NO PLAYS EXCHANGED. IrrS S 635 Z9 416 opy 1 twer's Edition 5T PL7W.S € When the Curtain Rises 3£ <$ iskMoaa tf/^l nt^ ^[p^b Bf| i n*]&£ #Wlr s ^JtMt^ BOSTON ^^^^^^^g^^~'- ^^^^ COPYRIGHT, 18F & CO. plays for ^mateur 5l?eatrieals. BY GEORGE tt. BRKER, Author cf "Amateur Dramas," "The Mimic Stage," "The Social Stage," "The Drawing- Room Stage" "Handy Dramas," "The Exhibition Dramas" "A Baker's Dozen" etc. Titles in this Type are New Plays. Title* in this Type are Temperance Plays. DRAMAS. In Four A cts. Better than Gold. 7 male, 4 female char In Three Acts. Our Folks. 6 male, 5 female char. . The Flower of the Family. 5 male, 3 female char Enlisted for the War. 7 male, 3 fe- male char My Brother's Keeper. 5 male, 3 fe- male char The Little Brown Jug. 5 male, 3 female char In Two A cts. Above the Clouds. 7 male, 3 female char One Hundred Years Ago. 7 male, 4 female char Among the Breakers. 6 male, 4 female char Bread on the Waters. 5 male, 3 female char Down by the Sea. 6 male, 3 female char Once on a Time. 4 male, 2 female char. The Last Loaf. 5 male, 3 female char. In One Act. Stand by the Flag. 5 male char. . . The Tempter. 3 male, 1 female char. COMEDIES AND FARCES. A Mysterious Disappearance. 4 male, 3 female char . Paddle Your Own Canoe. j'"ma\e 3 female char. . , A. Drop too Much. 4 male, a female char A. Little More Cider. 5 male, 3 fe- male char A Thorn Among the Roses. 2 male, 6 female char Never .Say Die. 3 male, 3 female char. Seeing the Elephant. 6 male, 3 female char The Boston Dip. 4 male, 3 female char. The Duchess of Dublin. 6 male, 4 fe- male char Thirty Minutes for Refreshments. 4 male, 3 female char We're all Teetotalers. 4 male, 2 fe- male char Male Characters Only. A Close Shave. 6 char A Public Benefactor. 6 char. . . . A Sba of Troubles. 8 char. .... WALTER H. * COMEDIES, etc., continued. Male Characters Only. A Tender Attachment. 7 char. . . Coals of Fire. 6 char Freedom of the Press. 8 char. . . . Shall Our Mothers Vote? 11 char. Gentlemen of the Jury. 12 char. . . Humors of the Strike. 8 char. . . . My Uncle the Captain. 6 char. . . . New Brooms Sweep Clean. 6 char. The Great Elixir. 9 char The Hypochondriac. 3 char The Man with the Demijohn. 4 char The Runaways. 4 char The Thief of Time. 6 char Wanted, a Male Cook. 4 char. . . . Female Characters Only. A Love of a Bonnet. 5 char. .... A Precious Pickle. 6 char No Cure No Pay. 7 char The Champion of Her Sex. 8 char. ' . The Greatest Plague in Life. 8 char. The Grecian Bend. 7 char The Red Chignon. 6 char Using the Weed. 7 char ALLEGORIES. A rrangedfor Music and Tableaux. Lighthart's Pilgrimage. 8 female char. The Revolt of the Bees. 9 female char • • The Sculptor's Triumph, i male. 4 fe- male char The Tournament of Idylcourt. 10 fe- male char The War of the Roses. 8 female char. The Voyage of Life. 8 female char. . MUSICAL AND DRAMATIC. An Original Idea, i male, 1 female Bonbons; or, the Paint King. 6 male, i female char Capuletta; or, Romeo and Juliet Restored. 3 male, 1 female char. Santa Claus' Frolics Snow-bound; or, Alonzo the Brave, and the Fair Imogene. 3 male, 1 female char The Merry Christmas of the Old Woman who Lived in a Shoe. . . . The Pedler of Very Nice. 7 male char The Seven Ages. A Tableau Entertain- ment. Numerous male and female char. Too Late for the Train. 2 male char. The Visions of Freedom, ii female char i5 \ CO 93 Winter St„ Boston. "WHEN THE CURTAIN RISES" A COLLECTION OF LIGHT AND SIMPLE DRAMAS FOR PAR- LOR REPRESENTATION, REQUIRING BUT FEW "PROPERTIES" AND SLIGHT "MAKING UP," PARTICULARLY ADAPTED TO THE NOVICE ON THE STAGE CLARA J.' DENTON AUTHOR OF "LITTLE PEOPLE'S DIALOGUES" "A PRIMER OF ELOCUTION' A?: BOSTON 1890 Copyright, 1S90, By WALTER H. BAKER & CO. WHEN THE CURTAIN RISES." TMP92-009088 CONTENTS. THE MAN WHO WENT TO EUROPE. A Comedietta in One Act, for three men, two women, one boy. ALL IS FAIR IN LOVE. A Drama in Three Acts, for two men, two women, one boy. "W. H." A Farce in One Act, for three women and one man. A CHANGE OF COLOR. A Drama in One Act, for three women and two men. "TO MEET MR. THOMPSON." A Farce in One Act, for eight women. THE MAN WHO WENT TO EUROPE. & <&nz &ct Cometig. Mrs. Boardwell Mr. Diehl . Cora Prof. Jones Harry . Jim CIIARx\CTERS. The keeper of a boarding-house An eccentric old gentleman His daughter " The man -who xvent to Europe " .•••.. His son A colored servant boy COSTUMES. For the ladies, ordinary home toilets. For the gentlemen, ordinary business suits. For Jim, plain cheap suit. THE MAN WHO WENT TO EUROPE. Scene. — A parlor or sitting-room. (Harry Jones is discovered walking about.) Harry. Just three months to-day since I entered this parlor and met for the first time my lovely Cora. Yesterday she promised to become my bride if her father, Mr. Diehl, does not object. But, then, he is so eccentric, and I fear his decision very much. He promised to meet me here in the parlor immediately after dinner. Ah, I hear his step ! {Enter Mr. Diehl, r. Harry places a chair for him?) Mr. Diehl. No, never mind a chair, young man, I prefer standing. Well, let us come to the point at once. So, you want my daughter ? Harry (starting forward). How do you know ? Has she — ? Mr. Diehl. No, no, she has not mentioned the matter. But do you think that because I wear specta- cles I have no eyes behind them ? Or, because my hair is now gray, do you think it never was black ? Harry {eagerly). Then, my dear Mr. Diehl, since you remember your own youth so well, I trust you will be kind to me and grant me your daughter's hand. Mr. Diekl. Umph ! You ask for my daughter as 8 THE MAN WHO WENT TO EUROPE. coolly as though the giving cost me nothing. I don't doubt your affection for one another, that's a fact that has long been patent to all eyes, neither have I any objection to you personally. Harry. I heartily thank you, sir, for saying that much. Mr. Diehl. But, the truth is, I am very much op- posed to losing her at all. Maybe you'll find out some day what it means for a young blade to walk up and coolly ask for the "apple of your eye." Harry. Oh, sir, your reluctance to part with her only increases my desire to call her my wife. Mr. Diehl. Then, I had better change my tactics and berate her as an undutiful jade. Harry. Instead of believing you, I should endeavor the more to remove her from one who could be so un- just to her. Mr. Diehl (laughing). Well, I must admit if your hands and your heart are always as ready as your wit, you will make an excellent husband. Nevertheless, I cannot to-day, at least, consent to give you my daugh- ter. You are both young enough to wait. Harry. But I may at least console myself with the thought that I have not been refused ? Mr. Diehl {laughing). Well, well, so you may if that's any comfort to you. But what does the Pro- fessor think of all this ? Harry. Indeed, I have not mentioned the matter to him, and I think he suspects nothing. He pays very little attention to my affairs, being wholly ab- sorbed in his own. THE MAN WHO WENT TO EUROPE. 9 Mr. Diehl {laughing ). In reviewing his trip to Europe, for instance ? Harry {laughing). Yes, yes, that's about it. Mr. Diehl. Do you know the sobriquet given to him by men about town ? Harry {anxiously). Nothing bad, I hope. Mr. Diehl. Certainly not. He is called " the man who went to Europe." Harry {laughing). Well, I must admit that's very appropriate. Mr. Diehl. I heard a man yesterday offer to bet five dollars that no one could talk to the Professor ten minutes without hearing some allusions to his European trip. Had I been a betting man I should have taken him, for I am sure I could knock the Professor off the track. Harry {laughing). I do not think you could do it. Mr. Diehl. Pshaw! nothing easier. I should in- troduce subjects so far away from Europe that he couldn't mention it. Harry {eagerly). Oh, Mr. Diehl, a fine plan occurs to me. I will find my father who is still in the dining- room, probably, chatting with Mrs. Boardwell. I will bring him here under some pretext, then you can try your skill upon him. You are to converse wholly with him for ten minutes by my watch, and if during that time you keep him from mentioning his trip to Europe, I will leave my engagement to your daughter open for three months. But, if you fail, our engagement shall be immediately announced, and the wedding day be subject only to her will and pleasure. 10 THE MAN WHO WENT TO EUROPE. Mr. Diehl. That is a novel offer, but I must con fess it strikes me favorably. Harry {going, r.). Well, then, I'll go and find him ; of course, you have my word that. I'll say nothing to him about it, Mr. Diehl. {Stands, r.) Mr. Diehl. Oh, of course, that's understood. While you are gone, I'll step down to the corner and mail these letters. {Taking them from his pocket.) I'll meet you here in five minutes. {Enter Mrs. Boardwell, r.) Mrs. Boardwell. Oh, excuse me, I didn't know any one was here. {Turning to go.) Mr. Diehl {going, l.). No, no, Mrs. Boardwell, we were just going — back in five minutes, young man. {Exit, l.) Harry {going, r.). No intrusion, Mrs. Boardwell, our conference was just over. {Exit, r.) Mrs. Boardwell {sits, r. a). Dear me, what a pity his father is not so agreeable as he is. I have grown so tired of the Professor's ceaseless chatter about Europe. I once thought I'd marry him if I got the chance, but I've changed my mind. Well, there's no danger of his asking me, he couldn't keep his mind out of Europe long enough. {Enter Prof. Jones, l.) Prof. Jones. All alone, Mrs. Boardwell ? (Mrs. Boardwell bows ; the Professor places a chair near her and sits in it.) I am glad to find you so, for I have something very particular to say to you. Mrs. Boardwell {annoyed). Did you meet your son and Mr. Diehl as you came in ? Prof. Jones. I did not. That Diehl seems a pleas- THE MAN WHO WENT TO EUROPE. I I ant gentleman. I met a Mr. Diehl when {impressively) I was in Europe ; a German, I remember. However, Mrs. Boardwell, I have something very important to say to you. You must have observed that you are very attractive to me, that I seek your presence at every possible opportunity. Of course, no honorable gentle- man, especially one of my years, would act thus unless he entertains intentions of a serious nature. When I was in Europe — Mrs. Boardwell {rising suddenly). You ought to have stayed there. {Exit hastily, r.) Prof. Jones {rising and coming to a). Well, well, what an unaccountable manner that lady has at times. In all my travels in Europe {impressively), I never saw a lady leave a room so hastily, or, I must admit, so gracefully. She is very coy. But what did she say about my staying in Europe ? No doubt that was only coquetry. It cannot be that she would refuse a man of my parts, a man of my wealth and standing, a man who has been to Europe ! {Enter Harry, r.) Harry {comes to a). Oh, here you are ! I have been searching the house over for you. Prof. Jones {surprised). Why, what can you want )f me in so great a hurry ? Harry {aside). What excuse shall I make ? {Enter Mr. Diehl.) Oh, here is Mr. Diehl, never mind now, father, some other time will do. Mr. Diehl {comes to a). So, Professor, you are here, quite a pleasure indeed ; it is not often that we have a chat with you. 12 THE MAN WHO WENT TO EUROPE. (During this speech Harry places chairs for the two gentlemen ; he then sits down beside Mr. Diehl.) Prof. Jones. No. I fear I am not a very gregari- ous being. The truth is, so much of my time is taken up in study that I have not much left for social pleas- ures. Harry (aside to Mr. Diehl, as he consults his watch). Time begins now, ten minutes, remember. Mr. Diehl (aside to Harry). All right ; full and honest measure is all I ask. (To Prof. Jones.) Well, sir, a love of books is a great resource under all cir- cumstances ; I have found it so in my experience. I have spent several years of my life in the pine woods of Northern Michigan, and I am sure I must have died of loneliness during the long winter evenings, had it not been for my faithful friends and companions, books. Were you ever among the Michigan pines, Professor ? Prof. Jones. No, that is an experience still unwon by me, but — Mr. Diehl {interrupting hastily). They are wonder- ful, wonderful, those Michigan pine trees. Harry (aside to Mr. Diehl). Dangerously near the edge that time. In another moment you would have heard of the pine trees of Europe. Prof. Jones. They no doubt are very remarkable, perhaps quite equal to — Mr. Diehl (hastily). Oh, I assure you quite supe- rior to the pine trees of Maine. The deep silence, the shadowy vistas, the immense number of the green giants are indeed a very impressive sight. But this feature of Michigan is rapidly disappearing before the lumber- THE MAN WHO WENT TO EUROPE. 1 3 man's greed. I, alone, have despoiled one of the best wooded counties in the State. Prof. Jones. Indeed ; I supposed you visited the pine woods for their bracing air. I was not aware you had ever engaged in the lumbering business. Mr. Diehl. Oh, yes, I made the greater part of what fortune I possess in that business. I went into it with about ten thousand dollars, and retired, at the end of twenty-five years, with half a million. Prof. Jones. Is it possible ! Is your process a secret ? Mr. Diehl. Oh, no, it is very simple ; it consists in buying your pine low and selling your lumber high. Prof. Jones. But I should think the lumber market would be glutted occasionally, what then ? Mr. Diehl. Of course that event does occur, but I was always what people call " lucky," although my firm opinion is that " luck " consists only in careful atten- tion to business, and close calculation. {Aside to Harry.) You see, I am getting on famously. Prof. Jones. Yes, that is a commonplace truth too often lost sight of. But did you never meet with any losses ? Mr. Diehl. None of any moment, and, when I had accumulated half a million, I thought it wise to retire. One poor fellow in the county adjoining me was worth nearly a million, all made in lumbering, but he couldn't be satisfied, he went in deeper, and lost all. Poor Hunter — he ought to have known better. (Cora and Mrs. Boardwell, at this point, enter back, c, and sit down. They are seen only by Harry, who mo- tions to them in an aside?) 14 THE MAN WHO WENT TO EUROPE. Prof. Jones. I beg pardon, but did you say the name was Hunter ? Mr. Diehl. Yes ; John Hunter, I think. Do you know him ? Prof. Jones. Perhaps so. There was a man of that name who was one of my fellow passengers when I went to Europe. {These words must be spoken quickly?) Harry {closing his watch with a loud snap and, rising, throws his handkerchief in the air). Ha, ha, ha, ha, ha! Mr. Diehl {dropping his head on his hand). Too much for me, I declare. (Harry continues to walk about and laugh?) Prof. Jones {surprised). Why, Harry ! what a very uncivil fellow you are getting to be ! Harry {dashing at the Professor, and taking both his hands). You dearest, best of fathers, I adore you. I bless you with all my heart. Oh, if I might only em- brace you ! Prof. Jones {angrily and snatching away his hand). What nonsense is this ? You are behaving like a luna- tic ! What possesses you ? Mr. Diehl {rising). Come, Professor, let us ad- journ to the smoking-room. You smoke, I believe. Prof. Jones {rising). Yes, I have always been a devotee of the weed, and I strengthened the habit when I was in Europe. I don't wonder you are dis- gusted. (Sternly to Harry, who is still capering about and laughing.) I hope, young man, you- will be in a more sensible frame of mind when I next see you. (Going.) Mr. Diehl (aside to Harry). Fairly won, my boy, she is yours ; prize her as you should. THE MAN WHO WENT TO EUROPE. 1 5 Prof. Jones {looking back from his position ?iear the exit, and speaking sternly). Never mind him, Mr. Diehl ; leave him to his vagaries ; it is useless to expostulate with him, I fear. (Enter Jim, r., who, without seeing the Profescor, who should stand at one side of the exit, goes up to Mrs. BOARDWELL.) Jim. Oh, Mis' Boardwell, there's a man at the door as wants to see a gem'man what boards here, but he done forgot his name. He says folks calls him " the man what went to Yurrup," and I thought it must be the Perfessor (the Professor starts and looks angry) case he's been to Yurrup more'n any man I ever seed afore, but he ain't in his room, and — {Exit the Pro- fessor stealthily, r.) Mrs. Boardwell {laughing furtively). Never mind, Jim, I think the Professor has gone to see the man, so you may be excused. Jim. All right, missus, I'se obleeged to you. (Exit, R.) Mr. Diehl (laughing). Poor Professor ! Jim's random shot struck home. But I believe I will find him, and show him what a good turn he has done you, Harry. Harrv. Do, by all means, Mr. Diehl, I am sure that will soothe him and make him happy again. (Exit Mr. Diehl, r.) And now, Mrs. Boardwell, congratu- late me, for I see by your face that you begin to get an inkling of the matter. (Mrs. Boardwell and Cora rise and come forward?) Mrs. Boardwell (offeri?ig her hand). Indeed i do, 1 6 THE MAN WHO WENT TO EUROPE. and no one wishes you all manner of happiness more heartily than I do. Cora {looking from one to the other). But I don't un- derstand you at all. What riddles you talk in ! Harry {putting her hand on his arm). Well, come with me, and I will explain it all to you. {Exeunt Cora and Harry.) Mrs. Boardwell. So, they will be happy. Well, so I am, for, indeed, I would rather keep a boarding- house until I'm seventy than to be tied for life to a conceited idiot who thinks himself the only man who ever " went to Europe." CURTAIN. ALL IS FAIR IN LOVE. & JBratna in Eiyxct Jpjjort &cte. CHARACTERS. Mr. Neal . . yl xvealthy gentleman of middle age Lottie ....... His daughter Ernest Merle, A -wealthy young gentleman, in love with Lottie: disguised as Mr. Spiers, a book-assent Tim An Irish lad Aunt Prue . . An old lady, deaf, and very eccentric COSTUMES. Mr. Ncal, handsome business suit. Mr. Spiers, plainer business suit ; a wig of red hair ; also heavy whiskers and mustache to match. Tim, a new cheap "store suit." Lottie, stylish morning costume. Aunt Prue, handsome dress for an old lady. ALL IS FAIR IN LOVE. ACT I. Scene. — Hotel parlor. Mr. Spiers is discovered strid- ing angrily about the room ; comes to c. Mr. Spiers. That stupid Tim ! I've a good mind to discharge him on the spot. Of course he has to be in my confidence, in a measure, and he has a dozen times nearly spoiled all by his blunders. Ah ! there he comes. {Enter Tim, r.) Tim {speaking rapidly). Sure, Misther Mer — Mr. Spiers {angrily). There, Tim ! can't you learn anything ? Tim {bowing humbly). Faith an' I crave yer honor's parding, but shure Misther Mer — Spier — ut's roight. I got it that toime — but ye're the gay laddie buck in that rig. {Laughs.) Mr. Spiers {frowning). Well, enough of that, Tim. But now, tell me if you've done your errands properly. Tim. It's that I have, Mr. Spiers, — listen to that jist — though I came near niver foinding meself in this big Chicagie. Mr. Spiers. Well, Tim, there is just one thing 20 ALL IS FAIR IN LOVE. about it, you must be more careful about my name. You have come very near spoiling everything several times. Tim. Indade, thin, and I'll be that keerful, shure an' I'd niver spoil your little lark at all, at all. Mr. Spiers {gravely). Tim, this is no " little lark." It is a very serious business. Perhaps if I tell you all about it, you will be able to keep a closer watch on that blundering tongue of yours. The truth is, Tim, I am in love with a young lady — Tim {interrupting). Bless her purty eyes whoever she is, but she's a lucky colleen. Mr. Spiers. No ; she is most unlucky, for her father hates me, and will not allow us to meet ; so, when I was nearly wild to see her, I hit upon this dis- guise and gained admission to her presence as a book- agent. Then, I learned that they were coming West, so I immediately followed them here. Tim. Begorra an' is she in this city, sur Mr. Spiers. • In this city ? Tim, she is in this very hotel. I saw her last night and this morning at the table. But this is not all, Tim. I have a friend in this city who knows the young lady's father, Mr. Neal, well. I went to see this friend, without my disguise, of course, and told him my story. The consequence was that he came up to the hotel early last evening when we were all standing around talking, and, pretending to chance upon me unexpectedly, he managed to introduce me to Mr. Neal as Mr. Spiers. I stuck by him all the e veil- ing, took him to a concert, met him again this morning before breakfast, and he then said he would introduce ALL IS FAIR IN LOVE. 21 me to his daughter at the first opportunity. Now, do you see, Tim ? Tim. Shure, an' it's a nate schame it is sur, and I'll be as keerful as iver I can, sur. Mr. Spiers. Well, here (hands coin), go out and buy me the morning paper and bring it to me down in the office. (Exit Tim, r.) I think if I lounge about there awhile, I am likely to see Mr. Neal and perhaps be kindly introduced to my beloved. (Exit, r.) (Enter Lottie, l. ; carries a ?iewspaper ; comes to c.) Lottie. How delightful to know that I am at last in Chicago, but I must see what is going on in this great city. (Sits in chair, and opening the paper is absorbed in it.) (Enter Mr. Neal, l.) Mr. Neal (going to Lottie). Oh, here you are. I was in hopes to find you. I want to bring a young friend of mine up here and introduce him. Lottie (her eyes on the paper). But first you must tell me who he is, what is his occupation, and where his residence ? Mr. Neal. His name is Mr. Spiers, and — Lottie (not looking up). Oh, there, there, that's enough. Spare me anything further. Mr. Neal. But you must hear the rest. Charlie Lount introduced him to me, so he must be all right. He is a very entertaining young fellow, and when dis- cussing business matters he has a manner that suits me exactly. Lottie (turning the paper, but not looking tip). And his business ? 22 ALL IS FAIR IN LOVE. Mr. Neal. General book-agent. Lottie {starting up and speaking- scornfully). " Book- agent ! " The idea of introducing a book- agent to me/ Mr. Neal (striding angrily up to her). Now, I'd just like to know what you mean by such pertness, miss ? Lottie (aside). Dear me, what a fancy he must have taken to Mr. Spiers. (To him.) I mean what I say, of course. I don't care to know a book-agent. (Walks of, r.) Mr. Neal (following her). See here, young woman, do you forget that your father sprang from the ranks, and won by honest toil the wealth that you so arrogantly enjoy ? Lottie (returns to c. ; sits). How can I forget it when you so often go out of your way to remind me of it ? (Reading paper again.) Mr. Neal (sternly). Well, understand me, I want no more of this high-mightiness from you. It all comes from your association with that young aristocrat, Ernest Merle. His father snubbed and brow-beat me when I was a youth, and now comes his son filling my daughter's head with high-strung notions. It's too much to bear patiently, and I don't want any more of it. But I do want you to be civil to Mr. Spiers. I'm going to hunt him up now, and just remember if you get off any of your hity-tity ways to him, I promise you, you'll regret it. (Exit, r.) Lottie (throws down paper ; rises). Polite to him, polite to him ! Ah, if he only knew how hard it will be to avoid being even more than he asks. But I do ALL IS FAIR IN LOVE. 23 fear I shall laugh in his face, for he looks so comical in that disguise. How dreadful it would be if I should !augh! Father would then think, of course, that I am not treating Mr. Spiers with becoming deference ; but I hear them coming, I must control my countenance. (Sits, takes up paper and reads?) {Enter Mr. Neal and Mr. Spiers, r. The introduction is given and received in due form, Lottie and Mr. Spiers performing their parts with becoming gravity?) Mr. Neal. And now, Lottie, if you can entertain Mr. Spiers, I shall be very glad, as I have a little busi- ness {looks at watch) to attend to at this very hour. I will ask your aunt to come down. Good-morning, Spiers, see you at dinner. (Exit, r.) Mr. Spiers (embracing Lottie). Your aunt? What does he mean ? I didn't know you were troubled with so useless an appendage. Must she come here to bother us ? Lottie. Oh, she'll not bother us much. She's as deaf as a post, and never sits down without falling asleep. (Both laugh?) Mr. Spiers. But who is she ? Lottie. My mother's only brother's widow. You must know, at the last moment some one told papa it would be unconventional for me to wander about the country with him unless I had a chaperon, so he sent for Aunt Prue ; but here she comes. (Enter Aunt Prue, l.) Lottie (goes up to her and shouts in her ear). Good- morning, Aunt Prue ; did you rest well ? Aunt Prue (also speaking very loud). Oh, Mr. Cres- 24 ALL IS FAIR IN LOVE. well ! How do you do, Mr. Creswell ? Happy to mee you. (Lottie smothers a laugh behind her handkerchief . Mr. Spiers bows gravely. Aunt Prue passes and sits in a large chair behind them while they face the audience and laugh.) Mr. Spiers. So, I have another name. I hope you'll not forget who I am. Lottie. I hope I shall remember it better than poor auntie does her chaperonage. See, she is asleep already. Mr. Spiers {embraces Lottie). "Bless her! She is the finest old lady I ever saw. But now I must tell you, I have ordered a carriage so that we can see something of the city. Your father approved of the plan, but as he said nothing about Aunt Prue, the car- riage I have ordered will hold only two. {At this point Tim enters, r., unseen by them. He doubles himself up with silent laughter, and makes grimaces at them, as they stand lovingly together. He then goes out, silently, at the conclusion of Mr. Spiers's next speech?) Lottie. Oh, she will never miss us, poor soul. Isn't she a delightful chaperon to have ? (Aunt Prue snores.) Mr. Spiers. The very best I ever saw. I hope she will always be so sleepy. Your father told me this morning that he was going next to Virginia City. Of course I also have business engagements there. (Tim whistles outside?) ALL. IS FAIR IN LOVE. 2$ {They start away from each other. Enter Tim, r., grinning?) Tim. The carnage is at the dure, Mr. Mer — Spiers, yer honor. Lottie (to Tim, laughing). Look out, my fine fellow. (To Spiers.) I will be ready in a moment, Mr. Spiers. (To Tim.) You see /know my lesson. (Exeunt Mr. Spiers and Tim, r.) Lottie (throiving a kiss /• Nine ! Lou. ) Lou. Poor Mr. Thompson ! Ella. He will not live to tell the tale. Bella. I begin to think he foresees the danger, and that his instincts of self-preservation are too strong to admit of his coming. {The bell rings again. They all start to their feet, and exclaim, " There he is /» as before. Enter Mary. Repeat as on Ella's entrance. Bella directs as before. Exit Mary, l. The others resume seats.) Ella. Of course Mary would come, trust her for that. Indeed, Bella, it is very generous of you to give all of us girls the pleasure of Mr. Thompson's acquaintance. {Enter Mary.) Almost any other girl would have kept his society for herself. Mary {approaches the others, and sits). But, we must have met him sometime, and, of course, she prefers to have the performance take place under her supervision, as it were. Lou. Then, I think she will be disappointed, for I don't believe he's coming.. {The bell rings. All start up as before, repeat exclama- tion, etc. Enter Emily, r. Repeat all "business" as on entrance of others. Exit Emily, l. Others resume their places.) Mary. Oh, I knew she would be here ! It's so long since she's seen a young man, she {enter Emily, l.) for- gets how one looks. ' Emily {coming forward). What is that ? Who for- gets how what looks ? {Sits near others.) 68 TO MEET MR. THOMPSON. Bella. We all have forgotten how a full-grown, live young man looks. Emily. Well, where is your curiosity? Why don't you bring him out ? Lou. We await his royal pleasure. {Bell as before. Repeat former business fully. Enter Grace, r. Repeat as for others. Exit Grace, l. The others resume their seats.) Emily. Oh, I knew Grace would come. She has been on what the boys call a " still hunt " for a (enter Grace, l.) young man for nobody knows how long. Grace (as she comes to the others, and sits). W r ho has been a young man for nobody knows how long ? Surely, not Mr. Thompson ? Bella. Oh, no ! not Mr. Thompson. Lou. Oh, dear, no ! not Mr. Thompson. ElLV No indeed ! not Mr. Thompson. Mary. Oh, my, no ! not Mr. Thompson. Emily. Why, certainly not Mr. Thompson. (These ansivers must be very emphatic^) Bella. I conclude you have not seen him, Grace ? Grace. Seen him ? Indeed, I haven't. I have heard of nothing else for the last two weeks but Mr. Thompson. Is he handsome ? All in concert. Handsome ! handsome ! Oh, oh, oh ! — oh, oh, oh ! Grace. Dear me, what a wonder he must be ! But why doesn't he come ? (Bell, as befo?-e. Repeat former " business.'" E?iier Julia, r., as before. Exit Julia, l. The others resume seats.) TO MEET MR. THOMPSON. 69 Emily. Bella, you certainly were not on the look- out for beauty, when you invited Julia. Ella. Was she when she invited the rest of us ? Mary. Oh, come now, Ella ! leave that {enter Julia, l.) for Mr. Thompson to decide. Julia {taking seat). What must Mr. Thompson decide ? Grace. Which one of this flock his highness shall escort to her home. Ella. He lives the nearest to my house. Doesn't that give me the first claim ? Lou. And my home is directly on the way thither, so that gives me his other arm. Mary. Pshaw, girls ! can't you see that he is in gallantry bound to escort the one who lives at the greatest distance from here ? And her name is Mary. Emily. And my home is only two blocks from your house. Julia. But how can he go home with any of us, unless he first gets here ? {Bell rings. Repeat former movements, etc. Enter Fannie, r, as before. Exit Fannie, l. All sit again.) Grace. Now, girls, Fannie lives farther away than any of us. Julia. And if he goes home with her, he passes my door, so, I think {enter Fannie, l.), Fannie and I will have him. Fannie {joins others, and sits). Have whom ? Not Mr. Thompson ? yO TO MEET MR. THOMPSON. All {in concert and laughing). Oh, yes, Mr. Thomp- son ! Oh, yes, we'll all have Mr. Thompson ! Fannie {indignantly). Why, girls, I am surprised at you all. But please don't include my name. The idea of angling for a young man in that way ! Bella. O Fannie ! don't scold us ! the girls v. only trying to decide whom he should escort home, and they settled on you and Julia. Fannie {looking around). But where is the young man ? All. Oh, he isn't here yet ! Fannie. So, while you are waiting, you are settling the question of his attentions. You might cast lots on the matter. {Sarcastically?) Emily. I'll tell you a good plan, girls. All. What is it ? What is it ? Emily. Let him choose for himself. All. Oh ! oh ! Bella. Well, now, girls, since you have settled the question, I will tell you he probably will escort none of you home to-night, for I have invited his two sisters to accompany him. I knew you would be dying to meet them. {Bell rings. All exclaim, as before. A voice at right entrance calls loudly, " Miss Bella, here is a note for you / ") Bella. You hear that, girls ; pray excuse me a moment. {Exit Bella, r.) {The others now huddle together at c, muttering to each other, "Mean thing/" "She did it on purpose /" " Much we care for his old sisters /" " She didn't want TO MEET MR. THOMPSON. 7 l him to go home with any of us ! " " We'll pay her up ! " " Til invite him to my house ! " " And so will I! " The last exclamation in chorus. Enter Bella, r., carrying an open letter. They all drop quickly into their chairs, and are silent.) Bella {coming to a). Young ladies, I have just received this note, which I will read. {Reads.) "Miss Bella, — We are forced, at the last minute, by circumstances beyond our control, to decline your very courteous invitation. I will call on you to-morrow, and explain more fully. Yours with many regrets, Harry Thompson." {All rise, a? id come to c.) Lou. So this is the way we " meet Mr. Thompson ! " Ella. How charmed I have been to "meet Mr. Thompson ! " Mary. What a rare treat " to meet Mr. Thompson ! Emily. Oh, lovely Mr. Thompson ! Grace. Delightful Mr. Thompson! Julia. Oh, rare Mr. Thompson ! Fannie. Very rare, indeed ! All {except Bella). The next time I go out " to meet Mr. Thompson " — Bella {smiling and courtesying). Let us hope you will " meet Mr. Thompson." CURTAIN. {Real names may be substituted, if preferred, throughout) GEORGE M.sBAKER'S PLAYS. Price 15 cents, unless other-wise stated. ABOVE THE CLOUDS. Drama in two acts. 7 males, 4 females. - AMONG THE BREAKERS. Drama in two acts. 6 males, 4 females. BETTEE THAN GOLD. Drama In four acts. 5 males, 4 females. 25 Cents. BON-BONS. Musical entertainment. 3 males, I female. 25 Cents. BOSTON DIP, THE. Comedietta in one act. 4 males, 3 females. BEEAD ON THE WATERS. Drama in two acts. 5 males, 3 females. CAPULETTA. Burlesque in two parts. 3 males, 1 female. CHAMPION OF HEE SEX, THE. Farce in one act. 8 females. CHEISTMAS CAROL, A. Christmas en- tertainment from Dickens. Many char. CLOSE SHAVE, A. Farce in one act. 6 ) males. COALS OF FIEE. Farce in one act. 6 males. COMRADES. Drama in three acts. 4 males, 3 females. 25 Cents. DOWN BY THE SEA. Drama in two acts. 6 males, 3 females. DEOP TOO MUCH, A. Farce in one act. 4 males, 2 females. DUCHESS OF DUBLIN, THE. Farce in one act. 6 males, 4 females. ENLISTED FOR THE WAR. Drama in three acts. 7 males, 3 females. FAIRY OF THE FOUNTAIN, THE. Play for children in two acts. 10 char. 25c. FLOWER OF. THE FAMILY, THE. Comedy-drama in three acts. 5 males, 3 fern. FLOWING BOWL, THE. Drama in three acts. 7 males, 3 females. 25 cents. FREEDOM OF THE PRESS. Farce in one act. 8 males. GENTLEMEN OF THE JURY. Farce in one act. 12 males. GREAT ELIXIR, THE. Farce in onr act. 9 males. GREATEST PLAGUE IN LIFE, THE. Farce in one act. 8 females. GRECIAN BEND, THE. Farce in one act. 7 females. HUMORS OF THE STRIKE, THE. I I arce in one act. 8 males. HYPOCHONDRIAC, THE. Farce in one act. 5 males. LAST LOAF, THE. Drama in two acts. 5 males, 3 females. LIGHTHEART'S PILGRIMAGE. Alle- gory for schools. 8 females and chorus. LITTLE BROWN JUG, THE. Drama in three acts. 5 males, 3 females. LITTLE MORE CIDER, A. Farce in one act. 5 males, 3 females. f LOVE OF A BONNET, A. Farce in one act. 5 females. MAN WITH THE DEMIJOHN, THE. farce in one act. 4 males. MY BROTHER'S KEEPER. Drama in three acts. 5 males, 3 females. MYSTERIOUS DISAPPEARANCE, A. rarcc in one act. 4 males. MY UNCLE THE CAPTAIN. Farce in one act. 6 males. NEVER SAY DIE. Farce in one act. 3 males, 3 females. NEVADA. Drama in three acts. 8 males, 3 females. 25 cents. NEW BROOM SWEEPS CLEAN, A. Farce in one act. 6 males. NO CURE, NO PAY. Farce in one act. 7 females. ONCE ON A TIME. Drama ia twe acts, 4 males, 2 females. ONE HUNDRED YEARS AGO. Drama in two acts. 8 males, 3 females. ORIGINAL IDEA, AN. Dialogue for a lady and gentleman. OUR FOLKS. Drama in three acts. 6 males, 5 females. PADDLE YOUR OWN CANOE. Farce in one act. 7 males, 3 females. PAST REDEMPTION. Drama in four acts. 9 males, 4 females. 25 cents. PEDLAR OF VERYNICE, THE. Bur- lesque. 7 males. PRECIOUS PICKLE, A. Farce in one act. 6 females. PUBLIC BENEFACTOR, A. Farce in one act. 6 males. REBECCA'S TRIUMPH. Drama in three acts. 16 females. 25 Gents. RED CHIGNON, THE. Farce in one act. 6 females. REVOLT OF THE BEES, THE. Mu- sical allegory. 9 females. RUNAWAYS, THE. Farce in one act. 4 males. SANTA CLAUS' FROLICS. Christmas- tree entertainment. Many char. SCULPTOR'S TRIUMPH, THE. Alle- gory. 1 male, 4 females. SEA OF TROUBLES, A. Farce in one act. 8 males. SEEING THE ELEPHANT. Temper- ance farce. 5 males, 2 females. SEVEN AGES, THE. Tableau entertain- ment. 7 males, 4 females. SHALL OUR MOTHERS VOTE? Hu- morous debate for n boys. SNOW BOUND. Musical and dramatic en- tertainment. 3 males, 1 fomale. 25 Cents. STAND BY THE FLAG. Drama in one act. 5 males. SILVIA'S SOLDIER. Drama in two acts. 3 males, 2 females. TEMPTER, THE. Drama in one act. 3 males, 1 female. TENDER ATTACHMENT, A. Farce i« one act. 7 males. THIEF OF TIME, THE. Farce in one act. 6 males. THIRTY MINUTES FOR REFRESH- ments. Farce in one act. 4 males, 3 fem. THORN AMONG THE ROSES, A. Com. edy in one act. 2 males, 8 females. TITANIA. Play for children in two acts. Many char. 25 Cents. TOO LATE FOR THE TRAIN. Dialogue for 2 males, introducing songs and recitations. TOURNAMENT OF IDYLWENT, THE. Allegory for 13 females. VISIONS OF FREEDOM. Allegory for 16 females. USING THE WEED. Farce in one act. 7 females. WANTED, A MALE COOK. Farce in one act. 4 males. WAR OF THE ROSES. Allegory for 8 females. WE'RE ALL TEETOTALERS. Farce la one scene. 4 males, 2 females. WALTER H. BAKER, & CO. (f>.o. Box 2846), Boston, Mass. i 1 III A NEW PLAY FOR FEMAL^ ° ™ *™ °°1Z * .4 Companion to "REBECCA'S TRIUMPH. ANITA'S TRIAL; Or, Our Girls in Camp. By Esther B. Tiffany, author of "A Rice Pudding/' "That Patrick," "Young Mr. Pritchard," etc. Price, - ------ 25 cents. This is a bright and sparkling comedy in three acts, for eleven female characters. Its story is entertaining, and its dialogue dis- tinguished by this author's delicate humorous touch. One scene only is necessary for the three acts — a camp in the woods, easily arranged. The dresses are simple and picturesque camping costumes. The enor- mous success of " Rebecca's Triumph " has created a demand for this sort of piece, to meet which we confidently present "Anita's Trial," in which is solved, with no less success than in its predecessor, the difficult problem of constructing a play of strong human interest with- out the assistance of male characters. The O hronothanatoletro n: OR, OLD TIMES MADE NEW. An entertainment in one act for sixteen girls, written for the Class Day Exercises at Dana Hall School, Wellesley, Mass., by two members of the Class of '87 and first performed before members of the school and their friends, June 18, 1887, and later at Ellsworth, Maine, April 6, 1888. Price, -.--.. - 35 cents. THE PEAK SISTERS. A humorous entertainment for young ladies. Arranged by Mary B. Horne. Any number of ladies may take part, but seven only are necessary. No scenery; costumes very simple. This laughable trifle meets with invariable success wherever performed. Price, ------ - 15 cents. THE BOOK OF DRILLS. A group of entertainments for female characters for stage or floor per- formance, by Mary B. Horne, the author of " The Peak Sisters," etc. Price, -------30 cents. WALTER a BAKER & CO, Pnblisners, 23 Winter St, Boston. 8. J. PARKHILL * CO., PRINTERS, >?2 FRANKLIN ST., BOSTON. VRvfi LIBRARY OF CONGRESS 016 215 001 7