HDENISON L COMPANY CHICAGO DENISON'S ACTING PLAYS Partial List off Successful and Popular Plays. Large Catalocuo Free. Price &5c each. Postpaid, Unless Different Price Is Given DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, ZYi hrs (25c) 8 8 Abbu San of Old Japan, 2 acts, 2 hrs (25c) 15 After the Game, 2 acts, \M hrs (25c) 1 9 All a Mistake, 3 acts, 2 hrs. (25c) 4 4 All on Account of Polly, 3 acts, 21/4 hrs (25c) 6 10 American Hustler, 4 acts, 2^/2 hrs (25c) 7 4 As a Woman Thinketh, 3 acts, 2^ hrs (2Sc) 9 7 At the End of the Rainbow, 3 acts, 2J4 hrs (25c) 6 14 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4. Black Heifer, 3 acts, 2 h. (25c) 9 3 Boy Scout Hero, 2 acts, 1J4 hrs. (2Sc) 17 Brookdale Farm, 4 acts, 2^ hrs (25c) 7 3 Brother Josiah, 3 acts, 2 hrs. (2Sc) 7 4 Burns Rebellion. 1 hr (2Sc) 8 5 Busy Liar, 3 acts, 2J4 h. (25c) 7 4 Civil Service, 3 acts, 2^4 hrs. (25c) 6 5 College Town, 3 acts, 2^ hrs (35c) 9 8 Danger Signal, 2 acts, 2 hrs.. 7 4 Daughter of the Desert, 4 acts, 2% hrs (25c) 6 4 Deacon Dubbs, 3 acts, 2^ hrs. (25c) 5 5 Deacon Entangled, 3 acts, 2 hrs, ■ (25c) 6 4 Dtown-> in Dixie, 4 acts, 2'/4 hrs (25c) 8 4 Dream That Came True, 3 acts, 2^4 hrs (2Sc) 6 13 Editor-in-Chief, 1 hr. . . . (25c) 10 Enchanted Wood, 1 J4 h.(3Sc).Optnl. Everyj'outh, 3 acts, 1^ h. (25c) 7 6 Face at the Window, 3 acts, 2 hrs .(25c) 4 4 Fun on the Podunk Limited, IVi' hrs (2Sc) 9 14 Heiress of Hoetown, 3 acts, 2 hrs (25c) 8 4 Her Honor, the Mayor, 3 acts, 2 hrs. (2Sc) 3 5 High School Freshman, 3 acts, 2 hrs (25c) 12 Honor of a Cowboy, 4 acts, 2^^ hrs (25c) 13 4 Indian Days, 1 hr (50c) 5 2 In Plum Valley, 4 acts, 2% hrs (25c) 6 4 Iron Hand, 4 acts, 2 hrs.. (25c) 5 4 Jayville Junction, ly^ hrs.(25c)14 17 Kicked Out of College, 3 acts, 2^ hrs (2Sc)10 9 Kingdom of Heart's Content, 3 acts, 2% hrs (25c) 6 12 Laughing Cure, 2 acts, \y^ hrs. (25c) 4 5 Lexington, 4 acts, 2J4 h..(25c) 9 4 Little Buckshot, 3 acts, 2J4 hrs. (25c) 7 4 Lodge of Kye Tyes, 1 hr.(25c)13 Man from Borneo, 3 acts, 2 hrs (25c) S 2 Mirandy's Minstrels (25c) Optnl. Mrs. Tubbs of Shantytown, 3 acts, 21^ hrs (25c) 4 7 New Woman, 3 acts, 1 hr 3 6 Old Maid's Club, 1^ hrs. (25c) 2 16 Old Oaken Bucket, 4 acts, 2 hrs (25c) 8 6 Old School at Hick'ry Holler, 1J4 hrs (25c)12 9 On the Little Big Horn, 4 acts, 2% hrs (25c)10 4 Out in the Streets, 3 acts, 1 hr. 6 4 Parlor Matches, 2 acts, 1^ hrs. (25c) 4 5 Poor Married Man, 3 acts, 2 hrs (2Sc) 4 4 Prairie Rose, 4 acts, 2;/^ h.(25c) 7 4 Rummage Sale, 50 min 4 10 Rustic Romeo, 2 acts, 2^ hrs (25c) 10 12 Savageland, 2 acts, 2;-4 hrs. (50c) 5 5 School Ma'am, 4 acts, 154 hrs. 6 5 Scrap of Paper, 3 acts, 2 hrs.. 6 6 Sewing for the Heathen, 40 min. 9 Southern Cinderella, 3 acts, 2 hrs (25c) 7 Star Bright, 3 acts, 2^ h. (25c) 6 5 Teacher, Kin I Go Home? 2 scenes, 35 min 7 3 Those Dreadful Twins, 3 acts, 2 hrs (2Sc) 6 4 Thread of Destiny, 3 acts, 2^4 hrs • (25c) 9 16 Tony, the Convict, 5 acts, 2Vi hrs. ..(2Sc) 7 4 Town Marshal, 4 acts, 2 "4 hrs (25c) 6 3 Trial of Hearts, 4 acts, 2J4 hrs. (25c) 6 18 Trip to Storyland, VA. hrs. (25c) 17 23 Uncle Josh, 4 acts, 2% hrs. (25c) 8 3 Under Blue Skies, 4 acts, 2 hrs (2Sc) 7 10 Under the Laurels, S acts, 2 hrs. 6 4 When the Circus Came to Town, 3 acts, 2J4 hrs.(2Sc) 5 3 T.S.DENISON & COMPANY,l>ublishers,154W.RandolphSt.,Chlcaeo THE LADY OF THE OPERA HOUSE A PLAY IN ONE ACT BY FANNY CANNON AUTHOR OF Writing and Selling a Play,'' ''What's in a Name," "The Love Laggard," CO-AUTHOR ' The Mark of the Beast, ' ' {Produced at the Princess, New York), ' 'Meow! ' ' CHICAGO T. S. DENISON & COMPANY Publishers <5 DiCKSIE. You know, you promised to tell me how you came to start that picture; Can't you tell me now, while I'm standing here? I'm in a listening mood. Billy. Good! That doesn't happen often. DiCKSIE. (Suiiliiig.) Now, don't be impertinent. Billy. (Laughs.) ^ Well, I'll tell it to you— but, you know, I don't think I'd know how to tell it to anybody else — because it's (takes a fresh start, speaking more easily as he szvings into the story). One night — last winter — I was caught in a sudden rainstorm on Broadway and stopped under THE LADY OF THE OPERA HOUSE . 13 the portico of the MetropoHtan Opera House. The audi- ence was coming out and there was such a crowd that I was forced to stand near the curb. A woman came out and hurried to a big automobile. She made my heart jump, I can tell you — {he has forgotten Dicksie for a moment. She contracts her brows as if ivith pain at the sudden forced change in her thought) because I thought — I thought she paused for a moment and looked into my face. And her eyes were sorrowful. She was a vision under the lights. But it wasn't that. You see, she was like — strangely like — some one I — for whom I — care very much. (There is a pause. He covers his eyes luith his left hand.) Dicksie. {Shozvs the stab she has received as she speaks with difficulty.) Someone you loved? Billy. {Too engrossed in his memories to notice her tone.) Yes. Dicksie. {Softly, painfidly.) So that is why — you've never married. I've wondered, sometimes. You seem the sort of a man who would — who ought to — Billy. {Half bitterly, looking around his room.) Marry! Why? What have I to offer a woman? (Dicksie starts to interrupt. He looks at the picture.) She was beautiful and good. But how could she stand such a life? It was not fair to ask it. Dicksie. {Hiding from him a sadly contemptuous little smile.) If she had loved you, Billy — 14 THE LADY OF THE OP£RA HOUSE Billy. (Winces, but speaks bravely, loyally.) She was all right. (He makes a stroke lanth his brush on the canvas. Dicksie closes her eyes as if in pain.) DiCKSIE, (Painfully.) Where is she? Billy. She is a governess in a small place on Long Island. I don't think she gets much of a salary' — but there she is, slaving and waiting for me. I hate to think of her strug- gHng along, and yet — you can't think what an inspiration it is to know she is waiting for me. You see, she believes in me. Dicksie. {Interrupting softly.) Aren't there others who believe in you? Billy. (Unconscious of hurting her.) But it's such a difference — others believing and her belief. (Dicksie ivinces.) Just believing in you is one thing. But she works, and waits, and loves! That's what makes all the difference. That's what the others don't give. Dicksie. They — they don't? Billy. No. They just tell you they like your work, and that some day you'll do something big, and — and then they ask if it doesn't cramp your thumb to hold the palette that way. (Dicksie starts to speak, but Billy continues. He finishes his work, laying doivn brushes, etc. Dicksie begins to move about the room, half mechanically straightening things, ahvays keeping her face turned from him.) I wrote to her about seeing this woman at the THE LADY OF THE OPERA HOUSE 15 Opera House. She wrote me such a wonderful letter about it, and this picture, and then she pretended to be jealous. Why, jealousy is impossible — we love each other ! t. DiCKSIE. {Half whispers as she shifts some things on the dresser.) Yes. Billy, You see, I haven't seen her in a year and a half. She can't come here, and she won't let me come to her — for fear of her people there not liking it, you know. I just write to her — general delivery — (more happily). But — ■ if I sell this — I'm to see her when I sell my first big paint- ing — maybe this is it — and that will be our formal en- gagement. DiCKSIE, {Under her breath.) Your engagement ! Billy. (His happiness at the idea makes him blind to everything else.) Yes — oh, it'll be very formal, sort of a — Thanksgiving meeting, you know. I'm going to kneel, like this (Jie gets down on one knee), take her hand, make a bee-yoo-tiful speech in words of five syllables each — (getting up and laughing at his ozvn nonsense) and then I'm going to — (a postman's ivhistle is heard and a distant bell.) DiCKSIE. (Glad of a relief in the tension.) There's a letter for me — the bell rang in my rooms. (She exits hastily, closing the door after her. Billy takes his painting apron and hangs it up on a hook back of the calico curtain.) Voice. (Outside. Negro dialect.) Mr Hoagland! 16 THE LADY OF THE OPERA HOUSE Billy. {Calling.) Yes, Joe. Voice. Gemmen down here — wants to see you. Billy. {In consternation.) It's the rent. {Raising his Z'oice.) All right, Joe ; I'm coming. {He dashes out, leaving the door open.) DiCKSIE. {After brief pause, calling from across tlie hall.) Billy! 0-oh, Billy! {She comes in quickly with a letter in her hand, looks around.) Why, where can he h.ave gone? Billy! {Turns to leave hurriedly.) DiCKSiE collides with Gladys Leslie, zvho enters. Gladys is a handsome zvoman, beautifully dressed. Jezuels are at her throat and on her fingers. She carries her gloves. Her face is disguised by a zvhite lace veil of heavy pattern, hanging from her hat. Gladys. I'm looking for Mr. Hoagland's apartment. William Hoagland. I was directed here. DiCKSIE. Yes, this is right. He lives here. T , , Gladys. Is he at home. DiCKSIE. I think so — he ivas, a little while ago. I wanted — to show him an important letter — the door was open, but he seems to have left— I suppose only for a few minutes. Gladys. {Studying Dicksie through her veil.) Oh, I see. I must have missed him in the hall. THE LADY OF THE OPERA HOUSE 17 DiCKSIE. There's a back stairway. He must have used that. Gladys. (Meaningly.) Are you Mrs. Hoagland? DiCKSIE. {Uncomfortably.) No; I'm just another artist, hke himself — that is — {laughing a little) I'm not hke him — I only do illus- trating — my workshop is across the hall. [She starts to go.) Gladys. (Whose curiosity is aroused.) Don't g-o, please. Tell me something of Mr. Hoagland. Is he well ? DiCKSIE. I believe so. You know him? Gladys. Yes — that is — I used to know him. He paints rather well, doesn't he? DiCKSIE. Yes, indeed. That's his latest work. (Points to the easel. ) Gl.\dys. (Going to it.) So this is it! DiCKSIE. (Startled.) Why? Had you heard of it? Gladys. Yes — that is — yes, I heard of it — recently — from friends. 18 THE LADY OF THE OPERA HOUSE DiCKSIE. (Pleased.) Oh — then they told you at Arnot's. Gladys. Arnot? I don't think I've heard of him. DiCKSIE. (Disappointed.) Oh, I thought — he's the big art dealer, you know. Gladys. Oh, yes; I remember. (She studies the painting.) DiCKSIE. (Referring to the picture.) Isn't it wonderful ? Yesterday I had Arnot's big man here — Mr. Caldwell himself — when Mr. Hoagland was out, and he said so. He told me to be sure and let him know when it was finished. But see (holding up letter), he evidently was afraid to wait, because today he's mailed me a check to pay for it. Gladys. (Suspiciously.) Why should he send Mr. Hoagland's checks to you? DiCKSIE. (0)1 guard, straightening up.) He had some other matter of business to arrange with me — it may have been unbusinesslike — but he's never met Mr. Hoagland, and he was writing to me anyway — so he probably looked on me as the agent selling the picture — I suppose that was it. (She haughtily lays tlie letter on table right.) Gladys. (Looking again at the picture.) We — that is, I'm thinking of buying it myself. THE LADY OF THE OPERA HOUSE 19 DiCKSIE. Oh, if it's bought, I don't suppose it matters who buys it — if your husband is interested — Gladys. {Surprised.) My husband! (Recovering herself.) Oh, yes — my husband will like it — if I say it's good. {SJie lifts the veil to look at the picture more easily.) DiCKSIE. (Looks at her keenly/ then, startled, exclaims.) Oh — why — you're the original — his Lady of the Opera House ! Gladys. (Equally startled, turns quickly.) What ! The Opera House ! Why— I— DiCKSIE. Oh, of course you wouldn't know — he saw you — one night — then started to paint this. Gladys. (Recovering herself.) Oh, yes, I remember — I saw him on the pavement. (Bites her lip in annoyance at her slip.) DiCKSIE. Why, did you know him? I didn't imagine — he didn't know you. Gladys. (Annoyed.) No, no; of course not. DiCKSIE. (Persisting.) But then, you said, when you first came in, that you did know him — 20 THE LADY OF THE OPERA HOUSE Gladys. {Trying to cover up her mistake and lying.) Yes, in a way. It was sometime ago. But when he painted this he wrote me telHng me of it and suggesting that — we — I might be interested and wish to buy it. DiCKSIE. {Pu:;ded.) He wrote — to you- — to buy it ! I don't understand. He did not know the woman he saw at the Opera House — how could he — Gladys. (Sharply.) I don't know that it's any of your business. What right have you to question me or my being here? DiCKSIE. No, of course not. It seemed strange, that's all — because he wrote — Gladys. (More sharply.) Never mind. My business is with Billy — Mr. Hoag- land — not with you. (She turns back to the painting.) DiCKSIE. (A light dawning on her. Half to herself.) Billy! Gladys. ( Turns. ) What? DiCKSIE. (Slozvly.) Nothing — I was think — (suddenly, because she knoivs the truth) you may be able to induce him to sell — but there is still — (she stops and listens) Wait. I think I hear someone coming up. I'll leave you to talk to him. (Turns to leave hurriedly.) / ■ THE LADY OF THE OPERA HOUSE 21 DiCKSiE runs into John Stebbins, who enters. He is well groomed, zvell fed, self-satisfied, middle-aged. DiCKSIE. Oh, I beg your pardon. Stebbins. {With an appraising look at her.) Don't mention it. {Looking past her at the painting.) Picture of you? DiCKSIE. {Startled, looks hack at the painting.) Of me ? Oh, no ! Stebbins. No? It's got your eyes, all right. Gladys. (Sharply.) John! (DiCKSIE exits hurriedly.) Was it necessary for you to come up. I thought we decided — Stebbins. {Looking at the picture.) Yep. It's got her eyes, sure thing! Gladys. {Still more sharply.) Whose? That's the picture we came to look at. It's meant to be me! Stebbins. {Surprised.) So it is! Gee! That's funny. Gladys.. {Looking searchi woman's face — I'd rather starve! {He clutches at the check as if to tear it.), DiCKSIE. (Laying her hand on his to stop him.) Billy! Look at it carefully. Are you — so sure? Does it really look like her? Billy. Why, it was her face gave me the inspiration. The sorrow in her eyes when she h.alf turned to me that night — the— DiCKSIE. (Itisisting.) But does it look like her? (Billy goes to the easel. Knotving zvhat the moment means to her, Dicksie uncon- sciously lays her hand on her breast, in the pose she used earlier in the act, and stands zvaiting.) Billy. Why. of course, it's she — she looked — (he starts, looks more closely at the picture.) Why, look! Look! It isn't! That painting doesn't look like her, with, her hard face and painted lips! (He turns to Dicksie, pointing out through the door as he does so, zvhcn he notes her pose. He drops his arm, with a sudden thought, gases at her intently, then hack at the picture, his astonishment grow- ing into pleasure.) Look, Dicksie, look! Look at the hand, the eyes — they're yours — and the soul shining through ! It's yours, girl, yours ! I've been painting you, you all the time. Oh, what a fool I've been! (He speaks more softly, zvonder and joy at the situation mak- ing his^mice very tender.) No wonder I fought inside myself when you were gone! It was the truth I was fighting and I didn't know it. I couldn't see it. But now — I know — I know! (Dicksie's emotion is apparent. On the verge of happy tears, she turns to the windozv zvJiere she has put the packages. Billy zvatches her as he slips the check into his pocket.) I love you! I've 34 THE LADY OF THE OPERA HOUSE been painting you! {His voice breaks as zvith the pack- ages she turns to him.) My Madonna! Why, you — you've given me everything, dear, everything. Sympathy, help, inspiration — DiCKSIE. (Bctzveeii sobs and laughter.) And now — now I'm going to give you your strawber- ries. (Hands one package.) Billy. Dicksie! (As he takes her quickly in his arms, holding the berries in his left hand, the other package she holds burst and powdered sugar"^ pours to the floor.) Dicksie. (With pretended reproach.) Billy ! Billy. (As he laughs happily.) And powdered sugar! {Both get to their knees in a frantic, childish effort to save some of the sugar.) Curtain. * Salt will be best to use; it's cheaper and heavier. Macbeth a la Mode By WALTER BEN HARE. Price, 25 Cents School burletta in 3 acts; 7 males, 7 females, also teachers, students, etc., with only a few lines. Time, IVt liours. No scenery required, merely a front curtain and an easel witli placards an- nouncing scenes. Plot: Willie Macbetli is the social leader of the Senior Class. With liis friend Banquo he encounters Three Witches, who prophecy tiiat lie will pass his examinations, be elected to a class office and will play on the football team. The first two prophecies come true and in Act II, Lady Macbeth, his mother, arranges for him to play on the football team, by drugging the captain. Macbeth flies to tlie witches for further advice and learns that he will make a touchdown. He does, but runs witli the ball toward the enemy's goal, thus losing the game for his own teaiu. Contains five songs: "Fairwell, My Fairy Fay," "Tact," "The Senior Class," "Music and Laughter" and "Good Night," all sung to college airs. This play is very humorous and particularly adapted for schools. THE WITCHES' CHANT Round about the cauldron go; Matliematics you must know. Let X equal the cold stone. When will Y be thirty-one? Drop that in tlie mystic pan; Tell me, pray, how old is Ann? Double, double, boil and bubble, Matliematics makes them trou- ble. Fillet of a fenny snake. In the cauldron boil and bake; Eye of newt and toe of frog. Wool of bat and tongue of dog, Biology makes 'em cut and jab. Thirteen hours a week in lab. Latin. Greek and German, too. Fifty pages make a stew. And to thicken up the mystery. Take two chapters English His- tory. Pliysics, French and English Lit, Spend an hour on each or git. All night long from six to three. Study math and chemistry. In the hours when you should dream. Write an English twelve-page theme. Work at night and Sunday, too. Outside reading you must do. Next day, when you're on the bunk. Teacher springs exam — you flunk. Douljle, double, boil and bubble. High school life is full of trouble. Cool it with a Freshman's blood. Then the charm is thick and good. By the pricking of my thumbs. Something wicked this way comes. Reminiscences of the Donation Party By JESSIE A. KELLEY. Price, 25 Cents The soliloquy of a minister's wife, with tableaux. For 40 or more characters, both sexes, although the number is optional and It can be presented with a smaller cast. Time, about 35 minutes. The wife at the side of the stage recounts the many amusing incidents of the party, tells who attended and what they brought, etc. The characters appear in pantomime. This entertainment is unique. It fills the demand for something that can be put on "at the last moment." It eliminates the usual long preparations re- quired in producing a play; no parts to memorize and it can be played on any platform. Highly humorous, replete with local hits and strongly recommended for church societies. T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO The Thread of Destiny By LINDSEY BARBEE. Price, 25 Cents Comedy-drama of the Civil War in 3 acts; 9 males, 16 females. Time, ly^ hours. Scenes: 1 interior, 2 exteriors. Characters: Peyton Bailey, of the U. S. army. Beverly Montgomery, a con- federate scout. Colonel Montgomery, a gentleman of tlie old school. Tom Randolph, a Southern gallant, .lohn Morton, of the North. Ralpli, who did not go to war. George and Uncle Billy, slaves. A Union Scout. Virginia, the toast of tiie country. Bett.v, tlie "Little Colonel." Edith, a northern cousin. Louise, a spy. Eiglit charming southern girls. Mrs. Montgomery. Miss Melissy, of in- quisitive nature. Fanny and Mammy, slaves. SYNOPSIS. Act I. — Betty breaks a loolcing glass. Edith calms her fears and tells her "the signs of tlie times." "Virginia has seceded." Beverly enlists. "A Virginia woman does not even recognize an acciuaintance among the enemies of Virginia." Act II. — "I don' wan" no tarnished silber linin' to my cloud." "There are some things more precious than money, than jewels." "Death cannot conquer love — nor eternity." "Some day there will be no North, no Soutli, taut tlie Union." The Union scout falls a prey to Editli's fascinations and lier cleverness wins the coveted dispatch. Virginia opens the door — to Pej-ton. Beverly is dis- covered. Friendship proves stronger than duty. Act III. — Tliree years worlv a great change. Peyton pleads in vain. George and Fanny "take de road to de Ian' of happiness." "In our little circle the stars and bars are floating high." Virginia gives Peyton anotlier rose and together they trace against the background of blue and gray "the golden tliread of destiny." Shadows By MARY MONCURE PARKER. Price, 15 Cents Play of the Soutli today and a dream of the past in 1 act; an interior scene; 3 males, 4 females. Time, 35 minutes. Charac- ters: Prologue and the Awakening: Robert Ashton, Virginia's sweetlieart. Aunt Geranium, an old colored mammy. Virginia Lee, a southern maid. The Dream: Gordon Sanford, a soldier in love with Alice. Harold Hale, the successful rival. Mrs. Horace Fairfax, a stern motlier of long ago. Alice Fairfax, her dutiful daughter. STORY OF THE PLAY. Virginia Lee's mother insists upon her marriage with a rich suitor, who has agreed to restore tlieir impoverislied estate. Vir- ginia has a sweetheart of her childhood days and hesitates in making a choice, but finally decides upon wealth instead of love. An old colored mammy, who has spent her life in the Lee house- hold, understands the situation and tells Virginia of a similar episode in the life of Virginia's grandmother. Virginia in ponder- ing over tlie incident and grieving over her own troubles, falls asleep. She dreams of the story just told and the dream folks appear and play their parts. Virginia awakens, the shadows flee and she comes to her senses and lier lover. The old colored mammy says: "Dis lieah ole whorl's jes' full of sliadders. Fokes comes an' dey goes, ripens and drops like the fruit on de tree. Ole Mars is gone, old Mistis gone. De substance melts and fades away. Ain't nothing left but shadders." T. S. DENISON &, COMPANY, Publishers 154 W. Randolph Street, CHICAGO DENISON'S ACTING PLAYS Price IS Cents Each, Postpaid, Unless Different Price Is Given Winning Widow, 2 acts, VA hrs. (2Sc) 2 4 Women Who Did. 1 hr. . . (25c) 17 Yankee Detective, 3 acts, 2 hrs. 8 3 FARCES, COiWEOIETAS. Etc. All on a Summer's Day, 40 min. 4 6 April Fools, 30 min 3 Assessor, The, 10 min 3 2 Baby Show at Pineville, 20 min. 19 Billy's Chorus Girl, 25 min... 2 3 Billy's Mishap, 20 min........ 2 3 Borrowed Luncheon, 20 min.. 5 Borrowing Trouble, 20 min.... 3 5 Case Against Casey, 40 min... 23 Country Justice, 15 min 8 Cow that Kicked Chicago, 20 m. 3 2 Divided Attentions, 35 min 1 4 Dude in a Cyclone, 20 min..,. 4 2 Family Strike, 20 min 3 3 First-Class Hotel, 20 min..;. 4 For Love and Honor, 20 min.. 2 1 Fudge and a Burglar, 15 min.. 5 Fun in Photo Gallery, 30 min.. 6 la Great Medical Dispensary, 30 m. 6 Great Pumpkin Case, 30 min.. 12 Hans Von Smash, 30 min.... 4 3 I'm Not Mesilf at All. 25 min. 3 2 Initiating a Granger, 25 min.. 8 Irish Linen Peddler, 40 min... 3 3 Is the Editor In? 20 min... 4 2 Kansas Immigrants, 20 min... 5 1 Men Not Wanted. 30 min 8 Mike Donovan's Courtship, 15 m. 1 3 Mother Goose's Goslings, 30 m. 7 9 Mrs. Jenkins' Brilliant Idea, 3Sm. 8 Mrs. Stubbins' Book Agent, 30 m. 3 2 My Wife's Relations, 1 hr 4 6 Not a Man in the House, 40 m. 5 Pair of Lunatics, 20 min 1 1 Patsy O'Wang, 35 min 4 3 Pat, the Apothecary. 35 min;. 6 2 Persecuted Dutchman, 30 min. 6 3 Regular Fix, 35 min 6 4 Second Childhood, IS min 2 2 Shadows, 35 min 2 2 Sing a Song of Seniors, 30 min. 7 Taking Father's Place, 30 min. 5 3 Taming a Tiger, 30 min 3 That Rascal Pat. 30 min 3 2 Those Red Envelopes, 25 min. 4 4 Too Much of a Good Thing, 45 min 3 6 Turn Him Out, 35 min 3 2 Two Aunts and a Photo, 20 m. 4 Two Gentlemen in a Fix. IS m. 2 Two Ghosts in White. 20 min.. 8 Two of a Kind, 40 min 2 3 Uncle Dick's Mistake, 20 min.. 3 2 Wanted a Correspondent. 45 m. 4 4 Wanted a Hero, 20 min 1 1 M. F. Wide Enough for Two, 45 min. 5 2 Wrorig Baby, 25 min 8 Yankee Peddler, 1 hr 7 3 VAUDEVILLE SKETCHES. MON- OLOGUES, ETHIOPIAN PLAYS. Ax'in' Her Father, 25 min.... 2 3 Booster Club of Blackville, 25 m.lO Breakfast Food for Two, 20 m. 1 1 Cold Finish, 15 min 2 1 Colored Honeymoon, 25 min... 2 2 Coon Creek Courtship, 15 min. 1 1 Coming Champion, 20 min 2 Coontown Thirteen Club, 25 m. 14 Counterfeit Bills, 20 min 1 1 Darktown Fire Brigade, 25 min.lO Doings of a Dude. 20 min.... 2 1 Dutch Cocktail. 20 min 2 For Reform, 20 min 4 Fresh Timothy Hay, 20 min.. 2 1 Glickman, the Glazier, 25 min. 1 1 Good Momin' Judge, 35 min.. 9 2 Her Hero, 20 min 1 1 Hey, Rube ! 1 5 min 1 Home Run, 15 min 1 1 {umbo Jum, 30 min 4 3 .ittle Red School House. 20 m. 4 Love and Lather, 35 min 3 2 Marriage and After, 10 min.. 1 Memphis Mose. 25 min 5 1 Mischievous Nigger, 25 min.. 4 2 Mistaken Miss, 20 min 1 1 Mr. and Mrs. Fido, 20 min 1 1 Oh, Doctor! 30 min 6 2 One Sweetheart for Two, 20 m. 2 Oshkosh Next Week, 20 min . . 4 Oyster Stew, 10 min 2 Pete Yansen's Curl's Moder, 10m. 1 Pickles for Two, 15 min 2 Pooh Bah of Peacetown, 35 min. 2, 2 Prof. Black's Funnygraph, 15 m. 6 Sham Doctor, 10 min 4 2 Si and I. IS min 1 Speciarl Sale, 15 min 2 Stage Struck Darky, 10 min.. 2 1 Sunny Son of Italy. IS min.. 1 Time Table. 20 min 1 1 Tramp and the Actress. 20 mjn. 1 1 Troubled by Ghosts. 10 min... 4 Troubles of Rozinski, 15 min.. 1 Two Jay Detectives, 1 5 itiin . . 3 Umbrella Mender, IS min 2 Uncle Jeff. 25 min 5 2 What Happened to Hannah. 15m. 1 1 A great number of Standard and Amateur Plays not found here are listed In Denison's CataioEue T. S. DENISON & COMPANY, Publishers, 1 54 W. Randolph St. , Chicago LIBRARY OF CONGRESS \ ~~ 016 102 609 8 9\ POPULAR ENTERTAINmnNi isuUKb Price, Illustrated Paper Covers, 25 cents each IN this Series are found Looks touching every feature in the enter- tainment field. Finely made, good paper, clear print and each book has an attractive individual cov- er design. A Partial Lut DIALOGUES All Sorts of Dialogues. Selected, fine for older pupils. Catchy Comic Dialogues. Very clever; for young people. Children's Comic Dialogues. From six to eleven years of age. Country School Dialogues. Brand new, original.. Dialogues for District Schools. For country schools. Dialogues from Dickens. Thirteen selections. The Friday Afternoon Dialogues. Over 50,000 copies sold. From Tots to Teens. Dialogues and recitations. Humorous Homespun Dialogues. For older ones. Little People's Plays. From 7 to 13 years of age. Lively Dialogues. For all ages; mostly humorous. IVIerry Little Dialogues. Thirty-eight original selections. When the Lessons are Over. Dialogues, drills, plays. Wide Awake Dialogues. Original successful. SPEAKERS, MONOLOGUES Choice Pieces for Little People. A child's speaker. The Comic Entertainer. Recitations, monologues, dialogue^;. Dialect Readings. Irish, Dutch, Negro, Scotch, etc. The Favorite Speaker. Choice prose and poetry. The Friday Afternoon Speaker. For pupils of. all ages. Humorous IVIonologues. Particularly for ladies. Monologues for Young Folks. Clever, humorous, original. Monologues Grave and Gay. Dramatic and humorous. Scrap- Book Recitations. Choice collections, pathetic, -hu- morous, descriptive, prose, poetry. 15 Nos., per No. 25c DRILLS The Best Drill Book. Very popular drills and marches. The Favorite Book of Drills. Drills that sparkle with originality. Little Plays With Drills. For children from 6 to 11 years. ■ The Surprise Drill Book. Fresh, novel, drills and marches. SPECIALTIES The Boys' Entertainer. Monologues, dialogues, drills. Children's Party Book. Invitations, decorations, garties. The Days We Celebrate. Entertainments for all the holidays. Good Things for Christmas. Recitations, dialogues, drills. Good Things for Sunday Schools. Dialogues, exercises, recitations. Good Things for Thanksgiving. A gem of a book. Good Things for Washington and Lincoln Birthdays. Little Folks' Budget. Easy pieces to speak, songs. One Hundred Entertainments. New parlor diversions, socials. Patriotic Celebrations. Great 'variety of material. Pictured Readings and Tableaux. Entirely original features. Pranks and Pastimes. Parlor games for children. Private Theatricals. How to put on plays. Shadow Pictures, Pantomimes^ Charades, and how to prepare. Tableaux arid Scenic Readings. New and novel; for all ages. Twinkling Fingers and Sway- ing Figures. For little tots. Yuletide Entertainments. A choice Christmas collection. MINSTRELS, JOKES Black American Joker. Minstrels' anil end men's gags A Bundle of Burnt Cork Comedy. Monologues, stump speeches, etc. Laughiand.vfa the Ha-Ha Route. A merry trip for fun tourists. Negro Minstrels. .Ml about the business. The New Jolly Jester. Funny stories, iokps, Rags, etc. Large Illustrated Catalogue Free T.S. DENISON & COMPANY,l>ublishers,154W. Randolph St. , Chicago