as NO PLAYS EXCHANGED. 'BAHCR'5 CDITISN lorPL7\Y3^ PS 635 .29 W334 Copy 1 jt^reddie Goes to College J1* 01. Pinero's Plays Price> SO £ent$ Eacb TII17 A M A 7nN^ Farce in Three Acts. Seven males, five fe- llllji AlTlAtiVrliO males. Costumes, modern; sc«.:3ery, not difficult. Plays a full evening. TUI7 rAKIWCT n/IINIQ'iTR ^^rce in Four Acts. Ten lIlL LADlIll!.! ITlllllOltlV males, nine females. Cos tumes, modern society; scenery, three interiors. Plays a full evening. riANnV niflf Farce in Three Acts. Seven males, four fe- l/nVtU I 1/lV/IV, males. Costumes, modern ; scenery, two inte- riors. Plays two hours and a half. Till? r* AV I ni?n AITCY comedy in "Four Acts. Fourmales, lllEi llAI LiUIvU ^U£iA ten females. Costumes, modern; scenery, two interiors and an exterior. Plays a fuU evening. UIC UATTC1I7 IM Al?ni7P Comedy in Four Acts. Nine males, tllO nUUDlCi Hi UttUEiIV four females. Costumes, modern; scenery, three interiors. Plays a full evening. TUF UADDV UnPQI? Comedy in Three Acts. Ten males, inCi nViDDI nUIVOEi tive females. Costumes, modern; scenery easy. Plays two hours and a half. inic Drama in Five Acts. Seven males, seven females. Costumes, 1I»1^ modern ; scenery, three interiors. Plays a full evening, I AnV RfllTMTIFITI Play in Four Acts. Eight males, seven MjiWI DxJKJviiirULi females. Costumes, modern; scen- ery, four interiors, not easy. Plays a full evening. I FTTV Drama in Four Acts and an Epilogue. Ten males, five IjCtl £ 1 females. Costumes, modern; scenery complicated. Plays a full evening. TUI7 MAr'IQTI? ATI? Farce in Three Acts. Twelve males, IrlEi ITlilUlO 1 IV/l 1 £• four females. Costumes, modern; scenery, all interior. Plays two hours and a half. Sent prepaid on'i:e4eipt of price by Walttv 3|. JPaker & Company No. 5 Hamilton Place, Boston, Massachusetts Freddie Goes to College A Farce in One Act By DWIGHT EVERETT WATKINS BOSTON WALTER H. BAKER & CO. 1917 9y v*.v 4^:.^ ^ Freddie Goes to College CHARACTERS (/« //le order of their appearaitce) •' Rusty " Rogers, bell-boy at the St. yames. HiKAM HuNGEKFOKD, farmer on a small farui near Cairo, Illinois. " Ma " HUNGERFORU, his ivife. " Freddie" Hungerford, their son. Mlle. Lillian Fleetfoot, equestrienne with the Wallenbeck Circles. Phineus T. Wallenbeck, proprietor of the Wallenbeck Circus. Scene. — A " Room with Bath" in the Hotel St. James, Col - legetown, 111. Time. — 10:30 a. m., May 15th (Circus Day). Note If the costume of the equestrienne should not be entirely suit- able for a presentation by amateurs, it could easily be changed to a " riding costume." This would necessitate a change in the line about the " pepium " on the waist, but this is easily done. Copyright, 191 7, hy Dwight Everett Watkins As author and proprietor All rights reservecQ q| q 4 y 3 j ^ NOV 12 1917 TMPS2-007537 Freddie Goes to College SCENE. — The scene is laid in an ordinary " room with hath " in a fireproof modem hotel. The furniture is mahogany except the bed, which is brass, and the carpet and the walls are done in blue. There is a door L., opening into the hall, and another at the l. of the back, up stage, opening into the bath room. To the R. back, up stage, is a practicable window, opening upon the street. This windozv has a shade and white lace curtains. To the r. is a door opening into a closet. At the c. back is the brass bed, the foot facing the audience, below which is a suit-case rack. To the l., dozvn stage, from the door opening into the hall is a regidar hotel writing desk {patented) , with small chair in front of it. The desk has a drawer that pidls out, on which is a lid that can be raised up. There are pens, several varieties of stationery, telegraph blanks, ink, a penholder, blotter, etc. To the r., almost op- posite the desk, hiit a little farther up stage, is the dresser. Upon it is the match holder with safety matches, the Bible " placed, in this hotel by the Gideons," a pincushion with pins, needles, thread, a pants button, a pearl button or tzvo, etc. At the win- dow R., up stage, is a rocking-chair. To the other side of the window is a costumer. The shade at the windozv is drawn dozvn. Over the bed is a picture of some scene from Shakespeare. On the zvriting desk is a picture of an old-fashioned New England home at twilight — the windozvs ablaze and a sleigh drawing up. On the back of the door is the usual extract from the 4 FREDDIE GOES TO COLLEGE Siate Hotel lazv. Doivn stage from the writing desk is a spittoon, very tall and made of brass. Beside the door to the hall is the notice "Stop! Have you left anything'^ " On the dresser is a menu card of the Hotel Cafe ; also ice-water pitcher and a glass. Near the door is a telephone. {As the curtain rises, there is heard a severe thunder- storm raging outside. Flashes of lightning are seen through the chinks about the zvindoiv r. Soon there is heard the rattle of a key in. the door, and the voice of " Rusty " Rogers is heard outside.) Rusty (a freckled faced, red headed boy of about fourteen years). Sure this is the right one — 273 — 274 — Yep. This is it! {The door suddenly flies open and Rusty appears with three old-fashioned valises. He holds one under his arm and one in the hand on the same side; the other lies upon the floor at his feet. He holds the tivo cases — having allowed the key to stick in the key- hole — and reaches in and turns on the lights. He then picks up the other valise and rushes madly into the room and deposits them roughly on the rack at the foot of the bed. He then,' rushes over to the xvindozv and runs up the sJiade — it is still quite dark from the thunder shotver. He then turns on the lights by the dresser and zvriting desk. In the meantime Hiram Hungerford and " Ma" HuNGERFORD Jwz'c couic in. HiRAM is tall, lanky, has a seamed and sallozu face, zvears an old mackintosh and carries an old umbrella. H is zvct. So is his old slouch hat zvhich he still has on. He is the conventional " rube " character. " Ma " Hungerford is a short, round- shoiddered little zvoman. She dresses in black, zvears an old-fashioned zvafer-proof cape, and carries a hand-bag. She wears glasses zvith very thick lenses and has trouble seeing, often looking over her glasses or lifting them up. She and her husband are about sixty-five years of age. HiRAiM and his zvife haz'e just about arrived in the center of the roam zvhen Rusty has reached the windozv on the opposite side. Rusty turns on the lights at the dresser and writing desk as he comes hack and then goes into the FREDDIE GOES TO COLLEGE 5 balh room and turns on the light there. He then turns to Hiram.) Anything else, sir? Hiram. What's that, young man? Rusty. Anything else, sir? Ma. What does he want, Hiram ? Hiram. Durned if I know. Talk plain, young man. Rusty. Would you like anything else, sir? Hiram. Well, I dunno. What d'ye bring? (Rusty starts across the room and picks up pitcher off of the dresser.) Ma. Where's he goin' with that, Hiram? Hiram. Young man ! Rusty (turning). Yes, sir. Hiram. You put that pitcher right back where you got it. (He starts back.) Ma. We want you to understand we're just as good as other people. Our son Fred paid for this room and we don't want nothin' taken out of here that belongs here. (Rusty replaces pitcher on the dresser and retires to the door, where he stands waiting. Hiram turns away, takes off his coat and hat and lays them on the bed. His wet umbrella he lays upon the dresser. Ma throws off her cape on the chair by the zvriting desk and puts her hat on her cape. Rusty still stands at the door. Hiram turns and sees him.) Hiram. Wall, what ye waitin' for now? Rusty. Nothing, sir. Hiram. Wall, take it and get out! (Rusty puts the key on the inside of the door and goes out slamming the door. Ma locks the door, turns to c. of room just as Hiram gets there. He embraces her and then looks dozvn into her face.) Alone at last! (They both smile and then he gives her a little squeeze and kisses her.) Ma (looking around) . Ain't this just a blue paradise ? O FREDDIE GOES TO COLLEGE Hiram {taking her head in his hands and kissing her). Excuse me ! Ma (with mock roguishness looking up into his face). What will people say? Hiram {looking about). This ain't a House of Glass. Ma. I know, but let's see what's the weather. {She struggles to get loose, but he holds her tight.) Hiram {again taking her face in his hands, and look- ing dozvn into her eyes). Fair {pointing to Ma) and warmer. {Points to self. Then he hugs her.) Ma {trying to break away). Oh, you silly! What time is it? Hiram. Now you look here — look here ! You know that watch is in my vest pocket bang up against your side and you just asked me that just to make me let go. I don't suppose any man ever hugged any woman but what right in the midst of it she asked what time it was. Ma {breaking away, and going to window). I wonder if you can see the college from here. {By this time it has become broad daylight, and the sun is out. Seen through the zvindow.) Hiram {at zvriting desk, inspecting it). I dunno. You might try it, and then if you can, probably I can. Ma {at ivindozv). Oh, Hiram, come here! You can see it. Hiram. Where? Ma (pointing). Right over there, that building with dome all over gold, and that lady on top holding up them scales o' knowledge. (She looks out the zvindow rather in reverie.) " And many shall be weighed in the balance and found wanting." That's just what Fred said in a let- ter he wrote just before his examinations. (Trombone horn heard, that suddenly gives a squawk and stops.) And oh, Hiram, come here ! There's a fellow down here has fallen ofif his bicycle and got all over mud and the people are all laughing at him. Hiram. What's that? (He conies to the zvindow.) Ma. And what's that he's got in his hand? Oh, it's FREDDIE GOES TO COLLEGE 7 a horn and he's got it all over mud too ! Poor fellow ! Look, he's trying to get on his bicycle again. Oh, there he goes again right in that puddle ! And just look at those people laughing at him. Hiram. Why, that's one o' them circus clowns ! And look at him, look at him ! Lookitim ! He's ridin' with- out hangin' onto the handle bars, and now he's goin' to play his horn. {Horn heard and then it suddenly stops.) Ha! Ha! Ha! (Hiram laughs vigorously.) Did you see that? Ran square into that man sellin' balloons. Ma. Oh, Hiram ! You oughtn't to laugh at him. That's cruel. Hiram. Oh, shucks ! He gets paid fer it ! Some o' them fellers gets more fer their durn fool tricks than a good hired man kin git on a farm. {Comes away from the window.) What time did Fred say in his letter he'd be here? Ma {turning). What's that? Hiram. I say, what time did Fred say in his letter he'd be here? Ma {coming away from zvindow). Why, Hiram Hungerford, look here what you've done ! Hiram. What? Ma. ^ You've gone and laid your wet umbrell right on this shiny dresser. {She takes it up and looks around for a place to put it. She wipes off the dresser with a handkerchief from her hand-bag. Finally she takes umbrella in the bath room, while Hiram busies himself at the writing desk. After a long pause, when Ma does not come out of the bath room, Hiram speaks.) Hiram. Ma! Ma. Yes ! Hiram. What time did you say Fred was comin'? Ma {rather indistinctly) . I don't just exactly remem- ber whether it was a quarter to eleven or a quarter past eleven. Hiram. What's that? 8 FREDDIE GOES TO COLLEGE Ma. I say I don't exactly remember whether it was a quarter to eleven or a quarter past eleven. Hiram. I can't hear a durned word you say. What' re ye doin' in there anyhow? Ma. Smell in' the soap. Hiram. What? Ma {appearing in the doorzvay, in her corset cover, wiping her hands on a tozvcl and smelling them). Smell- in' the soap ! You ought to just come and smell it, Hiram; it's just like a " bokay " of roses or sassafras roots. Hiram. Oh, shucks on yer sassafras soap! What time is Fred a-comin' ? Ma. I tell ye I don't know, Hiram. I'll have to look in one o' them letters. {She goes to her valise, opens it, and begins to take things out.) Hiram. Well, you certain brung enough clothes along, didn't ye? What did ye bring all that white truck fer? Ma. Well, you can't never tell. There might be a wreck goin' back and I always have said that if I was to be killed in a wreck I wanted to be sure all my under- clothes was clean. Oh, here they are ! {She produces a pack of letters.) Here's his last one right on top ! {She borroivs Hiram's spectacles and unties the blue ribbon and opens the top letter. She has a hard time seeing it and looks up tozvard the light.) Why, Hiram, them lamps is a-burnin'. You better put 'em right out. We oughtn't to be burnin' their lamps right in broad daylight ! Hiram. That's so ! Them lamps is burnin'. I specks they lit 'em up during that thunder-storm. {He looks at them carefully, head on side.) Them's 'lectric lights, ain't they? I wonder where you turn 'em off. {Here he gets the valises on the floor off the rack and climbs up on the rack so as to reach the chandelier. He tries all the ornaments and can't turn them off.) Well, I be durned! There don't seem to be any place to turn 'em off. Ma. There's a little screw away up there by the ceil- ing. Maybe that does something. FREDDIE GOES TO COLLEGE 9 Hiram. Durned unhandy up there, I sh'd think. Ma. Yes, but maybe they put it up there so people won't turn 'em on so often. Better try it anyhow, Hiram. Hiram. Well, you kind o' hang onto me, and I'll try what I kin do. {Here comedy business of Hiram trying to balance himself on his knees on the round brass foot- board of the bed, with Ma trying to keep him from fall- ing. Finally he gives up.) Nope! That thing don't turn. They wouldn't put it away up there anyway. It must be somewhere right close to the light here. (He looks the chandelier over carefully again and tries to turn various projections on it.) Ma. Maybe you'd better tell Mr. St. James about it. Hiram. Who's Mr. St. James? (Vexedly.) Ma. Why, the proprietor. This is the St. James Hotel, ain't it? (Another pause.) He was an awful nice young man. He'd just as soon tell you as not. Hiram. Well, now, do you suppose I want to run around here telling everybody I don't know how to turn off a little fool 'lectric light? Ma. Maybe that thing over by the door has something to do with it. Hiram. What's that? (He looks.) Ma. I say maybe that thing over by the door has something to do with it. Hiram. Why, that's a telephone. Just like Jake Simpson's got down to the general store. Ma. Oh, I don't mean that. I mean that brass thing right under it. Hiram (getting down). Well, now, mavbe that has. I'll see. Ma. Now, Hiram, don't touch it till you're sure ! (Hiram walks toward the switch. Ma suddenly screams.) Oh, Hiram, wait a minute! That might be a fire alarm. Don't touch it till I git my clothes on. I don't want no firemen comin' in here and catchin' me like this. (She rushes into hath room and brings her waist out. She gives Hiram his spectacles and puts on 10 FREDDIE GOES TO COLLEGE her own, and then slips on her waist. ) Now wait, Hiram, till I git these things ready. (She begins stuffing her underclothes back into the bag.) Hiram. Don't look to me like it turned at all. {Tries it gently.) It's got a spring in it, though. It does some- fin or other. Ma. Oh, wait, Hiram! Maybe it rings a bell. What'll we say we want when they come? (She plucks his arm.) Hiram. What's that? Ma. I say what'll we tell 'em we want when they come? Oh, I know. You can tell 'em I've got a head- ache and ask if they've got a bottle of camphire about the place. Wait a minute ! Wait a minute ! (She rushes back to the valise and gets out a towel and folds it about her head. She then goes to Hiram.) You pin it. Now you wait till I get ready. (She goes to the bed and turns dozun the covers.) If it's a bell I want to git right into bed, and if it's a fire I want to be ready to yank this thing right off and put it back into my valise. All ready! (Hiram pushes the button and the lights go out. Ma and Hiram both laugh.) Hiram. Ain't that slick though? Ma. And to think we was so scared to touch it. (She takes off the bandage. Hiram turns the lights on again.) Hiram. Gee, ain't that slick? (Both stand watching the lights go on and off.) If a feller just had the thunder now, he could have quite a thunder and lightning storm, couldn't he? Ma (turning to lamp by dresser). But look, Hiram, them's a-burnin' steady. Hiraini. By jing, that's right. I wonder where the thing-a-ma-jig is to turn them out. (He goes to the dresser lights.) FREDDIE GOES TO COLLEGE II Ma. Now be careful, Hiram; don't break nothin'. Hiram. Oh, these are easy. Here's the thing you turn right here. See! (He turns out one light.) Ma. Now turn it on! (Hiram turns the key back- wards, and of course unscrews the button, which falls to the floor.) Now, I told you, Hiram, not to break nothin'. Like as not that'll cost us four or five dollars. HiRAM. Oh, shet up! It ain't nothin' but a screw. They don't cost more'n a nickel. (He gets dozvn on Jiis hands and knees and hunts for the button. Finally she gets dotvn and helps. She pidls up her skirt to save it. Just as they are both very interested, the telephone rings. They are both very startled. Ma jumps up.) Ma. What's that? (Pause. Then telephone rings again.) They's some one at the door, Hiram. Turn off them other lights quick so they won't find 'em lit. (Hiram turns out lights. He goes tozvard door as tele- phone keeps ringing.) Wait, Hiram; I don't want 'em to catch me this way. (She runs into closet. Hiram goes to door and opens it. Ma peeks out of closet. Hiram conies in again.) Hiram. Guess it was some other room. (Telephone rings again. Hiram starts and looks at telephone.) Ma (head out of closet door). Yes, it's that thing, Hiram. Hiram (taking down receiver zvith right hand and putting it awkzvardly to right ear). Hello! What's that? Yes, this is Hungerford. What's that? Yes, he's my son. He's going to be late? Yes. Wanted to see the circus parade? Oh ! Going right by the window. Wants us to look at it? Why, say, where is Fred now? Oh, why say — say Huh, I guess she's gone. Ma. Who was it, Hiram? Hiram. Dinged if I know. Some girl, sounded like. She said Fred had left word he'd be late cause he wanted 12 FREDDIE GOES TO COLLEGE to see the circus parade. Said it was going right by our window and we could see it. A4a. I wonder what girl Fred could be that familiar with. Where was she, Hiram ? Hiram. I dunno. I specks at some store up by the college. I wonder if it's comin' now. {He goes to window.) Gosh, ain't this luck? I tell you what, ma, we'll all go to the circus together this afternoon. Come to think about it, Fred ain't never yet been to a real big circus. Ma. Why, Hiram, you wouldn't take him to one o' them immoral things, would yuh ? And what would people say back home if they sh'd see me at such a place? Hiram. Why, they ain't nothin' very wrong with a circus. {During the following dialogue, Ma may he busy with putting her clothes on the clothes hangers.) Ma. Why, Hiram Hungerford ! Ain't you never seen them big red pictures they stick all over the country near Cairo every summer — them women walking ropes and swinging in trapesiums all dressed up in — in Hiram. Yes, and Fred and me could o' gone to many a circus if you hadn't 'a' been so ding blasted stingy o' the back side o' the barn ! Ma. Now, Hiram, don't let's spoil our little trip by bein' quarrelsome. Hiram. Well, who started it? Ma. You did. Hiram. What's that? / started it? Ma. Yes. Hiram. / started it? {He hrozvheats her.) Ma. Well, Fred did then. {Gives in.) Hiram. Well. {Pause.) What you hangin' up all yer clothes on them things fer? Ma. I wants yer to understand, Hiram Hungerford, that my clothes ain't never been hung on swell hangers like these, an' I just wants 'em to have the esperience. Hiram {after a pause). Well, now if you're got all yer work done, you might read that last letter o' Fred's. FREDDIE GOES TO COLLEGE I3 Ma. That's so. I forgot all about that letter in all this excitement. {She gets the letters and in her trem- bling lets them fall, mixing them all up. She puts them together in a pack, picking up the blue ribbon. She goes to the writing desk, pulls out the chair, turns on the light, and begins opening them and reading a little from each. After reading to herself from two or three, she speaks.) Oh, Hiram, here's the lirst letter P'red wrote after he left home. Fred was such a good boy ! Just listen : " Dear Pa and Ma : This is my first Sunday away from home, and I can tell you I am lonesome. I know you would not like to have me break the Sabbath by working on my lessons, and it has been hard to fill up the day. I went over to the First Congregational Church for the morning service and Dr. McGrath preached from that text in the book of Psalms, I forget whether it is the 109th or the 119th Psalm. 'Wherewithal shall a young man cleanse his way.' " Which psalm is that text in, Hiram? Hiram. The 109th. Ma. It isn't either. {She gets up and goes toward the dresser.) Hiram. Well, what did ye ask me fer? Ma {she gets to the dresser. She reads from the front of the Gideon Bible). "Placed in this hotel by the Gideons." Mr. and Mrs. Gideon must be awful nice people — (pause) so thoughtful in them to place the Bible where people is always away from home and haven't got their Bibles with 'em. (Pause.) Yes, Hiram, here it is in the ii9tli. "Wherewithal shall a young man cleanse his way ; by taking heed thereto according to thy word." Let's see what else he says: " It was an awful good sermon and at the close of it he invited all the new students to take an interest in the Christian En- deavor. I think I'll go over this evening." And then he goes on about his lessons. I guess he don't like his mathematics very well. He's always writing about that bein' so hard fer him. (She puts up the letter.) And here's the one about the revival,, Hiram. That was just the prettiest letter a boy ever wrote. I cried over it 14 FREDDIE GOES TO COLLEGE every night fer a week. It brings tears to my eyes just to think about it now. Just hsten, Hiram ; ain't this fine writing? " Ma, it was the grandest meetin' I ever was to. The Armery was packed clear plum full back to the doors, and up front was the great big choir, and on the platform was all the ministers of the city, some twenty or thirty, and the Salvation Army man was there with his uniform on, and there was a little pen fenced off for Mr. Campman and Mr. Celander. And toward the end, Mr. Celander started his big choir to singing, ' I am comin' home to-day, to-day,' and they sang it awful soft and Mr. Campman would say stand up, stand up, you kin do it. And they kept standin' up all over the house, and I stood up too. And then we had an after- meetin' and had prayer and we're all going to join the church next month." I tell you, Hiram, nothin' ever done me so much good as that letter. I've prayed and prayed that my boy would go forward and now he's done it. (She cries.) Hiram. There, ma, don't work yourself all up over that again. (Tenderly.) Fred'll turn out all right. Ma. Yes, I s'pose he will, but it's awful nice to think yer boy has at last come into the fold. (Here band music is heard in the distance.) Hiram. Here the parade comes now! (He rushes to the windozv and Ma foUozvs him hurriedly, packing the letters together and laying them on the writing desk.) Gee ! It's a long one. You can't see the end of it ! (They lean out of the tvindotv.) See, there's the owner ridin' ahead behind that fine team o' sorrels. Ain't them fine horses? And there's the eequine wonders ridin' right behind him. And there's the band wagin. Ma. Why, Hiram, them's ladies, ain't they? Hiram. Where ? Ma. Right behind the owner's carriage. And they're ridin' straddle, ain't they? Hiram. They do look kind o' like it. Ma. No, they ain't all ladies. Some o' them is men. Why, the brazen creatures, they ain't got any skirts on at all. And look, Hiram, one o' them men is wavin' up here. FREDDIE GOES TO COLLEGE I5 Hiram. By jing, I guess he is! (Hiram waves.) Ma. Looks kind o' like our Fred, don't he ? Hiram. Does that ! Look, there come the elephants. Ain't that first feller a big one ? Ma. There, Hiram, that man's wavin' again. (Hiram waves hack.) Hiram. By jing, that does look like Fred — rides like Fred, too. By jing, that is Fred. How do you suppose he got in this here parade — worked his way in ? Them's mighty fine clothes he's got on! Huh! {Wonder.) And there's the camels. Ma. No, it can't be. He's been up at college all morning, Hiram. He wrote he had to be at Chapel at eleven o'clock, and that's why he couldn't meet us at the train. Hiram. And there's the lions — got ten horses on 'em. And gee, ain't them fine horses ? That there leadin' team looks just like that team o' grays Fred and me fatted up and sold to old Jim Blood to take down the river. {Pause. Band heard playing.) And there's the jaguars. Say, them's fine horses too. I jing, if they don't know how to take care o' horses about as well as Fred does. Ma. And there's the Blood-Sweating Behemoth of Holy Writ. Seems almost sacrilegious, don't it, to be haulin' that around in a circus parade? Hiram. And here comes the steam calliope. (// starts. Chimes also heard. Hiram and Ma watch cjr- cus parade until out of sight.) I jing, that's a big circus, ain't it ? {He walks away from zvindow and comes toward the writing desk where there is a tall brass spittoon. He looks at it with head on one side and finally spits in it just as Ma turns about from the window and sees him do it.) Ma {screaming). Why, Hiram Hungerford, what are you doing? Hiram. Spittin'. 1 6 FREDDIE GOES TO COLLEGE Ma. Don't you know any belter'n that ? Hiram. Why? Ma. Why, that ain't no spittoon! That's a vase to put flowers in ! (She picks it up and rushes into the bath room zvith it. Hiram zualks over to the dresser and picks up menu card and peruses it. He lays it dozvn and sees pants button on the pincushion. Ma comes back wiping spittoon off and places it upon the writing desk. Hiram unbuttons vest and discloses fact that one pants button is off on one side.) Hiram. Say, ma, here's a button and some thread here on this cushion. Maybe you could sew on this here button on my trousers while we're waitin' for Fred. Ma. Do you s'pose we better take it? Maybe them things belongs to Mrs. St. James. Hiram. Oh, shucks! They ain't nothin' else o' hern here. Like as not she puts them out here just purpose for folks as loses their buttons. Ma. Well, if you say so ; maybe it's all right. (Hiram pidls out chair from writing desk and straddles it with back to audience, having removed his coat. Ma pidls up the rocker and begins sezuitig on the button. After sezv- ing for a zvhile. ) Do you suppose that was Fred in that parade ? Hiram. Looked mighty like him. Ma. You don't suppose he would do a thing like that, do you? Hiram. Well, you can't always tell what a young feller'U do when he gets away from home influences. Ma. And he was ridin' right in with them women without any skirts on. Hiram. Well, I s'pose when you work yer way into a circus, you has to ride where they tells you to. Ma. And that girl callin' up over the telephone. Somehow I can't help thinkin' things ain't quite as they should be with Fred. Hiram. Oh, it's just yotu- imagination. Ma. And then his sendin' us to this hotel, 'cause as he FREDDIE GOES TO COLLEGE 1 7 said they was all full at the boardin' house. I never yet saw a boardin' house where they couldn't make room for one or two more, and especially as them was his pa and ma. {She deliberately sticks him with the needle.) Hiram. Ouch ! Ma. Well, sit around here, then ! (Suddenly the door bursts open and Freddie enters, dressed in a pink satin suit from plug hat to slippers, knee-breeches. He is beaming all over. He carries a short riding whip. Jitst behind him is a young lady dressed in cream tights, high black boots, a striped orange and black blouse, and wearing a black jockey cap with an orange bow upon it. She also carries a short riding whip. She stays by the door just inside, smiling, as Freddie makes his first beam- ing entrance.) Freddie. Well, hello, pa. (Rushes over and shakes hands. Hiram does it mechanically.) And hello, ma. (Embraces her vehemently. Ma is also dumbfounded.) What do you think of your son Freddie? (He struts about in his pink suit.) And (stepping over to the door) allow me to introduce Mademoiselle Lillian Fleetfoot, premiere equestrienne of the world, otherwise Mrs. Fred Hungerford. Lillian (rushing up to Hiram and putting her arms about him). Oh, you dear papa. Fred has been telling me ever so much — all about you. And (going to Ma) dear mamma (embracing and kissing her), you don't know what a dear good boy Fred is ! Hiram. Now, see here, Fred, what does all this mean ? Lillian (crossing to Freddie). Oh, now, papa, don't be hard on Freddie. (She puts arm about Freddie at writing desk.) Hiram. Is she your wife? Ma (aside). The horrid creature. Freddie. Yep. Just as I said. Ma. Not even a peplum on her waist t Hiram. When did you marry her? 1 8 FREDDIE GOES TO COLLEGE Freddie. Just a month ago to-day (turning to Lillian ) and the honeymoon isn't over yet, is it, dearie ? (They kiss.) Ma. Oh, Fred, how could you do it ! Freddie (to Lillian). You better run along now and get ready for lunch. I don't think ma likes these clothes. Hiram. And where was you a month ago? Lillian. Good-by, papa. Good-by, mother. I'll be back in a jiffy. [Exit. Ma. Mother ! Hiram. Where was you, I say, a month ago? Freddie (singing and imitating the playing of a guitar or banjo). On the banks of the Wabash far away. Hiram. Now see here, I want this foolin' stopped! Where was you a month ago? Freddie. Just as I said. On the banks of the Wa- bash — just leavin' winter quarters. Hiram. And you been with this circus this hull last month ? Freddie. You bet — and then some. Ma. Why, Fred, who Hiram (to Ma). Now you keep out o' this. (To Freddie.) And then some, eh? How much some f Freddie. Ever since last fall. Ma (aside). Last fall ! (She sits in the rocker.) Freddie (getting up and trying to get his father to sit down). Say, pa, now you sit right down and Fll tell you all about it. Hiram (refusing). Get out, you little fool ! Freddie. Well, stand up, then, and take it like a man. (He sits hack on the writing desk.) You see it was this way, pa. You know the day I left home, you and ma took me down to the depot in the morning to take the train over to the Junction? Hiram. Yes ! Freddie. Well, I went oVer to the Junction all right — and that's as near as I ever got to college. Ma. What! FREDDIE GOES TO COLLEGE IQ Hiram. Keep still now. Let the boy tell it. {To Freddie. ) Well, what did you do at the Junction ? Freddie. Well, you know my train didn't leave till about five o'clock and this circus was in town, so I thought I'd go out to the circus grounds to while away the time. Hiram. How long did you stay out there? Freddie. Well, you see it was about half -past twelve when I got out there and it wasn't time for the show yet, and I stood around in front of the side-show tent, and there was a crowd o' fellers around a man with three walnut shells and a black pea. Hiram. Well, what about the feller with the black pea? Freddie. Well, you see, they -was a lot o' fellers betting on what shell that pea was under, and you could see, if you scrooched down a little, just where it went every time. One feller won ten dollars right while I was lookin' at him. So I thought Fd try. I missed it the first time, but I thought sure I had it the second time, so I bet the hull of the twenty-five I had left on it — and, of course, I lost. Hiram. You bet all the money I gave you that morn- ing on that shell game ? Freddie. Well, I didn't know I was goin' to lose it, did I? Hiram. Well, go on. Freddie. Well, you see, then I didn't have any money to buy a ticket up here, and didn't have any money to pay my board and room if I did get up here — and I couldn't write home and tell you what I did with the money — so the only thing I could do was to go to work. Hiram. Well, what did you go to work at? Freddie. Well, I was a-walkin' round back o' the horse-tent a-thinkin' what Fd better do, when a big feller steps up and, savs he, " Do you know how to curry a horse ? " " Do I," says L " Show me to it." Well, he took me around to where there was the prettiest horse you ever sit eyes on — one o' these Arabian horses, you know — and says he, " You curry off that horse before 20 FREDDIE GOES TO COLLEGE 2 P. M. and do it right and I'll give you a job at fifteen per." Well, I went at it and when the boss comes around at 2 p. M. he says, " Who's been getting this horse ready to-day ? " says he. Then the big feller, he pointed to me. " Did you curry this horse ? " he says to me, and I nodded. "Do you want a job?" he says. "I got one," I says. " Have you hired him? " he says to the big fellow. Then he told him he had, and the boss said, " That's all right, only make it twenty." So I was hired out to the show. Ma. And you been with this circus all this year? Freddie. Yep, every day. Ma. But, Fred, who wrote them letters? Hiram. Yes, who wrote them letters we been a- gettin' ? Freddie {laughing). Ha! Ha! Those letters. Well, I wrote some o' them and Billy Jones wrote the rest. Some I wrote and sent to him to mail and some he wrote and had me copy and send back to him. Ma. Then you didn't go to the revival meetin's, nor go forward, nor anything. Fkeddie. No, ma, I confess I didn't. I kind o' thought you'd like to hear that, and so I made it all up from the reports o' the meetings in the college paper that Bill sent me. Hiram. And what did you do with that thirty-five dollars we sent you every month ? Freddie {opening pockethook and producing roll of bills). There it is, pa. Every cent of it! You see I didn't have the heart to spend it, knowin' how hard you and ma had to work to get it — and I couldn't send it back 'cause that would give the whole thing away. {Gives it to him.) Hiram. Well, you seem to be honest, anyway, if you are a bit loose in your relations wnth wnmrnen. Now tell me about this girl you got with yuh. Freddie. Better let father do that. Here he is now. Come in, father. Meet my pa — Mr. Wallenbeck, pro- prietor of the World's Greatest Shows ! Wallenbeck. How do you do, Mr. Hungerford? FREDDIE GOES TO COLLEGE 21 Freddie. And mother ! Mr. Wallenbeck. Wallenbeck. How do you do, Mrs. Hungerford? Ma (Wallenbeck has evidently made a good impres- sion). How do you do, Mr. Wallenbeck? Wallenbeck. So you found 'em, eh, Fred? Freddie. Yes, and I got it all out except about Lillian, and I thought I better let you tell 'em that. Wallenbeck. What do they want to know about Lillian? Freddie. Well, how it all started and all that. You go ahead and tell 'em all they want to know, while I go get ready for lunch. [Exit. Ma. Yes, tell us all about it, Mr. Wallenbeck. (Wallenbeck lights a cigar and starts to throw the match zvhere the spittoon ought to he when he sees it upon the writing desk.) Wallenbeck. Hello! Quite a vase, isn't it? Ma. Yes, Mr. Wallenbeck. I want to tell you a joke on Mr. Hungerford. {She crosses Hiram to Wallen- beck and speaks rather low.) He saw it on the floor right down there and thought it was a spittoon and was goin' to spit in it ! Wallenbeck. Well, well, he ought to 'a' known better'n that, hadn't he? {He goes over to the zvindow and throws the match out. Comes back and slaps Hun- gerford on the shoidder.) Well, Hungerford, I must say that boy o' yours is certainly a wizard when it comes to horses. {Shakes hands.) Have a cigar. Hiram {looking at Ma). No, I'm chewin'. Wallenbeck. S'pose he told you how he happened to git the job with the show. Ma. Yes, he told us that. Wallenbeck. Well, do you know, he could do more with those horses of mine than any ten men I ever had. Any horse he touched began to pick right up right away. So I says to him one day, " I'm goin' to make you Super- intendent of Stables." " All right," says he. " I'll do all I can." And believe me, he did do some. When it 22 FREDDIE GOES TO COLLEGE came time to go into winter quarters I just couldn't let him go, so I held him over. Hiram. What'd I tell ye, ma? I said them horses looked as if Fred had taken care o' them. Wallenbeck. So you noticed that, did yuh? {Puffs at cigar.) And then you know he's got an awful nice disposition, that boy Fred. I used to invite him over to the house once in a while for dinner — sort of a healthy optimistic chap, you know — always liked to have him around. Ma. Yes, Fred always was a nice boy. Wallenbeck. Well, that's how it all happened. Lillian got to kind o' liking him and I told her frankly the family couldn't take in any one that would be more worth to the show business than Master Freddie Hunger- ford. And so they fixed it up just before we started out on this season's tour. Hiram. And is that girl that was in here your daughter ? Wallenbeck. Sure! Why not? I tell you, you ought to see that girl ride! {Enter Lillian in an at- tractive gown.) Why hello, Lillian, come here and tell your new papa how you can ride. Lillian {going to her father and allowing her hand to rest affectionately on her father's shoulder). Oh, father, you know I ride just miserably. Wallenbeck. Yes, sir, I tell you, Hungerford, there's just one woman that ever lived that could best Lillian on a horse. Lillian. And was that mother, father? Wallenbeck (a touch of pathos in his voice). Yes, dear, that was your mother. {To the Hungerfords.) A jealous rider in the next ring bribed the man with the hoops to trip her one day and she fell, never to ride again. {Recovering; to Lillian.) But Fve got you now, and unless your own husband goes back on you, you won't get tripped with the hoops anyway. How do you like your new daughter, Mrs. Hungerford? Ma. Well, I like her better in that dress. Wallenbeck. Ha! Ha! Of course, but then you FREDDIE GOES TO COLLEGE 23 can't be bothered with filmy petticoats, you know, when you're turnin' double somersaults on a gallopin' horse, can you, Lilly ? But say, let's go down to lunch. What time does your train leave ? Ma. 'Bout five o'clock, isn't it, Hiram? Wallenbeck. The 5:20, eh? Well, say, you folks better pack up right now and take your luggage down with you. Then you can go right from lunch out to the circus, and Fred can bring you back in his car and take you right to the train. (Lillian may help Ma pack up.) Hiram. Has Fred got a car? Wallenbeck. Sure! He's got everything the old man has ; and nothin's too good for the old man ! Ma {who has begun to be strenuously busy packing up). Do you s'pose Mr. St. James would care if I took this cake o' soap along? I ain't used much of it and it seems a shame to throw such good soap away. Yet I suppose no one would want to wash with it after we had been in here. Wallenbeck (a bit startled). Mr. St. James? Oh, I don't know about that, but I think it will be all right. Ma. And Hiram didn't use any o' his. Do you s'pose it would be all right to take that along, too ? Wallenbeck. Sure, oh, sure ! That's what all o' these things around here are for — to carry away. I knew a college professor once that wrote letters all year on the stationery he got from hotels on his summer vaca- tion. (Ma gets stationery from out of writing desk, and all the other loose things about the room disappear. Wallenbeck watches her with delight.) How big a farm have you got down there at Cairo, Hungerford? Hiram. Oh, about forty acres. Wallenbeck. Is it clear? Clear of any mortgage? Hiram. Well, there's a little mortgage of about three thousand agin it yit, I guess. Wallenbeck. Ever occur to you that maybe there wasn't? Hiram. What's that? 24- FREDDIE GOES TO COLLEGE Wallenbeck. I say, did it ever occur to you that maybe there wasn't any mortgage against it ? Read that over. {He hands over legal paper.) Ma. What's that, Hiram? Hiram. Well, it looks as though Fred had paid off the mortgage. Ma {breaking down). Oh, Hiram — after all these years! {She buries her head on Hiram's shoidder.) Freddie {entering in street clothes). All ready! Wallenbeck. Sh ! (Lillian puts finger to lips.) Freddie. What is it ? Wallenbeck {in low voice). The mortgage. Freddie. Oh, I say, ma, you don't need to feel so bad about it. Fact is it don't matter v^hether you own that farm down at Cairo or not. You ought to see my farm. Hiram. Your farm? Wallenbeck. That's right ! You ought to see Fred's farm. Fred's got 2,300 acres of the finest land God's sun ever shone on. I know, 'cause I gave it to him — gave it to him as a wedding gift. And say. Hunger- ford, you know them fine horses you saw in the parade this morning. Fred owns one out o' every three. Fred's one-third partner in the biggest show on earth and he's got enough land to keep you and his ma and me and my gal in the lap o' luxury the remainder o' our days. Hiram. Well, ma, I guess it didn't do any harm to teach Fred how to take care o' horses, did it? Freddie. And you don't care, ma, if I didn't go to college, and if I didn't go forward at the revival, and all that, do you ? Ma. Well, I don't suppose I ought to, Fred, after all this. Wallenbeck. Come along now, everybody. Gather up your stuff and let's go down to lunch. {Everybody goes out but Ma lingers behind sticking pins off the pin- cushion into her zuaist. Finally she comes. Wallen- beck stops her at the door and shows her the sign, read- ing it aloud.) " Stop! Have you left anything?" FREDDIE GOES TO COLLEGE 2$ Ma. Well, maybe I better take them telegrapht blanks. Circuses seems to move awful fast and I might want to send Fred some word some time. Wallenbeck. Ha! Ha! That's right, Mrs. Hun- gerford. You can't ever tell what's going to happen, can you? (They go out. He changes the key, and is heard to lock the door from the outside.) CURTAIN WILLOWDALE A Play in Three Acts by Arthur Lewis Tubbs. Seven males, five fe« males. Scenery, two easy interiors ; costumes, modern. This is a play ol exceptional interest and power. Admirably suited for amateur perform* ance, all the parts being good. Godfrey is an admirable heavy part, Joel, Lem and Simon capital character parts, Mis' Hazey a novel eccentric bit, and Oleander a part of screaming comedy. Plays two hours and a quarter. Price, 2J cents THE VILLAGE SCHOOL MA'AM A Play in Three Acts by Arthur Lewis Tubbs. Six males, five females. Costumes, modern ; scenes, an interior and an exterior, or can be played in two interiors. Plays two hours or more. Combines a strong sympathetic interest with an abundance of comedy. The parts are unusually equal in opportunity, are vigorously drawn and easily actable. No dialect parts, but plenty of variety in the comedy roles and lots of amusing incident Can be strongly recommended. Price, »S '"'"'■^ BAR HAVEN A Comedy in Three Acts by Gordan V. May. Six males, five females Costumes, modern ; scenery, two interiors and an exterior, not difficult. Plays two hours. An excellent piece, mingling a strongly serious interest with abundant humor. Offers a great variety of good parts of nearly equal opportunity. Admirably suited for amateur performance, and strongly recommended. Price, 2J cents DOWN IN MAINE A Drama in Four Acts by Charles Townsend. Eight male, four female characters. This play has no villains, no tangled plot nor sentimental love scenes ; yet the climaxes are strong, the action brisk, and the humor genial, and the characters strongly drawn. Can be played in any hall ; scenery, of the easiest sort. Properties, few and simple ; costumes, modern. Plays a full evening. Strongly recommended. Price, 2j cents HIGBEE OF HARVARD A Comedy Drama in Three Acts by Charles Townsend. Five males, four females. Modern costumes ; scenes, two interiors and an exterior — the latter may be played as well in an interior, if preferred. Plays a full evening. A clever, up-to-date piece, well suited for amateur performance. No small parts; all good. Good plot, full of incident, no love-making, interest strong and sustained. Price, /j cents HOW JIM MADE GOOD A Comedy Drama in Four Acts by Charles S. Bird. Seven males, three females ; two male parts can be doubled. Costumes, modern ; scenery, three interiors. Plays two hours. An unusually sympathetic play, well suited to amateurs. Clean and easy to get up. Recommended to high schools. All the parts are good. Price, 2J cents MERRY MONEY MAKERS A Collection of Entertainments for Church or Lodge Performance, Adapted to any Sect or Community In this volume we have assembled several entertainments calling for a large number of characters such as are in demand for Church and Sunday- School performance in order to employ the services of as many of the children as possible. With these are offered several other popular pieces, new and old. Price, 2j cents CONTENTS Samantha Snodgrass and the Ladies' The Last of the Peak Sisters, g males. Aid. lo/cmalcs. y ft-tiui/es. The Annual Picnic of the MuggsviUe The Rag Doll Party. 4 males, lo ft- Sunday-School. 16 males, ^^J'emalcs. males. Beresford Benevolent Society, i male, The Summerville Bazar. 21 males, 7 females. 31 females. The Emigrants' Party. 34 males, 10 fe- males. SHORT PLAYS FOR SMALL PLAYERS A Collection of Entertainments for Children of All Ages Bj/ Edith Burrows, Gladys Ruth Bridgham and others This volume offers eight entertainments, old and new, intended for the use of schools and carefully selected to that end. Cleanliness and dra- matic interest have been the chief criteria in selection, but the effort has also been made, where this could be done without obtruding it, to embody improving suggestion. Tlie wise youngsters of this advanced generation scent a " moral'' afar off and are prone to repel its stern advances, but it is always possible to surround the pill of improvement with a palatable jam of fun. Price, 2j cents CONTENTS The Key. 16 io/j, 17 ^/r/j. Pat's Excuse, j hoy, i girl. The Children's Hour, y toys, 12 girls. Grammar School Fun. ly boys, Vj girls. School Opera. ^ boys, ^ girls. A Temperance Frolic. 3 boys,ii girli. "ack and the Beanstalk. 3 boys, 3 girls. and chorus. ^ ouquet of Rose Spirits. 8 boys, 18 girls. CLEVER COMEDIES For Female Characters A Collection of Selected Entertainments for Ladies Only by Popular Authors This collection gives an admirable opportunity to make choice at a small cost of an entertainment for schools or amateur theatricals. All the pieces that it contains have been successful as independent books and are very varied in casts and character. Price, 2j cents CONTENTS A Corner in Strait-Jackets. 8 ladies Gaffer Grey's Legacy. 8 ladies. and 3 children. The Governess. 3 ladies. The Dairy-Maids' Festival. Any The Grecian Bend. 7 ladies. number of young ladies. A Sad Mistake. 6 ladies and chtruS' A Daughter-In-Law. 4 ladies. Slighted Treasures. 4 ladies, Bliza's Bona-Fide Offer. 4 ladies. To Meet Mr. Thompson. 8 ladln. Should be played by boys sixteen and seventeen years old. A REGULAR RAH 1 RAH ! BOY A Comedy in Three Acts By Gladys Ruth Bridgham Fourteen male characters, sixteen or seventeen years old. Costumes, moaern ; scenery, two interiors. Plays an hour and three-quarters. An ingenious and interesting story of football politics, into the plot of which the " movies " enter as a detective agency. Fred Williamson's unex- pected talents as a photo-play comedian get him into all kinds of trouble. Full of the true college atmosphere, lively, bright and a sure hit. Strongly recommended. Price, 2j cents CHARACTERS Le Roy ^kiggs, cafitain of the football team' Sam Bigelow, centre Fred Williamson, quarter back Hakold Smith, half back Philip Ainsworth, sub Dick. Colton, sub. Russell Sydney ] Leonard Ferguson > Juniors. Stephen Reynolds j Clayton Kmo, football coach and instructor in Milford Academy. Murphy, trainer. Mr. Deane, an instructor. Alexander Norton, Manager of the Star Moving Picture TJieatre Jimmy Colton, Dick' s little brother, " a regular rah I rah! boy." Extra schoolboys and visitors for acts two and three. ON THE QUIET A Comedy in I'vvo Acts By Gladys Ruth Bridgham Twelve male characters. Costumes, modern ; scene, a single interion Plays an hour and a half. A picturesque and exciting story of the Maine Woods. Some Dartmouth freshmen, camping out, become the victims of a practical joke by one of their number who tires of the unex- citing life of the camp. They discover a note telling of a brutal murder in the woods and in their pursuit of the criminal through clews ingeniously furnished by the joker, they get a lot of inoffensive people into a sad mix-up, with the aid of Jeremiah Hincks, a rustic Sherlock Holmes. Very swift and lively and strongly recommended. Price, 2^ cents HIRAM JONES' BET A Farce in One Act By May E. Countryman One male, two females. Costumes, modern ; scenery, an interior. Plays twenty minutes. Hiram Jones, an incurable maker of bets, in- veigles two ladies into making wagers with him in regard to the loan of a patent egg-beater ; he thinks that he has a safe thing on both, but dis- covering his plot, the ladies get together and so arrange matters that he loses both bets. Very lively, bright and funny and a sure thing with an audience. Price, ij cents THE BOY SCOUTS A Play for Boys in Three Acts By Walter Ben Hare Twenty males. Scenery, unimpprtant; costumes, scout and modern. Plays two hours. Worth refuses to vote for Tony as a new scout because the latter is poor, but Tony shows in the end that lie is a true scout and wins his election. This simple motive underlies lots of characteristic fun and stunts, and ofTers as a whole a very vigorous and sympathetic picture of the Boy Scout practices, motives, and ideals. Strongly recommended. Price, 2^ cents CHARACTERS Stewart Nipper, known as Nip. Fred Tuck, known as Tuck. Dick Randolph, the patrol leader. WoRTHiNGTON LEONARD, a rich boy, Tony Ardis, a poor boy. Jakie Stein, with business instincts. Chubby Childs, who don' t care if he is fat. Watermelon Jackson, a lazy coon. Mrs. Watermelon Jackson, and her seven little coons. {May bi omitted. ) LiPPY Scudder, who thinks he's a hero. Bub Waldron, going on seven. Jack Hall, assistant patrol leader. Plupy Higgins, who likes to study. Lee Waldron, '$ Plays Price, 50 0ctite Eacb Min THANNFI Play m Four Acts. Six males, five females. *'*•*'"*'**•'**'*'"" Costumes, modern; scenery, three interiors. Plays two and a half hours. THE NOTORIOUS MRS. EBBSMITH ^.ir^^.Tt males, five females. Costumes, modern; scenery, all interiors. Plays a full evening. , THF PRHFIinATF Play in Four Acts. Seven males, five AllLi 1 l\V/l Ij1\I/\ 1 Li females. Scenery, three interiors, rather elaborate ; costumes, modern. Plays a full evening. THF ^rHOni MI^TDFQQ Farce in Three Acts. Ninemales, inii 0\.IVDV/LiI nine females. Scenery, three interi- ors; costumes, modern. Plays a full evening. THF TllWF^ Comedy in Four Acts. Six males, seven females. ■ "*-• I Il'lIjiJ Scene. a single interior; costumes, modern. Plays a full evening. THF WFAITFR ^FY Comedy in Three Acts. Eight males, 1 111:1 TT d/lIVEiIV >j£iA. eight females. Costumes, modern; scenery, two interiors. Plays a full evening. A WIFE WITHOUT A SMILE ^Te'^J^^^J^rflJ^ll: Costumes, modern ; scene, a single interior. Plays a full evening. Sent prepaid on receipt of price by Walttv ^. pafeer & Company No. 5 Hamilton Place, Boston, Massachusetts LIBRARY OF CONGRESS ^^ *%**'»»' '^A 015 793 074 6 C|)e S^iUiam Wvixxt\\ Hi^iMvxuw of Papfi; AC TAIT I IITP IT Comedy In Five Acts. Thirteen males, four BiS IWU I4am II females. Costnmes, picturesque ; scenery, va- ried. Plays a full evening. #»|M|f f C Drama in Five Acts. Nine males, five females. Oos- VAJUlLfUC tumes, modern ; scenery, varied. Plays a full evening. INfiOMAtt Play In Five Acts. Thirteen males, three females. inuUinitA Scenery varied ; costumes, Greek. Plays a full evening. MADV STITADT Tragedy in Five Acts. Thirteen males, four fe- OlAIVl iJlUAni males, and supernumeraries. Costumes, of the period ; scenery, varied and elaborate. Plays a full evening. THE MERCHANT OF VENICE S>XsSLl7etnl!:L- IV^^^, pioturesquo ; scenery varied. Plays a full evening. DirHFl IFIT Play in Five Acts. Fifteen males, two females. Scen- l\lvUIU ery elaborate ; costumes of the period. Plays a full evening. THF RIVAT^ Comedy In Five Acts. Nine males, five females. 1 liC HI T AhS Scenery varied ; costumes of the period. Plays a full evening. SHE STOOPS TO CONQUER SX'U? ^'"' '"'''• Fifteen females. Scenery va- ried ; costumes of the period. Plays a full evening. TWELHH NIGHT; OR, WHAT YOU WILL ""^^^^^JUi:, three females. (all evening. Costumes, picturesque ; scenery, varied. Plays a Sent prepaid on receipt of price by Salter 1^. "Bafeer & Compani? Ro. 5 Hamilton Place, Boston, Massachusetts a. J, PARKHILL a CO.. PRINTERS, BOSTON. U.S.A. A LIBRARY OF CONGRESS 015 793 074 6