Scale 
 and Prol Sharp plays Charles LeGrand. '' 
 
 o — • 
 
 COSTUMES. 
 
 Lucy. FivBt J/y-^s .-—Large flowered dress, with white apron, 
 dusting cap. Second (Iress;— As Miss Scale; modern street suit. 
 Third dress: — Same as first, without cap ; or an entire change can he 
 made. Fourth dress;— Full evening dress, rich and st3dish. 
 
 Sharp. Modern old man ; or, knee breeches, huclcle shoes, pow- 
 dered wig, etc. ; must appear quite old. 
 
 Sam, Black cutaway coat, hlack pants, flowered vest, with ragged 
 coat and hat to put on over suit; put old hat on over good one, so as 
 to make change on stage. 
 
 ! Chaeles. Modern dress suit; hat and gloves; smooth shaven. 
 
 TMP92-009C14 
 
a Scale With Sharps and Flats. 
 
 ACT. I. 
 
 SCENE I.— A drawing-room or parlor, wiih piano, R., 
 iahle c. f., chairs l. f., and e. f., amd at table violin 
 and guitar; table covered ivith cloth, and music. 
 Shaep discovered, or just entering. 
 
 Shayy. As a teacher of music, I am a decided failure, 
 and nothing remains for me to do, but the thing I have 
 had in my mind, for the past two weeks, that is the con- 
 cert business. If I can get together a troupe of six or 
 eight accomplished musicians, I am satisfied that I can 
 make it a winning venture. My notice in the Clipper will 
 certainly bring applicants, and I will make my own selec- 
 tion from them. But, bye the bye, {looks around room) 
 how neat this room looks compared with the way it used 
 to look before I engaged my present housekeeper. This 
 one seems to take pleasure in arranging, and the others in 
 disarranging. Miss Lucy is a valuable addition to my 
 household. If she was only a musician, her face and form, 
 would be a fortune to her; but she seems to care nothing 
 for music, and she may, perhaps, be all the more valuable 
 to me. But I must proceed with my arrangements for my 
 concert. {introduce guitar solo; exit e. 
 
 Enter, Lucy, l. 
 
 Lucy, {dusting furniture) What a musical fanatic 
 old Professor Sharp is, to be sure; has never a thought 
 for anything else! Still, at times he seems despondent, 
 and I fancy he has had some serious trouble; and he does 
 not appear like a man who has been accustomed to this 
 mode of living, all his life. Ah, this is a life of ups and 
 downs! Look at my own situation! Who, for a moment, 
 would suppose that Lucy, Professor Sharp's housekeeper, 
 
^ A SCALE WITH SHABFS AND FLATS, 
 
 was, » few short months ago, living in a neat cottage, hap- 
 py in the love of an affectionate father, and {very much 
 affccied) another who won my heart from my keeping, 
 and then, through the influence of an aristocratic father — 
 broke it. Little did I think when I gazed for the first 
 time on the face of Charles LeGrand, that he would ever 
 cause me such unhappiness; but misfortune scarcely ever 
 comes singly. I first lost my beloved father and then in 
 a few short vreeks— my lover! Oh, Charles, how could 
 you be so cruel as to desert me in my hour of trouble! I 
 should hate him, but I can't, for I — love— him still. 
 
 {drops in cJiair at table, and sobs 
 
 Enter, Sam Flat, e. 
 
 Sam. {looks around) Dis mus' be de domicile I'm 
 lookin' for. No. 417, Two Pair Back! an' a man ought 
 ter hab about two pair of backs afore he tries to climb 
 'em. I's clardone out, but I mus' see dis Professor Sharp, 
 and make an engagement with him for de season. Won- 
 der if it wouldn't be a jDretty good idea for me ter play de 
 ignorant niggah on him, an' let him see Avhat I can do in 
 de way ob actin'. Dar don't seem ter be anybody about 
 
 here. PU jess slip down and fix myself up an' 
 
 {discovers Lucy, gets jrigMened, backs off and exits E. 
 
 Lucy, {recovers herself) I m-ust try and control my 
 feelings better in the future, (looks at piano) How I 
 
 would like to play, if I thought no one would hear me 
 
 the professor is out I'll risk it! {sits at piano; plays 
 
 and sings ad lib. Enter Peof. Shaep, e., astonished; 
 listens — smiles — beats time ivith his hands; cd close of 
 song applauds loudly tcith Jtis hands. Lucy screams, 
 rims L. front, embarassed ) Oh, Professor Sharp, do for- 
 give me, and I'll 
 
 Sharp, {coming forward) Porgive you? Til never 
 forgive you for 
 
 Lucy, {ivringing her hands) What have I done? 
 
 Sharp. Living in this house as long as you have, with- 
 out making your musical talent known. 
 
 Lucy, {relieved ) 1 Avas afraid you would discharge 
 me. 
 
 Sharp. Discharge you! I'll tell you what. Miss, if 1 
 were a few years younger, I should be tempted to try and 
 make a permanent engagement with you. 
 
 Liicy. {blushing) Why, Professor Sharp! 
 
A SCALE WITH SHARPS ..XD FLATS. 5 
 
 Sharp. It's a fact! But, Miss Lucy, what means this 
 masquerading? 
 
 Lucy. I hope you will not blame me, sir, but I have 
 had considerable trouble in the last feAv months, and, in 
 order to escape from unpleasant memories, I took for my- 
 self another name than my own, applied for a situation as 
 housekeeper in a private family. My notice attracted 
 your attention and hero I am. 
 
 Sharp. But whatever your circumstances were, Miss 
 Lucy, previous to your present situation, you have re- 
 ceived a fine musical education. 
 
 Lucy. Yes, sir. 
 
 Sharp, {delighted) Glorious! I see now more plain- 
 ly than ever, that when I secured your services, I got a 
 treasure; but, my dear Miss Lucy, the little I heard you 
 play, makes me anxious to hear more, {infroduce music 
 ad lib) That's excellent! Consider yourself engaged as 
 a member of my "Concert Co.," at a good salary. Excuse 
 me a minute while I run down and send a note to the 
 Dramatic Depot. {exit L. 
 
 Lucy. The darkest clouds have a silver lining, and me- 
 thinks I see a glimpse of the silver which is to lighten 
 the gloom of my future. Professor Sharp's words of en- 
 couragement have taken a load from my heart, and I feel 
 like a school girl once more.* 
 
 ■ Enter, Sam, r. 
 
 Sam. {comes E. front; aside) Dis Professor Sharp 
 must be a female prof essor, cause Pse been in here now 
 dese two times and I profess dat I ain't seen any profess 
 but dis one, an' if dat am de professor, he's a mornin* 
 glory, he is! Pll speak to him, any way. {crosses to 
 Lucy) How dy do. Professor! 
 
 Lucy, {discovers him) Oh, my! who's this? 
 
 Sam. Why, dis am me! 
 
 Lucy, {recovering herself) Well, I am sure I am con- 
 siderably enlightened as regards your identity! 
 
 Sam. Yes, ob course you'se considerable light'n dan I 
 is, but dat aint my fault, and as ter de dentistry, I aint 
 posted in dat. Say, am you de Professor Sharp? 
 
 Lucy. Professor Sharp! 
 
 *Waltzes and goes to organ and sings chorus of "Little Black Mustach," published 
 fc>y A. I>. Ames. 
 
6 A SCALE WITH SHA n PS A ND FLA TS. ' 
 
 Sam. Dat's v/hat I said! 
 
 Luci/. You wish to see Professor Sharp? 
 
 Sam. Dat's what I do! He's kinder in do musical 
 business, and I'se got a little leanin' dat way myself an'— 
 
 Lucy. I see! (aside) This colored gentleman is 
 probably an applicant for a situation in the Professor's 
 "Concert Co." The Professor is absent, and why not have 
 a little fun on my own account! he'll never be the wiser— 
 I will (aloud) Well, sir, what can I do for you? < 
 
 Sam. Is you de professor? | 
 
 Lucy. I am a professor ! 
 
 Sam. You don't say! (aside) A female professor, by 
 gum! Dat breaks me all up ! I thought I v/as goin' ter 
 hab some fun playin' a joke on some ole crank, an' in 
 place of an ole man, it am a beautiful young dam — sell. 
 But dar's no goin' back on de business now! I'se got ter 
 go ahead now! (aloud) Is you engaged— dat is — am 
 you — I mean I'se engaged! — No, dat aint what I mean! — I 
 mean, is you— or does you— does you want anybody? 
 
 Lucy. What should I want with anybody? 
 
 Sam. (aside) Oh, de prespiration is startin' right out 
 ob de pores! (aloud) I wants an engagement in your 
 troupe, 
 
 Lucy. Why didn't you say so? 
 
 Sam. I did, as soon as I could get myself untangled. 
 Yes, I wants a position. 
 
 Lucy. A position? Well, sir, just step this way, sir, 
 and I'll give you one. (places a chair L. front) Now, 
 sir, take your position on that chair. 
 
 Sam. (asiordsJied) What's that for? I 
 
 Lucy, (in a rage) ¥/ill you obey me, sir? I wish 
 you to stand on that chair. 
 
 Sam. I'se on do road, (siands on cJiair, facing audi- 
 ence) What's dis got ter do v»dd a concert company? 
 
 Lucy. It has everything to do with it. Now, sir, you 
 must not move or get off that chair until I give you leave, 
 and everything I say to you I want you to repeat after me. 
 Do you understand? 
 
 Sam. Yes, I understand, but I don't know what you 
 mean. 
 
 Lucy. Now repeat! First, music is a profession. 
 Sam. First music, is a condemnation, (aside) an' 
 dat's what's de matter! 
 Lucy, And to be proficient one must be ;■ 
 
A SCALE WITH SHAIiPS ANT) FLA TS. 7 
 
 Sam. On a clieer; dat's me! 
 
 Lucy, {stamps her foot) Silence, sir! Repeat after 
 me. And to be proficient one must be a hard student. 
 
 Sam. An' one ter be propped sufficient must be im« 
 prudent. 
 
 Lucy, (starts f listens; aside) Some one is coming; it 
 must be the professor! (aloud) I'll be gone but a 
 minute. (exit l. 
 
 ! Sam. Yes, an' I'll be gone in 'bout two minutes. Say— 
 say 
 
 Enter, Pkofessob, e., rtibbing his hands. 
 
 Sharp. Well, well, everything is working favorably. 
 
 (sits and looJcs at music 
 
 Sam. Golly, but dat gal's got hoarse since she went 
 out! She ought to be more keerful 'bout cotchin' cold dat 
 way. But I aint tendin' ter business. (business 
 
 j Sharp. I feel encouraged. Even the sun seems to 
 shine brighter than usual. 
 
 ? Sam. i feels discouraged even de sun beams to shine 
 brighter under a bushel. 
 
 Shayy. (discovers him ; astonished) What's the mean- 
 ing of this? 
 
 Sam. What's de meanin' ob dis? 
 
 Sharp. Here, sir, I'll learn you to come into a gentle- 
 man's room in this manner! 
 
 (throws him off chaii'; draws hack to strike him 
 
 Enter, Lucy, l., catches Professor hy the arm, and leads 
 
 him, E. 
 
 Lucy. Professor Sharp, don't be hard on the poor 
 darkey; he is not to blame. 
 
 Sam. No, but I'll be blamed if I understand dis busi- 
 ness. Dar's a tangle somewhere! 
 
 Sharp. Not to blame! How's that? 
 
 Lucy. He came to see you, and finding no one present 
 but myself, he naturally mistook me for the person he was 
 looking for, and in order to enliven a dull hour, I did not 
 rectify his mistake. (goes to piano and sits 
 
 Sharp. Ah, I see! (looks at Ham) My colored friend, 
 it seems you made a slight mistake. 
 
 Sam. Yes, it looks dat way, (aside) but I'll git even 
 wid dat gal or my name aint "Flat!" 
 
^ A SO A LE WITH SUAllPS A XD FLA TS. 
 
 Sharp. Will you inform me of the object of your 
 visit? 
 
 Sam. {hiisiness) Well, sah, you see I come down — 
 dat is, I come down — an' as I is down, I'll git down — to 
 business without any circumlotion or circumnavigation 
 et cetra — etc., or 
 
 Sharp. Nonsense! 
 
 Sam. I 'spects dat's it; but as I said before, I wishes 
 to see, an* as I've never been to sea, I see dat it was high 
 time to see, an* I neber see 
 
 Sharp. An idiot that's broken out of some insane 
 asylum ! 
 
 Sam. No, you're off dar! I broke out ob a smoke 
 house! 
 
 Sharp. Who are you, and what do you want? Speak! 
 before I eject you from the premises! {threatens him 
 
 Sam, I heard dat you was gittin' up a concert com* 
 pany, and wanted some good heavy men, so I come down. 
 
 Sharp. Oh, pshaw! I want none but men of note. 
 
 Sam., Dat's me! I' se got em right here! 
 
 {goes io grip) and takes out sheet music 
 
 Sharp. I'll put up with this foolishness no longer! 
 Speak, sir! who are you? 
 
 Sam. {handing Sharp music) You play dat, an* I'll 
 tole you. 
 
 Introduce song; Lucy plays accompaniment; at close 
 Sam hoics himself off stage, K. 
 
 Sharp. (/oLucy) That v/asv/ell rendered; he wouldn't 
 be a bad addition to my troupe. But I'll question him. 
 {turns to speak to him; runs E. and L. comes hack aston- 
 ished) He's gone! what an eccentric genius, {discovers 
 grip) He's left his baggage and will probably return 
 soon, {looks in g7'ip, discovers cornet) What have we 
 here? (Lucy runs to see) There's some mystery here! 
 
 Lucy. And, Professor, I also noticed something before 
 you came in; he is well dressed, but has a ragged coat on 
 over his other clothes, and wears a ragged hat. There is 
 some trick being played on you. 
 
 Sharp. AVe'll find him out before we're done with him. 
 He'll be back after his baggage. In the mean time, my 
 dear Miss Lucy, I would like to have you play this Sonatti 
 with me. 
 
A SCALE WITH SHAUPS AND FLA TS. 9 
 
 Introduce Sonatli; at the close Lucy leaves piano, goes to 
 fable. Professor goes io piano and iurns over music. 
 
 Sharp. There is a line Serio Comic song, (give name) 
 I would like to hear you sing. 
 
 Lucy. I shall be happy to accomodate you. 
 
 Professor 277a?,/s prelude; Lucy ial^es stage and sings; ai 
 close, exit L. 
 
 Sharp, (icalking hack and forth across stage) What 
 a pleasant creature she is! She will make some man a 
 good wife. If my son Charles could only have seen her 
 before we had our trouble. How happy we might be now, 
 but he must go and fall in love with a laboring man's 
 daughter, and w^ant to marry against my wishes. I re- 
 fused my consent, and Charles, although he would not 
 marry against my wishes, left the country and I have 
 never been able to get any trace of him. Well, we all 
 have to live and learn. If I had my life to live over, I 
 would live it differently. Since that time I have learned 
 that a girl may be of poor and humble origin, and yet be 
 a lad}^ But this is a world of changes. Who would for 
 a moment think that the once proud and haughty Francis- 
 LeGrand, who less than six months ago, vrould scarcely 
 condescend to speak to one of the laboring class, w^as to- 
 day an humble teacher of music. It was lucky for me 
 that I had my musical talent to fall back on, else when the 
 financial crash came, and I lost my all, I should have 
 been stranded on the rock of starvation. 
 
 {takes guitar, seats himself, plays afeio notes 
 
 Enter, Lucy, l., as Miss Scale. 
 
 Miss S. Ahem! I don't wish to interrupt you 
 
 Sharp, {starts, looks around, jumps up, offers Miss 
 Scale a chair) Not at all! 
 
 Iliss S. I wish to see Professor Sharp. 
 
 Sharp. That is my name. 
 
 Miss S. Ah! excuse me! I came in answer to your 
 advertisement. There are some recommendations from 
 my last place. ^ {gives him jmpers 
 
 Sharp, {examining papers) 1 seel You are a soprano 
 singer. I can soon tell whether you will suit me or not. 
 
 {introduce song 
 
10 ^ A SCALE WITH SHAUPS AKD FLATS, ^ 
 
 Sharp. Your singing i)leases me, and I will just step 
 dov/n to the telephone and investigate your references. 
 You will please excuse me a minute. 
 
 Miss S. Thank you; inyestigato at your leisure, and I 
 will call on you again to-morro^^'. 
 
 Shmp. Very well! (Miss SckijEhoics Jierselfoui 
 
 Enier, Sam. 
 
 Sam. Say, I jess seed de mos' fun down de street! 
 
 ( laughs 
 
 Sharp. What happened? 
 
 Sam. Why, dar was two men havin' a dispute 'bout 
 somefin', an' dey kep' a talkin' louder an' louder, an' right 
 across de street was two policemen a watchin' dem. An*- 
 ]3urty soon de two men begin tor fight, an' den yer ought 
 ter hab seed dem run. 
 
 Sharp. What, the men? 
 
 Sam. No, de policemen! dey run doAvn de alley out ob 
 sight, an' stayed there. An' one ob de men pounded de 
 odder one all ter pieces, an' den run down de street, an' got 
 away. Jess at dat time dem two policemen come a shootin' 
 out ob dat alley, an' rushed across the street, an' gobbled 
 onto dat i)oor fellow what had jess got whijpped an' 'rested 
 him, an' took him ober in de alley, an' I followed along 
 behin' jess ter see where dey was gwine wid him, an' jess 
 as I turned de corner, de prisoner up an' shot bof ob dem 
 l^olicemen. 
 
 Sharp. AVhat! with a pistol? 
 
 Sa7n. No, wid a haf pint bottle! 
 
 Sharp. You rascal! 
 
 Starts towards Sam, toho laughs, and runs off, L.; exit 
 Professor Sharp, r. 
 
 Enter, Lucy, r. front; comes forward with letter in her 
 
 hand. 
 
 Lucy. What creatures women are! A few minutes 
 ago, I was one of the most miserable creatures in exist- 
 ence, and now {holding tip letter) I am one of the 
 happiest. Charles is coming back! He v/rites me that 
 he lost all trace of his father since his failure, and be- 
 lieves he is dead, or has emigrated to some foreign coun- 
 try, mid Charles is (clasping letter to tier bosom) coming 
 back to me. (looks cd letter) And he will be here to-day! 
 
A SCALE WITH SIIABPS AND FLATS~. 11 
 
 I must make liaste and write him a note, telling liim 
 
 where to find me. {exit r. 
 
 Enter, Sam, l. 
 
 Sam. Dar don't seem ter be anybody heah, but dat 
 don't make any difference. I'se got ter fix up some plan 
 ter git eben wid dat gal, f o' dat trick she played on me. 
 Nebber was sold so in all my life! Now, le's see • 
 
 Enier, Peofessob Shaep, e. 
 
 Sharp, {discovering him) Ah, you're back, are you? 
 
 Sam. No, dar aint nuffin' de matter wid my back! 
 
 Shar^:). I mean, you have returned! 
 
 Sam. Ya'as! {in tragic tones) Now kill the fatted calf! 
 
 Shcirp. By the way, let me examine your lips, if you 
 lilease; they have rather a peculiar appearance. 
 
 Sam. {shows Jips) Dar's nuifin' 'culiar 'bout dem 
 fellahs! 
 
 Sharp, {examining) Ah, just as I thought! My 
 friend, you're a cornetist. 
 
 Sam. How do yer knovr dat ? 
 
 Sharp. By your mouth. 
 
 Sam. {aside) Dar it is again! Dat mouf ob mine al- 
 ways does gib me away, {sees cornel in grip) Eh! I see! 
 de ole coon's dropped ter de racket, an' he's playin' me. 
 {aloud) Dat's one on me. Professor! I jess thought I 
 would come in an' j)lay de greeny on you, an' let yer see 
 what I could do in de way ob actin', but de ting ain't 
 worked jess as I 'spected. {tcdces off ragged coat and hat; 
 takes cornel) Allow me ter introduce myself — de honor- 
 able Sam Flat, late ob de Opera House orchestra, at your 
 service. 
 
 Sharp. Another surprise ! 
 
 {introduce cornel solo; exit Sam, l. 
 
 Sharpy. ^ {looks around) What, gone again! He's a 
 good musician, but a natural curiosity. 
 
 Enter, Lucy, e. 
 
 Lucy, {very much affected) Professor Sharp, while 
 looking for some writing paper, in the desk I found this 
 bunch of letters {shows letters) addressed to "Francis 
 LeGrand," and 
 
 Sharp. Give them to me. {affected) Tlicy aie of no 
 consequence, my dear; give them no further iLuu^ht. 
 
i> A SCALE WITH SHABJPS AND FLATS. 
 
 Lucy. But, Professor Sliarp^ the name of LeGrand is 
 borne by one who is dearer to me than life itself. 
 
 Sharp, (aside) What means this? [aloud) And his 
 name; speak quickly! 
 
 Lucy. Charles! 
 
 Sharp. My son, my son! 
 
 Lucy. And you are- 
 
 Sharp. Francis LeGrand, the late millionaire, but who, 
 shorn of his wealth, and deserted by his only son, and his 
 so-called friends, is trying to earn an honest living as an 
 instructor of music; and you 
 
 Lucy. I am Blanche Atwood! 
 
 Sharp. Charlie's old sweetheart! 
 
 Lucy. Yes, his old and new ! I have just received a 
 letter from him, in which he states that he will be in the 
 city to-day, and call on me. The letter was forwarded to 
 me to my present address, and I immediately answered it, 
 and told him vf here to find me. You separated us once ; 
 but Charles writes me that he cannot live Tv^ithout me, and 
 is coming back to marry me, v/ith or without your consent. 
 (louder) Yes, sir! we are going to take the matter in 
 our own hands, (speaking very loud) and, sir, you can — • 
 
 Peofessob Sharp shrinks away from her, goes inio a 
 spasm; gesticulates, tivists himself into all sorts of 
 shapes. Lucy stops, looks at him, screams; runs off L. 
 
 Enter, Sam, e., on the run. 
 
 Sam.. What's de matter in heah? (sees Sharp) Hi, 
 golly! what's de matter wid de ole man? Dar's got terbe 
 sumffin' done wid him! (business) Say, how long yer 
 been dat way? (Sra.'R'P strikes out toith arm; cdmost hits 
 Sam, ivho takes stage and spars, etc,; general business) 
 When it comes ter dat, I'm your man! Where'll you hab 
 it? (stoj)s; looks at him) Dar's sumfin' wrong wid him. 
 If he was well, he wouldn't ac' dat way. I belebe I'd bet- 
 ter git him sumfin ter take. (runs off, n. 
 
 Sharp slowly recovers; sits up; looks around. 
 
 Sharp. What means this — ■ — where am I Oh, I re- 
 member — I was talking to Lucy about Charles, (jumps 
 up quickly) I must see Charles at once! I shall never 
 rest easy a minute until he forgives me for the misery I 
 have caused him. 
 
A SCALE WtTit SHABPS AND FLATS, f9 
 
 Enter, Lucy, l. 
 
 Lucy. What! recovered already? I was nearly fright- 
 ened to death, and have sent post haste for a doctor! 
 
 Sharp. Never mind the doctor ! I have something to 
 to say to you, miss, {walks close to her; raises his hand) 
 I shall never forgive you and my son Charles — (LuCY 
 screams and cdmost fainis) until I see you married. 
 
 Lucy. Oh, {goes to him, takes both hands) Profes- 
 sor Sharp — I mean Mr. LeGrand, do you really mean that? 
 
 Sharp. I certainly do. 
 
 Lucy. Then you take that! 
 
 {throivs both arms around his neck, and kisses him 
 
 Enter, Sam, r. 
 
 Lucy. And that! {kisses hijn again 
 
 Sam. {running B.., front) Oh, de Lav/d! I wish some- 
 body would do me dat way ! 
 
 Lucy and Shaep start hack; Sharp threatens Sam, tvho 
 runs off, L. 
 
 Sharp. The impudent rascal! 
 
 Lucy. Mr. LeGrande, like myself a few short minutes 
 have made a great change in your feelings. We are be- 
 ginning to see 
 
 Enter, Sam, l. 
 
 Lucy. The silver lining in the dark cloud that has just 
 passed us. 
 
 Sam. {aside) Dat mus' hab been me! 
 
 Sharp. You black rascal, leave the room ! 
 
 Sam. Ya'as, sah! ^ • {exit e. 
 
 Lucy. Now, Professor, in order to while away the time 
 until the one comes that we are both waiting for so im- 
 patiently, let us have some music. 
 
 {introduce violin solo, or singing 
 
 Enter, Sam, e. 
 
 Sharp, {discovering him) Sam, in order to assist us 
 in passing a dull hour, and to let me see what you can do, 
 please favor us with a song and dance. 
 
 Sam. I'm at you're service, sah ! 
 
 {introduce song and dance; exit LuCY, L, 
 
U A SCALE WITH SHABPS AND FLATS. 
 
 Sharp. Sam, recent changes in the situation, makes it 
 somewhat doubtful whether or not I shall take the road, 
 with my concert company. Still I may; if I do, I want 
 you and until I know, you can stay here and make yourself 
 at home. 
 
 Sam. All right, sah! {exii Shakp, E.) Tse got ter 
 git even wid dat gal, if it takes all summer, fo' dat joke 
 she played on me. I don't jess know what's ter be done, 
 but rilfigur.it out, an' don't yer for git it! Yer see 
 
 Enier, Lucy, in evening dress, L. 
 
 Sam. De Lawd! who's dat? (runs R.; Lucy crosses to 
 piano) I 'spec's dis niggah's got no business in here. 
 
 (starts off 
 
 Lucy. Sam, come here! I wish to speak to you. 
 
 Sam. (astonished) Am dat you? If I hadn't seed 
 yer, I wouldn't hab knowed yer. Wlien did yer git dem 
 clothes? 
 
 Lucy. Sam, Tm expecting company, and I want you to 
 attend the door, and if any one comes, show them up. If 
 you will, I shall consider it a favor. 
 
 Sam. (aside) If she keeps a talkin' like dat an' lookin' 
 at me w^id dem eyes ob her's, I vrould jump off de top of 
 Mount Etna-survious, if she told meter, (aloud) ^ I'll 
 attend de doah wid de greatest pleasure. lexit E. 
 
 Lucy. How long the minutes seem when one is wait- 
 ing. An hour is an age, but there is an end to all things 
 Charles will soon be here, and from this on life, shall pass 
 as a pleasant dream. 
 
 Enter, Sam, hurriedly, e. 
 
 Sam. (excited) Say, dar was de funniest thing hap- 
 pened out dar jess now yer eber seed! 
 
 Lucy. What was it? Speak, quick! 
 
 Sam. Why, de ole professor had anodder one ob dem 
 spells, an' while I was a workin' v/id him, tryin' ter bring 
 him to, dar was a man come in an' helped me, an' when 
 de ole man begin ter git a little better, we laid him on de 
 lounge, an' den ele man axed me ter show him where yer 
 was, so I bringed him up, an' 
 
 Lucy. Oh, it must bo Charles! 
 
 [almost faints; staggers to extreme L.; Samc, hack 
 
A SCALE WITH SIIABPS AND FLATS. U^ 
 
 Enie7% Charles, r. 
 
 Lucy. Oh, Charles! 
 
 As they meet to embrace, SxiM steps^ in between them, and 
 she embraces him instead; sees her mistake, starts 
 back. 
 
 Sam, (laughs) Dar, I guess I'se eben wid yer now! 
 
 Sam starts forward; Charles gices him a xmsh which 
 sends him spraioUng, l. front; Lucy throws herself 
 into Charles arms. Picture, 
 
 CURTAIN. 
 
 Note. — To make an affective ending the last two pages 
 must be played very fast. 
 
--^ T H E AT R I C A L (S^A*- 
 
 AND FANCY COSTUME WIGS. 
 
 AttoiEtiosi is called to tMs list of WIGS, BEARDS, 
 
 TACHSS, WHISKERS, &c. 
 
 filUS- 
 
 We employ a wig -maker especially to manufacture goods for our trade, 
 
 and can guarantee satisfaction. All goods made 
 
 under our personal supervision. 
 
 In ordoriug be careful to state every particular, i. e. size, color, etc. 
 special character or occasion can bo made to order. 
 
 Any wig tef 
 
 "Ti^rr-^ 
 
 White Old Man ^4.50 
 
 Iron Gray 4.50 
 
 Yankee 4.50 
 
 Irish 4.ri0 
 
 Crop [all colors] 4.50 
 
 Fright 5.00 
 
 Negro 90 
 
 '* [white old ni'^nl 1.50 
 
 " !grey " J 1.50 
 
 " with top knot] 1.50 
 
 " [wench] 5.00 
 
 Sir Peter Teazle 5.00 
 
 Shylock 4.50 
 
 Court Wig with Bag 4.50 
 
 Tie 4.50 
 
 Paul Pry 4.50 
 
 Dundreary 5.50 
 
 Light Dress Wig, with parting 5.50 
 
 Rough Irishman 4.00 
 
 Flaxen Country Boy 3.50 
 
 Physician or Lawyer [white] 5.00 
 
 Dress Wig with Eyebr'ws & WTiisk'rs 5.50 
 
 Dress, without parting 4.00 
 
 Duplex; can be worn either as a male 
 or female Wig; very convenient; in 
 
 reality 2 Wigs in 1 6.00 
 
 Flow Wigs, Long Hair, suitable for 
 most Shakesperian characters, Fairy 
 Plays, &.C 5.50 
 
 Dress Scalp, with parting 15.09 
 
 Scalps 2.75 
 
 Gentlemanly Irish, with parting 5.(W 
 
 Bald Wigs, Grey or White 4.50 
 
 Rip Van Winkle 4.60 
 
 Grey Dress Wig, with parting 4.50 
 
 White " " " 4.50 
 
 Clowns, in colors 4.50 
 
 Pantaloon, Wig and Beard 6.00 
 
 Robinson Crusoe 4.50 
 
 Monk 4.00 
 
 Box and Cox, 2 Wigs, each Wig 3.50 
 
 Chinaman, with Pigtail 6.00 
 
 Dress Wig, superior 5.00 
 
 Red and Brown Bald Wigs 4.50 
 
 LADIES. 
 
 Court Wig e.80 
 
 Grand Duchess 6.50 
 
 Lady Teazle 7.00 
 
 Marie Antoinette 7.50 
 
 Mother-in-Law 5.S0 
 
 Female, plain, Long Hair, so that lady 
 can do up as she wishes, a really fine 
 
 Wig 10.00 
 
 Nigger Crape Masks, a substitute for 
 
 blacking the face 2.06 
 
 Ladies' Wigs, Blonde, Light and Dark 
 Brov\'n and Black, made up in pres- 
 ent fashion 6.00 
 
 Comic Old Woman's Front Piece $2.50. 
 
 BEARDS, WHISKERS, MUSTACHES, &c. 
 
 Fide WHiiskr's & M'stache on wire S1.25 
 
 Side Whiskers and Mustache, on 
 
 wire, superior 1.50 
 
 Side Whiskers, no Mustache, wire 1.00 
 
 Side Whiskers & Mustache, Gauze 2.00 
 
 Side Whiskers and Mustache, on 
 
 gauze, superior 2.25 
 
 Side Whiskers, without Mustache, 
 
 on gauso 1.50 
 
 Side AVhiskers, without Mustache, 
 
 on gauze, superior 1.75 
 
 Full Beard 1.75 
 
 " " superior 2.00 
 
 Full Beard without Mustache 1.50 
 
 Full Beard, no Mustache, superior 1.75 
 
 Mustache and Chin Beard, combined.. 2.00 
 
 Imperials 30 
 
 Full Chin Beard 1.25 
 
 Mustaches on wire - 85 
 
 '' " gauso 40 
 
 CRAPE HAIR— For making False 
 Whiskers, Mustaches, &c. 
 Colors— Black, White, Light Brown, 
 Dark Brown. Iron Grey & Red. 
 Price per yard * 20 
 
 Address 
 
 A. D.AMES. PUB'R, 
 
 LOCK BOX 102. 
 
 CLYDE, OHIO. 
 
iimEs' Plays — CantinuBii. 
 
 72 
 19 
 42 
 
 ■iss 
 
 22U 
 U8 
 218 
 224 
 233 
 1^ 
 184 
 2(J9 
 13 
 66 
 116 
 120 
 103 
 
 50 
 140 
 74 
 35 
 
 47 
 95 
 11 
 
 99 
 82 
 182 
 127 
 228 
 106 
 139 
 
 2;n 
 
 23.5 
 
 69 
 
 1 
 
 15S 
 
 23 
 
 208 
 
 212 
 
 32 
 
 186 
 
 44 
 
 33 
 
 57 
 
 217 
 
 165 
 
 195 
 
 159 
 
 171 
 
 180 
 
 48 
 
 138 
 
 115 
 
 65 
 
 232 
 
 137 
 
 40 
 
 3H 
 
 131 
 
 101 
 
 167 
 
 68 
 
 54 
 
 FARCES CONTINUED. 
 
 Deuce is in Him 6 
 
 Did 1 Dream it 4 
 
 Domestic Felicity 1 
 
 Dutch Prize Fighter 3 
 
 D. itchy vs. Nigger 3 
 
 Eh? W lat Did You Say 3 
 
 Everybody Astonished 4 
 
 Fooling with the Wrong Man 2 
 Freezing a Mother-in-Law... 2 
 
 Fun in a Post Office 4 
 
 Family Discipline 
 
 Goose with the Golden Eggs.. 5 
 
 Give Me Mv Wife 3 
 
 Hans, tbe Dutch J. P 3 
 
 Hash 4 
 
 H. M. S. Plum 1 
 
 How Sister Paxey got her 
 
 Child Bautiz d 2 
 
 How iSiie has Own Way 1 
 
 How He Popped the Quest'n. 1 
 
 How to Tame M-in-Law 4 
 
 How Stout Vour Getting 5 
 
 In the Wrong Box 3 
 
 In the Wrong Clothes 5 
 
 John Smith 5 
 
 Jumbo Jam 4 
 
 Killing Time 1 
 
 Kittle'- Wedding Cake 1 
 
 Lick Skillet Wedding 2 
 
 ]. iiderbach's Little Surprise 3 
 
 Lodiiings for Tv/o 3 
 
 Matrimonial Bliss 1 
 
 Matcii for a Mother-in-Law.. 2 
 
 More Blunders than one 4 
 
 Mother's Fool 6 
 
 Mr. and Mrs. Pringle 7 
 
 Mr. Hudson's Tiger Hunt 1 
 
 My Heait's in Highlands 4 
 
 * y Precious Betsey 4 
 
 My Turn Next 4 
 
 M Wife'^ Relations 4 
 
 My Day and Now-a-Days 
 
 Obedience 1 
 
 On the Sly 3 
 
 Paddy Miles' Boy 5 
 
 Paten- Washing Machine 4 
 
 Persecuted Dutchman 6 
 
 Poor Pilicody 2 
 
 Quiet Family 4 
 
 llough Diamond 4 
 
 Ripples 2 
 
 Schiaps 
 
 Sewing Circle of P riod. 
 
 1 
 
 
 
 S. H. A. M. Pinafore 3 
 
 Somebody's Nobody 
 
 Stage Struck Yankee .. 
 
 Taking 'the Census 
 
 Th It iMysterious B'dle. 
 T le Bewitched Closet.. 
 
 The Cigarette 
 
 Tbe Coming Man 
 
 iTurn Him Out 
 
 Ttie Sham Prof ssor 
 
 The Two T. J's 
 
 28 
 142 
 213 
 151 
 5 
 56 
 70 
 135 
 147 
 155 
 
 111 
 157 
 
 204 
 
 15 
 
 172 
 
 98 
 
 222 
 
 214 
 
 145 
 
 190 
 
 27 
 
 230 
 
 153 
 
 24 
 
 23'i 
 
 77 
 
 88 
 
 128 
 
 90 
 
 61 
 
 234 
 
 150 
 
 109 
 
 134 
 
 177 
 
 96 
 
 107 
 
 133 
 
 179 
 
 94 
 
 25 
 
 ir2 
 
 10 
 
 61 
 122 
 
 lis 
 
 6 
 lOS 
 
 4 
 197 
 198 
 170 
 216 
 206 
 210 
 203 
 205 
 156 
 
 130 
 
 Thirty-three Next Birthday.. 4 2 
 
 Tit tor int 2 1 
 
 Vermont Wool Dealer „. 5 3 
 
 Wanted a Husband 2 I 
 
 Wnen Women W eep 3 2 
 
 "Wooing Under Difficuities 5 3 
 
 Whica will ne Marry 2 8 
 
 Widowei's Trials 4 5 
 
 Waking Him Up 1 2 
 
 Why they Joined the Re- 
 beccas 4 
 
 Yankee Duelist 3 1 
 
 Ya ,kee Peddler 7 3 
 
 ETHIOPIAN FARCES. 
 
 Academy of Stars 6 
 
 An Unhapijy Pair 1 1 
 
 Black Shoemaker 4 
 
 Black Statue 
 
 Colored Senators 3 
 
 Chops 3 
 
 Cuff's Luck 2 
 
 Crim|)s Trp 5 
 
 Fetter Lauo to Gravesend...,'.' 2 
 
 Hamlet the Dainty 6 
 
 Haunted House 2 
 
 Handy Andy 2 
 
 Hypochondriac The 2 
 
 Joe's Vis t „ 2 1 
 
 Mischievous Nigger 4 2 
 
 .^lu^ical D irkey. 2 
 
 Nu Cure No Pay 3 
 
 Not as Deaf as He Seems..!!!.' 3 
 
 Old Dad's Cabin 2 
 
 Old Pompey i 
 
 Other People's Children 3 
 
 P(jinp's Pranks 2 
 
 Quarrelsome Servants 3 
 
 Rooms to Let 2 
 
 School 5 
 
 Seeing Bosting 3 
 
 Sham Doctor 3 
 
 Iti.UOO Years Ago 3 
 
 Sport with a Sportsman 2 
 
 Stage Struck Darkey 2 
 
 Stocks Up, Stocks Down 2 
 
 That Boy Sam 3 
 
 The Select School 5 
 
 The Popcorn Man .„... 3 
 
 The Studio 3 
 
 Those Awful Boys 6 
 
 Twain's Dodging 3 1 
 
 1 ricks 5 2 
 
 Uncle Jeff 5 2 
 
 U. S. Mall ...: 2 2 
 
 Vice Versa 3 1 
 
 Villkens and Dinah „4 1 
 
 Virginia .Muu my 6 1 
 
 Who Stole th« Chickens 1 1 
 
 William Tell 4 
 
 Wig-Maker and Hid ServantH 3 
 GUIDE BOOKS. 
 
 Hints on Elocution ,.......» 
 
 Hints to Amaleurs .^ 
 
 ax 
 
 CANTATA. 215 On to Victory (with chorus) 25 cents 4 6 
 
liiiilli 
 
 016 102 897 6 i^ 
 
 NEAST PLUYS ^ 
 
 RecEntly IssuGiiT 
 
 235^ More Blunders than One. A farce in one act, by Thos. G. Rod veil, 
 5 malerj, 3 females. A most excellent fiirce containing a first-class Irish part. Cos- 
 tumes aacdern. Time 45 minutes. 
 
 236 The Hypocliondriac. An Ethiopian farce in 1 act, by Gritfin. Two 
 males, Costumes modern. Can be played with white faces if deemed advisable. 
 Time about 15 minutes. 
 
 231 Not Such a Fool as He Looks. A farcical-drama in 3 acts, by H. 
 J. Byron, 5 males, 3 feuiales. Costumes modern. Time 2 hours. One of Byron's 
 very best, which will not fail to please an audience. 
 
 238 Straivberry Shortcake. An amusing Negro sketch in one scene, by 
 Wesley J. Hunter, for two female characters. Time 20 minutes. Costumes modern. 
 The tricks the two parties play on each other will be found very funny. 
 
 239 A Scale with Sharps and Flats. Musical Comedy in one act, by 
 F. L. Cutler, 3 male, 2 females Costumes modern. Time of playing, 1 hour. This 
 little Play is written in Mr. Cutler's usually happy vein, is full of concentrated fun. 
 
 240 Two Thousand Dollars Reward. A change-act-comedy in 1 act, 
 by F. L. Cutler. Two male characters. Both are detectives and each takes the 
 other for a criminal they are in search of. Their mistakes and situations are very 
 funny. Time 35 minutes. 
 
 241 Struck by Lightning;. A farce by F. A, Cutler, 2 males, 2 females. 
 A lightning rod agent, being in love with a handsome girl, sets fmt to talk the par- 
 ents into giving their consent to the wedding. Hence they are struck hy lightinin/. 
 Very amusing. Time of playing 20 minutes. 
 
 242 The Dutch Recruit; or The Blue and Grey. An Allegorical 
 Drama of the Civil war of 1851, '66 in 5 acts, by J, T. Viegard. This is one of the 
 strongest military plays ever written. It has many strong characters— among them 
 some excellent comedy. Time of performance about 3 hours. It will be found easy 
 to put upon the stage, full of thrilling and startling situations, haii breadth escapes, 
 military movements, prison scenes full of pathos and tears, others in which the 
 Dutchman and Irishman will convulse the list ners with laughter. Every character 
 is good, being strongly drawn, and w^orthy the talent of the best actors. 
 
 J$W The publisher has pun-ha-ed all rights in this grand Military Play and a'- 
 though at a high price, has determined to place it at the disposal of every G. A. R. 
 Post, S. of V. Camp, and in fact any organization which may wish to produce it. There- 
 fore bear in mind, there is no royalty on it— all can produce it who may wish to do so 
 freeof cliarge. 
 
 243 sports on a Lark. An Ethiopian Interlude in 1 act, by Griflin, 3 
 male characters. Costumes seely, etc. Scene, a wood. Time 20 minutes. 
 
 244 Old Clothes. A negro farce in 1 act, 3 male characters. Costumes to 
 suit. Scene, office of a hotel. They get into a big row— say and do many funny 
 things. Time 15 minutes. 
 
 245 The Ticket Taker; or the Masquerade Ball. An Ethiopian 
 farce in 1 act, by Criffin, 3 male characters. This farce can also be played witii 
 white lac'c^. Always well receive 1 ami will plea.-!.', 'i'iuie l-') minutes. 
 
 248 Othello. A Negro Biirlcs(iue on the immo;tal tragedy, 4 males 1 female. 
 Bar esciue Costume.-;. So„>:i-. plain r )o:n. Tiiu'J 2 ) miir.it.-s. A vast deal of sport in 
 the pie e. 
 
 247 Incompatibility of Temper. A f.u-c;' in one act, by W. E. .Safer, 
 Modern Costumes. Very ea-ily ac (>d and i>;U an tli- .>t:ige. Time 3) minute.^. 1 in- 
 terior scone. 1 comedian ami 2 walking' lalics. A ni irried couple who do notdisplav 
 the b'St temper towards t'.cli other, ai-.' p.Mcili;-(l yb the good services of a, lady 
 friend. 
 
 24 S Captured; or the Old Maid's Triumph. Au uproarously -unny 
 comcdv in 4 act-, by Wm. L. Bock, Ks(i Th' name quite well de.-eribes the p!.iy in 
 a nufshell. 6 males 4 females. Costumes mo.lern. Time of performance, VK hours. 
 An old maid is determined to marry some one not so p.irticular who, but finall v one 
 party succumbs. The scenes in this comedy are very ric!i and funny, and not to be 
 tlo-;cribed in ;i sliort notice lil<c tlii,--. Order a copy :wi 1 see for yonr.-elf what it i.ilike.