S 3529 V4 H4 .920 Jopy 1 . .^ARTS TO MEND A FANTASY IN ONE ACT By HARRY A. OVERSTREET f;^. STEWART KIDD IP 'MODERN PLAYS • EDITED BY FRANK SHAV TO BE PUBLISHED SHORTLY Fifty Contemporary One -Act Plays Edited by Frank Shay and Pierre Loving This volume contains FIFTY REPRESENTATIVE ONE-ACT PLAYS of the MODERN THEATRE, chosen from the dramatic works of contemporary writers all over the world. THE CONTENTS ARE AUSTRIA: Schnitzler (Arthur) -Literature BELGIUM: Maeterlinck (Maurice)-The Intruder BOLIVIA: More (Federico)- [nterlude FRANCE: Ancey (George) -M. Lamblin Porto - Riche (Georges) - Francoise s Luck GERMANY: Ettlinger (Karl)-Altruism von Hofmansthal (Hugo)- Madonna Dianora Wedekind (Frank)-The Tenor GREAT BRITAIN: Bennett (Arnold)-A Good Woman Calderon (George)-The Little Stone House Cannan (Gilbert)-Mary's Wedding Dowson (Ernest) - The Pierrot of the Minute Ellis (Mrs. Havelock)-The Subjection of Kezia Hankin (St. John) - The Constant Lover INDIA: Mukerji (Dhan Gopal)-The Judg- ment of Indra IRELAND: Gregory (Lady)-The Workhouse Ward HOLLAND: SpeenhoS (J. H.)-Louise HUNGARY: Biro (Lajos)-The Grandmother ITALY: Giacosa (Giuseppe) -The Rights of the Soul RUSSIA: Andreyev (Leonid) - Love of One's Neighbor Tchekoff (Anton)-The Boor SPAIN: Benevente (Jacinto) - His Widow's Husband Quinteros (Serafina and Joaquin Alvarez) -A Sunny Morning SWEDEN: Strindberg (August)-The Creditor Wied (Gustave) -Autumn Fires UNITED STATES: Beach (Lewis) -Brothers Cowan (Sada)-In the Morgue Crocker (Bo8worth)-The Baby Car- riage Cronyn (George W.)-A Death in Fever Flat Da vies (Mary Carolyn)-The Slave with Two Faces Day (Frederic L.)-The Slump Planner (Hildegarde)-Mansion8 Glaspell (Susan)-Trifles Gerstenberg (Alice)-The Pot Boiler Helburn (Theresa)-Enter the Hero Hudson (Holland)-The Shepherd in the Distance Kemp (Harry) - Boccaccio's Untold Tale Langner (Lawrence) - Another Way Out Millay (Edna St. Vincent)-Aro da Capo MoeJler (Philip)-Helena's Husband MacMillan (Mary)-The Shadowed Star O'Neil (Eugene)-Ile Stevens (Thomas Wood)-The Nursery Maid of Heaven Stevens (Wallace) -Three Travelers Watch a Sunrise Tompkins (Frank G.)-Sham Walker (Stuart)-The Medicine Show Wellman (Rita)-For AU Time Wilde (Percival)-The Finger of God YIDDISH: Ash (Sho!om)-Night Pinski (David)-Forgotten Souls Large 8vo. Cloth. Gilt top NET $5.00 ^ Turkep Morocco NET $12.00 STEWART & KIDD COMPANY PUBLISHERS : - : CINCINNATI, U. S. A, STEWART KIDD MODERN PLAYS Edited by Frank Shay HEARTS TO MEND Stewart Kidd Modern Plays Edited by Frank Shay TO MEET the immensely increased de- mands of the play-reading public and those interested in the modern drama, Stewart & Kidd Company are issuing under the general editor- ship of Frank Shay a series of plays from the pens of the world's best contemporary writers. No effort is being spared to secure the best work available, and the plays are issued in a form that is at once attractive to readers and suited to the needs of the performer and producer. From time to time special announcements will be printed giving complete lists of the Plays. Those announced thus far are: SHAM, a Social Satire in One Act. By Frank G. Tompkins. Originally produced by Sam Hume, at the Arts and Crafts Theatre, Detroit. THE SHEPHERD IN THE DISTANCE, a Pantomime in One Act. By Holland Hudson. Originally produced by the Washington Square Players. MANSIONS, a Play in One Act. By Hildegarde Planner. Originally produced by the Indiana Little Theatre Society. HEARTS TO MEND, a Fantasy in One Act. By H. A. Overstreet. Originally produced by the Fireside Players, White Plains, N. Y. Others to follow. Bound in Art Paper. Each net 50 cents. HEARTS TO MEND A FANTASY IN ONE ACT HARRY A^bVERSTREET HEARTS TO MEND was first produced by the FIRE- SIDE PLAYERS, White Plains, N. Y., in April, 1919, with the following cast: Pierrot, _ _ _ _ _ James H. Wallace Pierrette, _ _ _ _ Millicent Ives TiNS-To-MEND Man, - - - G. W. Mtchelbacket CINCINNATI STEWART & KIDD COMPANY PUBLISHERS 3? \ Copyright, 1920 STEWART & KIDD COMPANY //// Rights Reserved Copyrighted in England This play is fully protected by the copyright law, all requirements of which have been complied with. No performance, either professional or amateur, may be given without the written permission of the author or his representative, who may be addressed in care of the publishers, Stewart & Kidd Company, Cincinnati, Ohio. g)CI.A601627 NOV 20 1920 *vvO HEARTS TO MEND The Scene is the living room, dining room and kitchen — all in one — of Pierrot and Pierrette. It has the diminutive look of a toy house, and the immaculate spick-and-spanness. There are copper kettles and pots on shelves and blue and white plates and cups and saucers. There is a crib in the corner, left, with a screen that can be drawn about it. A table is at the right, front, by the side of which sits Pierrot, head in hands, elbows on knees, very gloomy. A door, left, leads to an inner room; a door, right, to the street. HEARTS TO MEND (Pierrette is heard singing a lullaby in the next room.) Old Mister Moon is sinking to rest — Sleep, kittikins, sleep! The whispery winds have died in the west — Sleep — kittikins — sleep ! {She comes in, holding a babe in her arms; sings — very softly.) Up in the sky are the firefly stars — Sleep, kittikins, sleep I Father will catch them in crystal jars — Sleep — kittikins — sleep ! {She lays the babe in its crib, the while softly humming the tune. Then she draws the screen about the bed. Meantime she casts anxious glances at the moody Pierrot. The babe asleep, she runs to Pierrot, kneeling at his side,) PIERRETTE Tired, sweetheart? PIERROT (indifferently) Oh — I guess so. PIERRETTE And famished, isn't that it? Kettle not boiling, And table unset; And hungry man waiting For slow Pierrette ! HEARTS TO MEND ItUl all be on the table, dear, in just the littlest minute. PIERROT Oh, it's not supper. PIERRETTE Not supper? PIERROT No. PIERRETTE (solicitously) You haven't caught cold, Pierrot? You know I told you to wear your woolen muffler and put on your rain shoes. For a man of your supe- rior intelligence, you are so careless i PIERROT (getting up with irritation and walking away) Oh, let me alone, Pierrette ! You wouldn't un- derstand. Get some supper for yourself. I don't want any. (She looks at him troubled for a moment. Then she runs to him, puts her hands on his breast.) PIERRETTE Pierrot. PIERROT Well? PIERRETTE (pointing an accusing finger at him slowly) You — haven't — been — to — see — your — bank — account — again? (Pierrot shakes his head gloomily.) 8 HEARTS TO MEND PIERRETTE Oh yes you have I Don^t deny it I And worry- ing yourself to death about expenses. But Pierrot — things aren't nearly as bad as you think they are. I'm doing all my own work — even the washing and the ironing — and Pier- rot I — I've got a scheme! We'll take a boarder! PIERROT (disgusted) Boarder! Ugh! PIERRETTE Why not, sweetheart? Of course, we'd have to talk to him at mealtimes, I suppose. And you couldn't kiss me across the table as you used to. . . . (Suddenly J with a catch) Do you know, Pierrot, you haven't kissed me across the table for — oh — ever so long! PIERROT (struggling with himself) Pierrette . . . PIERRETTE Yes, dear. PIERROT (trying to get it out — then in despair) Oh, what's the use. I can't tell it to you. PIERRETTE (troubled) Why, what is it, Pierrot? You've lost some- thing ? PIERROT (quickly) Yes — that's it. I've lost something — the only thing I had, Pierrette — my song! 9 HEARTS TO MEND PIERRETTE Ah, the silly people didn't laugh to-day — that's It? Silly, silly people, Staring at a steeple; — And you're all in the dumps, Pierrot? Isn't that the trouble? PIERROT They didn't laugh to-day, Pierrette; and they didn't laugh yesterday. They haven't laughed for a long time — not as they used to. (Most gloomily) And three of my songs have come back from the editors! PIERRETTE (defending him) But who cares for editors, Pierrot? They're such stupid creatures I Some day you'll write a great song that everybody'll love; and then you'll see all the foolish little editors bringing you velvets and gold. PIERROT (in gloom) No. The editors are right. The people are right. Something's gone out of me. I'm not the same as I was before — before — How long have we been married, Pierrette? PIERRETTE Just three tiny years I PIERROT (sighing) Only three years I (Then bitterly — to Pier- rette) Here I — I'll give you a sign. Look! (He zvalks with flat, listless feet up and down 10 HEARTS TO MEND the room; then speaks, with a hopeless sob in his voice) I no longer walk on my toes I See I Flat — like that! No songs ever walked that way I Songs ? No — here's the way — (He rises momentarily to his toes and sings,) Oh, a merry, merry fellow, And a sweet, fair maid, Danced on the meadow in the gypsy time — Said the merry, merry fellow To the sweet, fair maid — (He breaks off.) PIERROT (hopeless) No — I can't do it. It's gone out of me (Des- perately) Pierrette — I've come to a conclu- sion. I ought never to have married I PIERRETTE (suddenly stabbed) Oh, Pierrot, it's been the most beautiful thing in all the world ! PIERROT That's because you're a woman, Pierrette, and not an artist. PIERRETTE But you said it was the most beautiful thing in all the world, Pierrot. PIERROT (vaguely) Did I ? That was long ago. You don't under- stand, Pierrette. Women never do. Life to them is a little cage in which they sit all day n HEARTS TO MEND long and sing tiny songs about tea and muf- fins. Men are different. Put them in a cage and they sing for a day. Then they begin to droop. PIERRETTE (hurt) So you want to go away, Pierrot? PIERROT (passionately) I want to capture it again — the power, the thrill, the fire of song ! PIERRETTE And you would capture it if — if I — (looking toward the screen which hides the crib) if we — were not here? PIERROT (flinging out his arms in despair) Oh, I'm a brute, Pierrette ! I don't know. I'm gone stale — that's the trouble. I'm done for — all these worries and things. I'll sit at home, I guess, and darn socks! (He flings himself into his chair. Pierrette moves quietly about, putting his tea on the table. She sets tea only for one.) PIERRETTE (handing him his cup) There, sweetheart. Your tea. PIERROT (stirring himself) Aren't you going to have some, too? PIERRETTE (controlling her voice and with her back half turned to him as she goes to the other room) 12 HEARTS TO MEND Oh no, dear; I've had lots of tea this after- noon. Vm not hungry. Besides, I'm late with the cleaning up. I'll be gone only a minute. (She goes out quickly. Pierrot makes to rise and follow her; then, with a hopeless wave of the hand, sinks back into the chair. He drinks his tea moodily. There is a voice outside) — *'Tins to mend ! Tins to mend I" (A knock at the door and. the Tins-to-mend man enters.) MAN (taking of his cap, half humorously, half apologetically) Any tins to mend, sir? PIERROT (grimly) Nothing as easy as that in this house. It's hearts to mend here I MAN (slinging off his pack) Hearts to mend? — oho — I do that, too! Truth is (confidentially), it's come to be my main business. For if you'd believe it, there's more hearts to mend and souls to mend than pots and kettles to mend in this old world of ours. Fact, my dear sir, fact ! (Sits down) And you can't throw hearts away when they begin to show wear — now can you? — like you throw away an old pot? No siree ! (Impressively) You got to mend 'em. And there's tricks about mendin' them, sir — tricks in all trades, say I. You can mend 'em so's they's worse'n they was in the begin- ning. And you can mend 'em so careful and 13 HEARTS TO MEND SQ clever, you can't tell they was ever mended at all. In fact, I've mended some of them so they was better that way than they was in the beginning. Seems curious, but it's true. If there was a kettle now you wanted me to work on while I was talkin', it'd keep me busy. (Pierrot looks about; gets up and tosses him a kettle.) PIERROT There ! Bang away at that ! (He sits down again. The Tins-to-mend man hammers away for awhile, Pierrot watching him gloomily.) MAN You see — pots and kettles is curious things. Y' can't just let 'em set there and be. They rust. That's what they do. Y' got t' keep shinin' 'em — keep polishin' 'em up. And they like it, sir — oh, they do! They kinda get a hold on life. And when they hang in your kitchen all bright and happy like, they just seem to sing away like birds. Now you're a singer, sir — why don't you make a song about that? PIERROT I can't sing any more. MAN Lost your voice, sir? PIERROT No — worse than that — I'm married! 14 HEARTS TO MEND MAN (solicitously) That's bad, sir; that's bad — if you're not mar- ried right. They take it out of a man, them wicked ones! PIERROT (firing up) Who said she was a wicked one? MAN But if she's good — PIERROT (hopelessly) Ah, that's the trouble. She's good. A man can't live on goodness alone. It gets on his nerves. MAN And what else should he live on? PIERROT (passionately) Thrills — passions — longings ! The kisses that make dreams — the touches of hands that make the songs come tumbling out of you — MAN (laughing) Oho, but it ought to be easy enough for a hand- some young master like you to get those things I PIERROT It'd break her heart. MAN (lifting his eyes) Then you're fond of her, sir? 15 HEARTS TO MEND PIERROT (roughly) Of course I'm fond of her. That's just the trouble! (pause) But I'm tired to death of her — and that's the trouble, too. First, when I loved her, just a peep of her out of a window would set my heart dancing. Now, when I see her — it's just like seeing — the butcher boy — or the bakeshop woman. (Rises excitedly) I tell you when things are like that, something's got to be done. An artist can't live that way. Ordinary men can. All they want of their wives is to be cushions — soft — so's they can go to sleep. Artists are different. They want the sky and all the quivering stars in the sky. When they marry (he makes a grimace) — it's good- bye to the stars! MAN (looking at him quizzically) Did you ever think, sir, why the night was made — ^with them stars you talk of? PIERROT Why was the night made ? MAN Or why there's settin' o' the sun and risin' o' the sun? PIERROT Why is there setting of the sun and rising of the sun? MAN Well — I don't exactly know myself. But I seem to figger it out this way. Think of what i6 HEARTS TO MEND it*d be, I says to myself, if there was all just one long day. Always day and day and day. Always the same glary light starin' y' in the eye — borin' into your brain — so's y' couldn't shut it out from y'; so's y' couldn't get away from it; so's y' couldn't watch the shadders come stealin' along, the sun a-settin' and the twinklin' stars a-comin' out — and so's y' couldn't stretch yourself out and sleep — and so's y' couldn't all of a sudden wake and hear the birds chirpin' and a new day come ! Ah, it's that, sir — it's the comin' of the new day that makes life the grand thing it is — the comin' of the new day every day! PIERROT (wonderingly) The coming of the new day every day? MAN Just that. It's a grand plan, sir! Keeps the world young. You try it. PIERROT Try it? What do you mean ? I'm not the sun. MAN Ah, but you can be — and starlight and moon- light! How long was it — now tell me — since the thought came to you in the morning — I'll bring her — I'll bring her a vi'let? Oho — I know — (sings) Sweet was the honeymoon, Swift it passed away — Now we're steady married folk — Day after day. 17 HEARTS TO MEND It's only for a short time — in the beginning — that every day's a new day. After that it's just always the same — always the same — and no risin' o' the sun in the mornin' — no chirp of birds — and no singin' in the heart. PIERROT You mean — MAN (roguishly, bending to his task) I mean there's a good way to mend kettles and a bad way, sir; and when the kettles are sing- in' and the fires are burnin' under them — Oho — but there's more hearts than kettles I (Pierrot stands thinking,) PIERROT (to himself) I used to bring her things — a little red cloak I once brought her. Oh, she was happy I I remember that day. I made a song about it. MAN (hammering away — sings) Tins to mend. And hearts to tend; Hearts and tins Have outs and ins ! PIERROT (continuing — to himself) It was one of my very best songs. And she was so happy I (Suddenly) Why — I've forgotten all about her lately I Even her birthday I She had to remind me of it I Poor Pierrette ! i8 HEARTS TO MEND MAN (sings) Outs and ins; Outs and ins; That's where the trouble Of life begins! (Pierrot looks up. His eyes suddenly grow bright with an idea.) PIERROT (rising to his toes — running to the Tins- tO'Mend Man) I have it, old fellow — I have it! There's a shop — just a step away. I know something she wants there. I'm going to get it for her! My purse it is lean; My purse it is lank; But who cares a flip For the state of my bank ! (He dances delighted.) Come — are you finished? Fve got to hurry. She's gone off into that room to clear up. She'll be coming back any minute. MAN (looking up smiling — handing him the ket- tie) It's mended. Better than it ever was I (Pierrot takes the kettle — runs to the shelf and puts it away. To the Man — PIERROT Come now, come I MAN (gathering up pack) I'm coming. (Sings) — 19 HEARTS TO MEND Life's a joy When turned about; In to in And out to out. PIERROT (putting on cloak) If I hurry now, I'll have it here before she's through with her work; it's a beauty — it's a beauty (dances exultant). My pockets are slimpsy as pockets can be; And short is the space twixt the poorhouse and me ; But while there's a copper that hasn't been spent, I'll mortgage my shoes for the price of the rent! (They both make their exit as Pierrot sings.) After a moment, Pierrette opens the inner door softly, and seeing that no one is there, steps in. She has on a cloak and a hood over her head. She is very sad. She first takes the tea things from the table. Then, hesitating, she goes to the screen, pulling it softly aside. She leans over the crib for a merest moment. Then she pulls the screen to again, whispering: Up in the sky are the firely stars; Sleep, Kittikins, sleep! Father will catch them in crystal jars — PIERRETTE Yes, Kittikins, we must let father. Father can make such beautiful songs. We must not stand in his way, Kittikins — we love him so. 20 HEARTS TO MEND (She goes to the shelf and gets down a sheet of papery the ink horn and a quill pen — takes them to the table, sits and writes.) PIERRETTE We'll just write this: "Mother Merle — will — take — Kittikins. — She — loves — her. — Good-bye — Sweetheart." We'll leave it here. (She folds it and lays it on the table. She half goes once more to the crib; but she controls her- self. Then, as she goes to the door, she half turns, looks at Pierrofs chair, and sings softly) — Love comes in, a-tip-toe, laughing; Love trails out with leaden feet — Love that's here to-day may leave us, Banished in a windy street. I shall love you always, always — Sweetheart, through the endless years; I shall love you with my heartaches; I shall love you with my tears. (She goes out into the night.) (After a time Pierrot comes hurrying in. His eyes are dancing. His toes are dancing. He peeks about to see if she is there. Then he makes to hide his package under the stool, but thinks better of it. He runs to the screen, but again decides against the place. He looks about and considers. An idea strikes him and he takes of his peaked hat and drops the package into that. But again he decides against it. At last, with a sudden inspiration, he runs to the pewter pot.) 21 HEARTS TO MEND PIERROT (gleeful) She'll use that to-night when she warms Kit- tikins' milk. A great idea I Oh, she'll be sur- prised! And I'll just pretend I know nothing about it I I'll be reading in my book — or writ- ing — making faces at my paper — and I'll see her out of the corner of my eye — Hi, hi— Pierrette, hot! — Peep behind The pewter pot! She'll take the pot away. She'll find the pack- age! She'll open it! Then she'll just go all red and white — I can see her in my mind's eye — and she'll run over to me — (He sees the paper on the table; reads it.) PIERROT Pierrette! (He runs to the door of the inner room) Pierrette ! (He runs to the street door) Pierrette ! ( Then he runs hack for his hat; but just as he makes to follow her, the meaning of it comes over him. He drops his hat. He goes slowly to the table, dropping into his chair) It's right. It's what ought to be. She was a wisp of sunlight — a night of stars — she was birds singing and summer winds. She was Pierrette! — (With a sob) And I drove her away! (He sinks into the chair, his head on his arms. There is a pause. The door opens softly. Pierrette peeps in. Seeing Pierrot all crumpled 22 HEARTS TO MEND up, she tiptoes toward him a few steps, stretch- ing out her arms yearningly. But she controls herself, tiptoes a few steps towards the crib, blows a kiss to the baby and turns to go out again. Pierrot lifts his head suddenly, sees her and juinps up. Pierrette tries to escape him,) PIERROT (catching her in his arms) Pierrette I PIERRETTE Oh, Pierrot, I just came back for the littlest look. I couldn't help it. I'll go now. PIERROT But Pierrette, look! (He dances about) It's all come back again ! I've got a new song sing- ing in me, Pierrette! It's the best song yet. It'll make me famous! The editors will flock to me, Exactly as you said — A-bringing gold and velvets And a-swelling of my head I (He tries to take her cloak of.) PIERROT (coaxingly) Pierrette, please stay! PIERRETTE No, no — it was because I went away, don't you see? That's how you found your song. You're right, Pierrot — wives ought to go away. 23 HEARTS TO MEND PIERROT But they ought to come back again, too, Pierrette I PIERRETTE Only for a tiny look, Pierrot. They'd like- — oh yes, they'd like to stay. But if they're wise — ah no — Good-bye I (She starts to go. Pierrot runs after her.) PIERROT Pierrette — if you must go — wait — (mysteri- ously) — there's something here for you. PIERRETTE Something for me? PIERROT Something for you. PIERRETTE Where is it? PIERROT (teasingly) Perhaps it's on the ceiling, Perhaps it's on the floor; Perhaps it's gone to visit the moon. And won't be back till four I PIERRETTE Oh, Pierrot, don't tease! Where is it? PIERROT (more teasingly) Guess I 24 HEARTS TO MEND PIERRETTE Is it — is it — ^behind the screen? PIERROT Guess again. PIERRETTE Is it — is it — under the clock? PIERROT Guess again. PIERRETTE Is it — is it — under your hat? PIERROT Guess again. PIERRETTE Is it — is it — ah — I know where it is. It's be- hind the pewter pot! PIERROT Right ! (She runs up and gets the package^ opens it and discovers a necklace of gay, red heads.) PIERRETTE Why — Pierrot — for me? PIERROT (making believe to consider) Well, that depends. I thought it was for you. But if you're going away — 25 HEARTS TO MEND PIERRETTE But why did you get It for mc? PIERROT Do you want to know, sweetheart? PIERRETTE Yes. PIERROT (dances) Old Mister Pierrot Went to a shop; Then he came back again — Hop — skip — hop I PIERRETTE But that isn't the reason, Pierrot. Be sensible. PIERROT (continues) Old Mister Pierrot Was blue, blue, blue — Along came a tinker-man And showed him what to do ! PIERROT Pierrette, I've come to a conclusion! PIERRETTE (apprehensively) Not another conclusion, Pierrot? PIERROT Yes. I'm great on conclusions. It*s this: that most husbands, with adorable wives, are don- keys! 26 HEARTS TO MEND PIERRETTE Oh, but I knew that long ago — ever since I married you. PIERROT You knew it all that time? PIERRETTE Of course. PIERROT Then how were you able to put up with me? PIERRETTE Oh, I knew you'd discover it some day; and when you did discover it, you'd be such a nice donkey. Pierrot, I've come to a conclusion myself ! PIERROT (apprehensively) You, too, Pierrette? What is it? PIERRETTE That most wives, with clever husbands, are silly geese ! PIERROT (heartily) Why, I've known that, Pierrette, ever since I married you. I didn't think I ought to tell you, though. PIERRETTE And I don't blame you, Pierrot — not for a min- ute — for wanting me to go away. 27 HEARTS TO MEND PIERROT (fervently) I want you back, now ! PIERRETTE But I a7n going away, Pierrot I PIERROT Pierrette ! PIERRETTE Not now, Pierrot — but some time ! (Js the curtain falls, they bend quickly toward each other, their hands stretched out behind, and kiss.) 38 Four Plays of the Free Theater: "The Fossils," **The Serenade," •*Francoise' Luck," "The Dupe." Authorized Translation with Introduction by Barrett H. Clark The Contents of this Volume are: Preface by Brieux Antoine and the Free Theater, by Barrett H. Clark. T/ie Fossils^ by Francois de Curel. Rather short three-act play, first produced in 1892. Time, the present. A problem play of family pride and desire to perpetuate itself. Characters: The Duke de Chartmelle, Robert de Chartmelle, Nicolas, a Farmer, a Country Neighbor, a Servant, Claire de Chart- melle, Helen Vatrin, a Nun. The Serenade^ by Jean Jullien, a Bourgeois Study in three rather short acts; first produced in 1887. Characters: Theo- dore Cottin, Calixte Poujade, Maxine Champanet, Prosper Poujade, Durhoulin, Fournier, Nathelie Cottin, Genevieve Cottin, Celina Roulard, Leocadie, Dumoulin, Clemma, Dodo. Francoise' Lucky by Georges de Porto-Riche. Medium length, one-act comedy; first produced in 1888. Characters: Marcel Desroches, Guerin, Jean, Francois, Maseleine. The Dupe^ by Georges Ancey, a comedy in five short acts; first produced in 1891. Characters: Albert, Madame Viot, Adele, Marie. Handsomely bound and uniform with S. ^ K. Dramatic Series, Net, $2.^0. Va, Turkey Morocco, Net, $8.30. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. SHORT PLAYS By MARY MacMILLAN To fill a long-felt want. All have been successfully pre- sented. Suitable for Women's Clubs, Girls' Schools, etc. While elaborate enough for big presentation, they may be given very simply. This volume contains ten Plays: The Shadowed Star has six women, one boy; may all be taken by women. Time, present. Scene, in a tenement Christmas Eve. One act, 45 minutes. The Ring. Costume play. Time, days of Shakespeare. Three women, seven men. Scene, interior. One act, 45 minutes. The Rose. One woman, two men. Time, Elizabethan. Scene, castle interior. One act, 30 minutes. Song introduced. Luck. Four short acts. Time, present. Interior scene. Seven women, six men. Comedy. Entre' Acte. Costume play. Time, present. Scene, interior. Two women, one man. Contains a song. One act. A Woman's a Woman Jor A* That. Time, present. Interior scene. One act, 45 minutes. Three women, two men. Comedy. A Fan and Two Candlesticks. Costume play. Colonial times. Scene, interior. Two men, one woman. One act, 20 to 30 minutes. Written in rhymed couplets. A Modern Masque. Time, present. Scene, outdoors. Fan- tastic, written in prose and verse. Costume play in one act, 30 minutes or more. Four women, three men. The Futurists. One-act farce, of the first woman's club of the early eighties. Interior. Forty-five minutes Eight women. The Gate of Wishes. One-act fantasy. Outdoors. Half hour. One girl, one man. Singing voices of fairies. Handsomely bound and uniform with S. & K. Dramatic Series. i2mo. Cloth, Nety $2.30; ^ Turkey Morocco, Net, $8.^0. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. MORE SHORT PLAYS By MARY MacMILLAN Plays that act well may read well. Miss MacMillan's Plays are good reading. Nor is literary excellence a detriment to dramatic performance. This volume contains eight Plays: His Second Girl. One-act comedy, just before the Civil War. Interior, 45 minutes. Three women, three men. At the Church Door. Fantastic farce, one act, 20 to 30 minutes. Interior. Present. Two women, two men. Honey. Four short acts. Present, in the southern mountains. Same interior cabin scene throughout. Three women, one man, two girls. The Dress Rehearsal of Hamlet. One-act costume farce. Present. Interior. Forty-five minutes. Ten women taking men's parts. The Pioneers. Five very short acts. 1791 in Middle- West. Interior. Four men, five women, five children, five Indians. In Mendelesia, Part I. Costume play. Middle Ages. Interior. Thirty minutes or more. Four women, one man-servant. In Mendelesia^ Part II. Modern realism of same plot. One act. Present. Interior. Thirty minutes. Four women, one maid-servant. The Dryad. Fantasy in free verse, one act. Thirty minutes. Outdoors. Two women, one man. Present. These plays, as well as SHORT PLAYS, have been pre- sented by clubs and schools in Boston, New York, Buffalo, Detroit, Cleveland, New Orleans, San Francisco, etc., and by the Portmanteau Theatre, the Chicago Art Institute Theatre, the Denver Little Art Theatre, at Carmel-by-the-Sea in California, etc. Handsomely bound and uniform with S. & K. Dramatic Series. i2mo. Cloth. Net, $2.50; }4 Turkey Morocco, Net, $8.^0. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. A Notable Achievement European Theories of the Drama An Anthology of Dramatic Theory and Criticism from Aristotle to the Present Day, In a Series of Selected Texts, With Commentaries, Biographies and Bibliographies By BARRETT H. CLARK author of "Contemporary French Dramatists," "The Conti- nental Drama of Today," "British and American Drama of Today," etc., etc. A book of paramount importance. This monumental anthology brings together for the first time the epoch-making theories and criti- cisms of the drama which have affected our civilization from the be- ginnings in Greece down to the present day. Beginning with Aristotle, each utterance on the subject has been chosen with reference to its importance, and its effect on subsequent dramatic writing. The texts alone would be of great interest and value, but the author, Barrett H. Clark, has so connected each period by means of inter-chapters that his comments taken as a whole constitute a veritable history of dramatic criticism, in which each text bears out his statements. Nowhere else is so important a body of doctrine on the subject of the drama to be obtained. It cannot fail to appeal to anyone who is interested in the theater, and will be indispensable to students. The introduction to each section of the book is followed by an exhaustive bibliography; each writer whose work is represented is made the subject of a brief biography, and the entire volume is rendered doubly valuable by the index, which is worked out in great detail. Prof. Brander Matthews, of Columbia University, says: "Mr. Clark deserves high praise for the careful thoroughness with which he has performed the task he set for himself. He has done well what was well worth doing. In these five hundred pages he has extracted the essence of several five-foot shelves. His anthology will be in- valuable to all students of the principles of playmaking; and it ought to be welcomed by all those whose curiosity has been aroused by the freciuent references of our latter-day theorists of the theater to their predecessors Aristotle and Horace, Castelvetro and Scaliger, Sidney and Jonson, d'Aubignac and Boileau, Lessing and Schlegel, Goethe and Coleridge." Wm. Lyon Phelps, of Yale University, writes: "Mr. Clark's book, 'European Theories of the Drama,' is an exceedingly valuable work and ought to be widely useful." Large 8vo,^oo pages. Net, $^.00; K Turkey Morocco , Net, $12. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. The Portmanteau Plays BY STUART WALKER Edited and with an introduction by Edward Hale Bierstadt Brooklyn Eagle : "All of the plays in these attractive maroon volumes are literary without being pedantic, and dramatic without being noisy. They are a genuine addition to the steadily growing list of worthwhile plays by American dramatists. Stewart & Kidd are to be con- gratulated on presenting them to the public in such attractive format." Vol. 1— Portmanteau Plays Introduction The Trimplet Nevertheless Six Who Pass While the Lentils Boil Medicine Show Vol. 2 — More Portmanteau Plays Introduction The Lady of the Weeping Willow Tree The Very Naked Boy Jonathan Makes a Wish To be issued shortly Vol. 3 — Portmanteau Adaptations Introduction Gammer Gurton's Needle The Birthday of the Infanta "Seventeen" Each of the above volumes handsomely bound and illustrated. Per volume net, in Silk Cloth $2.50; % Turkey Morocco $8,50 Stewart & Kidd Company Publishers Cincinnati, U. S. A. LIBRARY OF CONGRESS Ready Shortly The Provinceto^ ^^ ^^^^^^^^ Edited by George Cram Cook and Frank Shay THE CONTENTS ARE: Alice Rostetter's comedy The Widow's Veil James Oppenheim's poetic . Night George Cram Cook's and Susan Glaspeirs Suppressed Desires Eugene O'Neiirs play Bound East for Cardiff Edna St. Vincent Millay's Aria de Capo Rita Wellman's String of the Samisen Wilbur D. Steele's satire Not Smart Floyd Dell's comedy The Angel Intrudes Hutchin Hapgood's and Neith Boyce's play Enemies Pendleton King's Cocaine Every author, with one exception, has a book or more to his credit. Several are at the top of their profession. Rita Wellman, a Saturday Evening Post star, has had two or three plays on Broadway, and has a new novel, THE WINGS OF DESIRE. Cook and Glaspell are well known — he for his novels, and Miss Glaspell for novels and plays. E. Millay is one of America's best minor poets. Steele, according to O'Brien, is America's best short-story writer. Oppenheim has over a dozen novels, books of poems and essays to his credit. O'Neill has a play on Broadway now, BEYOND THE HORIZON. Hutch. Hapgood is an author of note. 8vo. Silk Cloth, Gilt Top, Net $3.00; ^ Turkep Morocco, Net SI 2.00 STEWART & KIDD COMPANY PUBLISHERS CINCINNATI, U. S. A.