?5 «^ ^ '5 PLAYS FOR FEMALE CHARACTERS ONLY 15 CENTS EACH p CRANFORD DAMES. SScenes; 1)^ hours 8 GERTRUDE MASO]S", M.D. 1 Act; 30 minutes 7 CHEERFUJL. COMPANIO]N'. 1 Act; 25 minutes 2 LESSOIS" rN" ELEGANCE. 1 Act; £0 minutes 4 MAIDEIS^S AEE FORLORN. 3 Acts; l^ hours 6 MURDER ^VILE OUT. 1 Act; 30 mimites 6 ROMANCE OF PHYLLIS. 3 Acts; l^ hours 4 SOCIAL ASPIRATIONS. 1 Act; 45 minutes 5 OUTWITTED. 1 Act; 20 minutes 3 WHITE DOVE OF ONEIDA. 2 Acts ; 45 minutes 4 SWEET FAMILY. 1 Act; Ihour 8 BELLES OF BLACKVILLE. 1 Act; 2 hours 30 PRINCESS KIKU. (35 cents) ... 13 RAINBOW KIMONA. (25 cents.) 2 Acts; li^ hours 9 MERRY OLD MAIDS. (35 cents.) Motion Song 11 PLAYS FOR MALE CHARACTERS ONLY J5 CENTS EACH M APRIL FOOLS. 1 Act; 30 minutes 3 BYRD AND HURD. 1 Act; 40 minutes 6 DARKEY WOOD DEALER. 1 Act; 20 minutes 3 WANTED, A MAHATMA. 1 Act; 30 minutes 4 HOLY TERROR. 1 Act; 30 minutes 4 MANAGER'S TRIALS. 1 Act; Ihour ,„ 9 MEDICA. 1 Act; 35 minutes 7 NIGGER NIGHT SCHOOL. 1 Act; 30 minutes 6 SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 PICKLES AND TICKLES. 1 Act; 20 minutes 6 HARVEST STORM. 1 Act; 40 minutes 10 CASE OF HERR BAR ROOMSKI. Modi Trial; 2 hours... 28 DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 RIDING THE GOAT. Burlesque Initiation; 1 Scene; li^ hours 24 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. RAPS % l^autieDiUe Mtt^ BY ELEANOR MAUD CRANE AUTHOR OF "BACHELOR MAIDS* REUNION," " BILLY 'S BUNGALOW," "JUST FOR FUN," ** IN THE FERRY HOUSE," "LITTLE SAVAGE," "LOST NEW YEAR," "MEN, MAIDS AND MATCHMAKERS," "NEXT DOOR," "PAIR OF IDIOTS," "RAINBOW KIMONA," "WHEN A MAN'S SINGLE," "YE VILLAGE SKEWL OF LONG AGO," ETC. Copyright, 191 i, by Dick & Fitzgerald ^ NEW YORK DICK & FITZGERALD 18 ANN STREET RAPS. CHARACTERS. Patrick O'Gorman Carpenter and Plasterer Jack McAllister One of the Boys Time of Eepresentation. — About 30 minutes. INCIDENTAL PROPERTIES. Bag of Carpenter's tools. Dinner-pail. Two Step-ladders. Board. Pipe. Flower. Monocle. Playing Card. Drink- ing-cup. Cigarettes. Matches. Two apples. Flask. Wrap- ping paper. TMP92-008961 CCI.D 23936 RAPS. SCENE.— Plain Interior. ENTER Patrick O'Gorman wearing overalls, and carrying hag of carpenter s tools and dinner-pail in one hand and a step-ladder in the other. He puts pail and hag upon the floor and proceeds to set up ladder, EXITS and returns with second ladder which he places several feet from the •first, EXITS and returns with hoard which he places across the tops of ladders whistling softly as he worJcs " The Wearing of the Green/' Mounts ladder, hag in hand, looks ahout, scratches his head. Seats himself on hoard, draws pipe from his pocJcet, lights it and proceeds to smoJce. ENTER Jack McAllister, slightly under the influence of liquor. Evening dress, flower upside-down in the hutton-hole of his coat and monocle dangling. He sways unsteadily as he comes forward. Looks down at hase of ladder then seats himself with difficulty upon the floor and removes low patent-leather shoes. Rises, shoes in hand, puts hand on side of ladder and one foot on lowest round as if to mount, Pat (who has heen watching Jack in open-mouth astonish- ment). Well, Oi'll bay domned. Jack (speaking in loud whisper and raising his finger to his lips). Shush. You'll wake the old woman. Pat (taking pipe from his mouth). Wake her? If she could be a-seein' of ye now, it's yer own wake ye'd be after attindin' Oi'm a-thinkin'. But ye're safe this toime, me bi. She's out. Jack (in surprise). Out? Thish hour night ? 'Mpossible. Pat. An' what hoour of noight air ye makin' it now ? Jack (looking sleepily at his monocle, shaking it and hold- ing it to his ear as if it were a watch). Shtopped again. 4 Raps. That'sh worst 'f those scheap watches. However, makesh no difference. Know it's one clock. Heard clock strike's I came in. Struck one eight times. Pat. Eight ye air. It's eight o'clock. Jack {looking up at Pat). Mean t'say ishn't to-night? Pat. Sure an' it ain't. It's to-morry, bi', to-morry. Jack {leaning up against step-ladder and shaking his head). Then where the devil did t'day go? Shay, ol' man {looking up at Pat) 'f thish ish to-morrow who — who the deuce 'm I? Pat. Search me. Jack {running his hands through his pockets). Got card shomewhere. Here 'tish. {Draws face card from pocket, gives it with formal how to Pat. Pat puzzles over card) Make it out? Pat. Sure. It's the Jack of Jack {interrupting him triumphantly). That — that'sh me. I'm Jack. Pat {reaching down to shake the hand which Jack stand- ing on tiptoe extends to him). And begorrah, Oi think Oi've seen you somewhere, before. „ Jack. 'Spect y'have. I go there 'casionally. {Puts hand in pocket) Have a drink? Pat {delighted). Wal, noow, that's something loike. Jack {taking drinking-cup from pocket, putting it together, and holding it out to Pat) Help shelf. {Looks up at Pat^ who is scowling down at him angrily) What — what you giving me such a nashty look for? Pat. Sure and ye've got a nasty look all right, but it ain't Oi thot gave it to ye. Whar's the loinin' to the coop? It's ez empty ez ye're full. Jack {making several vain attempts to light cigarette at last succeeding, then gravely tries to blow out cigarette and smoke match). Think I'm drunk, eh? Pat. You're a pretty gintleman! Jack. How the dev-devil d'you find that out? I shaid t'her t'night. I mean lasht night. Yes'day night, you know. , " Kathrine," shaid I, " yo're the prettiest girl I know and I love yer." She shaid, " Jack, 'fyou're gentleman, go home." Came home. Musht be gentleman. C. Q. D. No, C. O. D. Pat. So ye're in love, eh ? Jack. Yesh, in love. Very morantic. Booful girl. Boo- ful hair. Puffs, rats. Ain't 'fraid of rats either. Come down, ril tell y'all 'bout her. 9 Raps. 5 Pat (lighting his pipe). Can't do it. Got a job. Busy day. Jack. That's sho? Then I'll come up. (With his shoes in his hand J tries to mount ladder, swaying and slipping at every step. Stops half way up, looks at Pat) I shay, JuFet. I — I'm a devil of a Pomeo. Pat. You're a rum one, all right. If you could see your- self ez Oi see you Jack. That'sh nothing. 'Fyou'd see y'self as I she you, you'd be s'prised. You — you've got eight heads, big ones, shwell ones, going round and round. Pat. On the level, is thot square ? Well, Oi'll bay domned. Jack (with dignity). How dare you shware b'fore gentle- man? Pat (indignantly). How the divil did Oi know ye wanted ter sware furst? Jack (succeeding in reaching top of ladder, seating himself "beside Pat). 'Nother thing wish you'd be more careful your grammar in my preshence. Pat (indignantly). Whin it's mesilf whot took the proize fur parsin' at school. Didn't they larn me " Bedad an Oi am, Be jabbers thou art, Bejorrah, it's him. Who sez thot we ain't? Oi till yer, ye air. By domned but it's thim.'^ Jack (trying to put left shoe on right foot and gesticulating as he talks). Took prize self once for declaiming. Little chap. Four months old Kecited ditto. Thish way: Twinkle, twinkle, little star. Up 'bove trolley-car. Trolley-car ran off the track, Wish had me nickel back," Pat. See here, bi, ain't yer puttin' thim shoes on the wrong feet? Jack (looking ruefully at feet). But what ^m I going t'do 'bout it. Theshe 'rail the feet I've got. Thatsh plain's A— B— C— Pat. Thin ye're D— E— F— Jack. Tell you I'm in love. That'sh trouble. Love! Love ish — well, love ish heaven. Pat. Love's hell. Guess Oi ought ter know. 6 Rat>s. Jack. Been there? Pat. Sure. She wuz a peach. Bow-legged and cross-eyed so she couldn't look where she wuz goin' or go where she wuz lookin'. " Patsy, dear," says she the noight bayfore the weddin', " OiVe a confission to make, Oi'm a somnambulist." " Whist, Norah," sez Oi, " don't let thot bay after a-bortherin' yer. Ye kin kape your religion an' Oi'll kape moine." Ah, But she wuz a darlint! Foight? Why she bit a hole in my chake onct as big as yer two thumbs. Oi tuk her to the jidge ter hev her bound over ter kape the pace but (sighing) she'd swallowed it. Jack. What was row 'bout? Pat. She'd axed me ter stip out an' buy her a couple of egg-plants an' jist because Oi fetched her home two hens she flew at me. Thot wuz the furst toime Oi wint shoppin' fur her. Once she wanted me ter buy her a shirt-waist. Oi wint oop to the " Pittsburg Blond behoind the counter an' Oi sez," " Oi'd loike ter see some shirt-waists." " What bust ? " axed the girl without so much ez lookin' at me. " Oi' didn't hear anything," sez Oi, an' the Keely-Cured Brunette next her most split her sides laffin'. Nor ah wuz frum Philadelphy, you know, an' how she stood up fur thot morgue. " Philadelphy's a well-laid out city," sez she, " New Yark ain't in it wid her." " No, darlint," sez Oi, " New York ain't laid out ne^r so well ez Philadelphy, fur it ain't been dead so long." Sich a weddin' journey ez w i hed, Norah an' me. We wint by water. Furst day out it wuz foine — gorgeous. Nixt day — (Shaking his head) Disgorgeous. An' sich a gift o' the gab ez Norah had. Iverything thot wint in at her ear came out of her mouth. Oi'll give ye a tip, bi, there's three ways of spridin' news. Tilaphone, tilagraph, an' tilawoman, an' the last's the quickes'. Oi took her out ter dinner oust. " Will ye hev a cock-tail, fnrst," sez Oi. " No," sez she, " Oi niver could abide chicken. Oi want ter supprize me stummick whin Oi go ter a resterrant." So she took lobster, crab, blackberry-pie, an' peach ice-cream. She got her surp-oize all roight. My, my, but she wuz ill! Jack. Dan .erouslv so? Pat (shaking his head). Too ill ter be dangerous. Noth- in' iver bothers me loike thot. Oi kin ate the (w) hole of a doughnut without winkin'. An, she wuz a rare wan, wuz Norah. Raps. 7 " You're gittin' a double chin, Norah/' sez Oi, " you'll hev ter diet." " Dye it? whot color? " sez she, quick ez a flash. Wance she fell an' broke her leg. Whin she got well one leg wuz shorter thin the ither. " Oi'm goin' to a Christian Science doctor," sez she, " ter git absint treatmint," sez she. Oi laffed at her, but sure enough wan mornin' she woke up an' found the short leg hed grown down same ez the ither. " Kun aroun' ter the doctor, Pat," sez she, " an' tell him Oi'm cured." But if Oi didn't lose the address, an' (Scratching his head) Be jabbers, her leg's growin' yit. She's a rare one is Norah. Whin the landlord told he wuz goin' ter raise her rint she told him she wuz gladj fur she couldn't raise it. Jack (pointing to Pat's bulging poclcets). What's in yer pocket, Irish? Pat. Thot, United States, is me lunch. (Takes a couple of apples from his pocJcet) Hev wan? Jack. Don't care if I do. Pat (hreaJcing open apple and examining the parts care- fidly). What's worse than foinding a worm in an apple? Jack. Finding two worms. Pat. Nope. Poinding half a wan. (Jack spits out apple) Say, bi, where do ye work? Jack. I'm taking a vacation. Boss said something I didn't like. Told me he wouldn't need me any more. So I left. Won't have any man talk to me that way. Used to be on Wall Street. Pat. Bull, bear, or plain jackass? Jack. I shay, how much longer do we hang out 'nthish here clothes-line? I'm dry 'nuff now. Pat. We work till foive, thin we're through. Jack. What ish it we're doing? I forgot. Pat. Sure'n we're after a-lookin' fur ghosts. Jack. We're doing what? Pat. Lookin' fur ghosts. Thot's' what yer owld woman seys whin she sint fur me. " Pat," seys she, " there's curious rappin's in these walls. An' Oi want you to foind out what it manes if ye hev ter tare doon the plaster. The place is hanted," seys she, " an Oi ixpict yer ter foind the hant." Jack (putting on his hat sideways and edging himself along the hoard until he reaches the ladder) Oh, But — But — I — I shay. I can't stay any longer, you know. Very presshing gagement. S Raps. Pat {edging after him and placing his hand on Jack^s shoulder). Wait a minute. Don't — don't lave me. (A rap- ping several times repeated is heard hack of them. Both start and shake) What — what the diviPs thot? Jack. I didn't hear anything. Pat (his teeth chattering), Nather did Oi. (Rapping) Mither of Moses, there it is again. Jack (stammering). If — if — you — you shake so — so hard, you'll joggle us both off. Pat. Oi tell ye what. You turn round an' say if iny- thing's back uf us. Jack. Turn round yourself. I'm not such a fool as I look. Pat. You couldn't be, me bi'. Jack. I mean you take me for a bigger fool than I am. Pat. Sure an' Oi couldn't do thot airther. Jack. I have it, we'll turn together when I count three. Now, One, two — (Mapping) D — D — Did you hear any- thing that time? Pat. Niver a rap. But Oi say, don't let's turn jist yit. Oi haven't finished me poipe. (Very loud and prolonged rapping. Pat drops pipe) Kape — ^kape still and it'll git tired an' quit. Jack. No, it won't. It — it'sh on to us. Besht thing we can do ish to make a racket. Eaish the deuce. Let it shee we're not scared. Pat. But — ^But — Oi — Oi — don't fale loike raisin' the deuce. Oi want ter bay quiet an' — an' sober an' think of me past loife. Jack. That'sh jusht it. You mushn't. Shout — sing — whistle. Go like an automobile. (They maJce an outlandish noise. Imitating as many things as possible, steamwhistles, sirens, fog-horns, and all the time the rapping continues getting fainter and fainter, finally stopping altogether.) Pat. Hooray, we win. (Mops his brow) Begorrah, but that's the toughest faive minutes I iver spint. Jack. What a fool y'are, Irish. Fraid y'own shadow. Look at me. (Draws himself up.) Pat. Hm. Oi notice ye ain't a-turnin' round. Jack. Think I'm scared too. Jusht watch me. (Turns partly around). Pat. All the way, mon, all the way. (Jack turns gingerly) Anything thar ? Jack. Of course not. Raps. 9 Pat. (laughing), Oi knew thar wasn't all the toime. Wuz jist givinV ye a jolly. Noow let's see yer git doown the eseulator. Jack. Will you follow? Pat. Sure. Ye go ahead an' Oi'll proceed ye. Don't bay afraid, little wan. (Both edge to the end of hoard and start down ladder. Very loud rapping is heard and they fall the rest of the way, rolling over each other) Oi'm dead. Oi'm kilt 'intoirely, Oi'm knocked spacheliss. Jack. Hush. There's something behind all this. There's devilment somewhere. T shall investigate. First — (TaJces flask from pocket, drinJcs.) Pat. That's the proper spirit. Jack (giving flash to Pat). Put spirits down to keep the spirits up. Pat. Put the spirits in, keep the spirits out. Jack. And now for ghosts. (Buttons up coat) B'hold the charge of the Light Brigade. Pat. Will ye koindly not mintion me gas-bill so loightly. Jack (putting his hat on sideways and crossing his arms). Washington crossing the Rubicon, Napoleon crossing the Delaware. Pat (imitating Jack). An' Pat crossin' his eyes. Jack (seizes tools, runs up ladder, examines wall, from hehind which rapping again sounds louder than ever. Tears off strip of wall-paper which he holds triumphantly aloft.) I knew it. I thought as much. (Rapping stops as soon as he removes paper.) Pat. Sure, an' what hez thot ter do with it? Jack. Everything. What can you expect but rappings from a wall covered with (w) rapping -paper? (Parody^ Song or Dance.) CTJETAIN. VaudeviDe Sketches BERNSTEIN AND FIRESTEIN. 15 cents, a ,aud.viite sketch in Hebrew dialect for 2 male characters, by James F. Parsons. Tjmc, abo»2t 15 minutes. Exceedingly funny both in ludicrous topics, Sheeney hits and droll repartee ; concluding with the song "Oh, My I Von't We Make der Mon^/ I " for which thv text and music are given. TWO WANDERING JEWS* is cents, a vaudeville sketch in Hebrew dialect, for 2 male characters, by Harry E. Shelland. Time, about 15 min- utes. Full of funny and catchy dialogue and repartee, and ending with a song. NEW CHAUFFEUR, The. 1 5 cents, a vaudeville automobile skii^ for 2 male characters, by Harry E. Shelland. Time, about 15 minutes. A Dutch* brewer hires an ignorant Irishman for chauffeur. A terrible catastrophe and a rac/ dialogue in which Pat gets the better of the Dutchman. Just too funny and leading up to dialect minstrelsy. MULDOON AND THE NIGGER ? or. White and Black, is cents. A dialect vaudeville Sketch for two males, by H. E. Shelland. Muldoon^ an Irish stage-manager, meets very suddenly y^^wj^//, a darkey, whom he wished to engage as an actor in a Mephistopheles drama. After a lot of funny characteristic talk, they rehearse Johnson s part. After some ridiculous attempts at highfalutin* tragedy, partly in very blank v^rse^ Johnson collapses. They close with a song. MA'S NEW BOARDERS, is cents, a farcical sketch in I act, by W. C. Parker. 4 male, 4 female characters. Mrs. Holdtight leaves her boarding* house in her daughter's charge. Prof. Alto-Gether calls a rehearsal of the village choir, but gives them the wrong address. The choir turn up at Mrs, H.^s and ars mistaken for new boarders. Then follows an uproarious series of incidents that end in the Professor s round-up. Can be played ** straight," or with specialties. Excellent chance for single or double quartette. No scenery required. Time, 30 minutes. PAPA'S BULLDOG, is cents, a farcical sketch in i act, by W. C. Parker, i male, 1 female character. The hero tries to "coach" his sweetheart in some private theatricals. Her ignorance exasperates him so completely that a furious ^aarrel ensues. Unexpected consequences convince each that the other is crazy, and tne fun is brought to a cyclonic climax by the intervention of Papa's bulldog. The piece can be played " straight," or specialties may be introduced. Time, 30 minutes. No scenery required. AFTER TriE BALL, is cents. A vaudeville character sketch in x act, by Harry E. Shelland. i male, z female character. Scene, a jilain interior. Time, 20 minutes or longer, according to specialties introduced. A bright dialogue between a youth and girl of the old Bowery pattern, with disjointed remarks and rep- artee while dancing the two-step, and aff&rding opportunity for song and dance or other specialties. POINT OF VIEW, The. is cents. A sprightly comedy sketch, by Bell Elliott Palmer, i male and i female character ; time of representation, 20 minutes, in which Elinor Jardine tries to convince Fred Winston^ to whom she is shortly to be married, that her conduct in regard to a former rejected suitor, although unconv^itional, is entirely justifiable. Fred confesses to a similar but pretended pro- ceeding with another young lady. Elinor's jealousy is so aroused that she calls down the engagement. He then proves that his flirtation is assumed merely to convince her that her point o/yiew is absurdly untenable, a fact which she is gladly compelled to admit. Reconciliation follows, of course. An illustration of the feminine " because " outwitted by masculine strategy. PROFESSOR'S TRUANT GLOVES, The. is cents, a comedy sketch, by Bell Elliott Palmer, x male and i female character. Time of repre- sentation, 20 minutes. A charmingly elaborated duologue, showing how a young lady of extremely womanly discernment smooths the way to a declaration of love from a man unaccustomed to women's ways, and so terribly bashful and diffident, that he mis- interprets all she says and does. A fetching example of womstnly tact and diplomacy. Plays for Male Characters WIDOWS PROPOSALS, The. is cents, a farce in I act, by W. D. Felter. 3 male characters — one impersonating an old woman, which is the lead- ing part. No scenery required. Time of playing, 30 minutes. An episode from "The Bedott Papers " that admits of low-comedy treatment, so that a succession of giggles will greet its performance from first to last. The author has produced this skit at scores of entertainments, and never yet failed to bring down the house with it. APRIL FOOLS* 15 cents. A farce in i act, for 3 male characters, by W. F. Chapman. Time, 30 minutes. For a half hour of roaring fun this farce has few- equals. It is brisk, bright and full of funny situations, and the characters are exceed- ingly well contrasted. Each imagining that the others are foolish, crazy or drunk, misunderstandings follow one another in rapid succession until, when everything is in a hopeless tangle, it is discovered that all three are the victims of a practical joker, who has made "April Fools " of them. No scenery required. WANTED, A MAHATMA* is cents, a comic sketch in I act, for 4 male characters, by Gordon V_. May. i interior scene. Professor Astralile, a fortune-teller, is in bad luck. Squire Babcock offers him a hundred dollars for a Mahatma. His friend, Frisby, an adventurer, disguises himself as a Mahatma. Squire puts his wallet on table. The temptation is too much for Frisby, who grabs the wallet. A struggle — the disguise falls off. Exposure and escape. HOLY TERRORt A* 15 cents, a farce in i act, by O. Wenlandt. imale characters — either white or black face. Plain room scene or no scene at all. ostumes to suit, except that of one character who is rigged out as a howling '' swell." Plays 30 minutes. Specialties can be introduced according to convenience and talent. The piece will make an audience laugh till they're tired. VANTED, A CONFIDENTIAL CLERK* is cents, a farce in I act, by W. F. Chapman. 6 maje characters, viz. : eccentric merchant with a weakness for proverbs, comic Irishman, *' dude," talkative *' sport," shabby genteel *' bummer" and the clerk who gets the situation. No scenery required. Time, 30 minutes. A capital farce with scope for easy character acting, full of ridiculous situations, racy dialogue, comical "business" and spirited action. Shows a mer- chant's difl&culty in securing a satisfactory clerk, and creates unlimited merriment. MANAGER'S TRIALS, A* is cents, a farce in i act, by A. L. Fisher, for 9 male characters, viz.: theatrical manager, darky servant, "tough," dude, sta^^e-struck Dutchman, crushed tragedian, Irish policeman, and 2 comic female rdles C*high kicker" and old maid) to be played by male actors. Daniel Slowtnan advertises for a few more people for the " Fly by Night Folly Co." His encounters with the various stage-struck applicants who respond will make a mummy laugh. The piece is rich in opportunities for easy but telling character acting for 9 boys or young men. ** MEDICA**' IS cents. A farce in i act, by W. K'. Engle. 7 male char- actei^ — 2 darkeys, 5 white faces. Scene, a doctor's office. Costumes to suit. Time, 35 minutes. Runs with a snap from beginning to end — there isn't a slow part in it — and is sure to please. When originally played by the Amphion Minstrels, it elicited continuous screams of laughter from a delighted audience. It will bring down the house wherever played. SNOBSON'S STAG-PARTY* is cents, a farce in i act, by Lbvin C. Tees. 12 male characters, including 2 female impersonators. Parlor scene. Runs about i hour if played "straight " ; can be lengthened with *' special- ties" (which are provided for) according to talent. In giving his party Snobson invites the guests at random from the city directory. The guests arrive, including two ladies — white and black— who get in by mistake, and a hot old time ensues. Finally, Bill Ballotbox comes in with a brass band and a political delegation, and the fun culminates in a regular war dance. The cast includes a crusty old gent, gay youth, **coon," Dutchman, Irishman, Dago, Cockney, wench. Irishwoman, tough citizen, crushed tragedian, ward politician. The piece will fetch incessant roars of laughter, and can be made the medium of all kinds of " specialties." MISCHIEVOUS BOB* is cents, a comic drama in i act, for 6 male characters. Plain room scene. Time, 40 minutes. A taking farce for boys, marked by a serious, and even pathetic, as well as comic interest. The characters are true to nature, and the moral gilded with genuine humor, Bob 9boul4 be played by a fpull boy ; the size of the others is unimportant. Mock Trials, Initiations and Monologues MAN PROPOSES, BUT WOMAN DISPOSES, is cent.. A Sprightly and emotional Monologue by Lawrence D. Fogg, in which a young lady, on her birthday, endeavors by the guidance of letters and gifts from her numerous admirers, to decide on one of them for a husband. Her criticisms are witty and amusing, but she fails to make any selection. Why ? — Because. CONFESSIONS OF A MALE FLIRT, is cents, a monologue, by Lawrence D. Fogg, in which a bachelor, on the eve of his wedding, while burn- ing his love correspondence, recalls to mind some of the girls with whom he has been in love, with his hopes, his successes, and his disappointments. A strange medley of humor and heart-burnings, ending with a pathetic climax. Note — At the end, while the performer's head is buried in his hands, a procession may pass slowly by, repre- senting the girls he has been describing; similar in effect to the scenes in the " Reveries of a Bachelor." SHOW AT WILKIN'S HALL, The^ 15 cents, a comedy costume monologue for a lady, or gentleman in female costume, by Bertha M. Wilson. A *' Take-Off " on Delsarteans in 2 scenes • the second can be given without the first, being complete in itself. A sure hit. WAKE AT O'GRADY^ The. 15 cents. By William Sidney Hillyer. a monologue for an Irish character comedian. Runs 15 minutes. Besides the "wake," Mr. Du^an tells all about the christening at McGuire's, Especially recommended. CRUSHED TRAGEDIAN, A. 15 cents. By William Sidney Hillyer. A character monologue for male comedian. Depicts the reminiscences and tribulations of '*the palmy days" by one of *' the old school." Runs about 15 minutes. Especially recommended. MATRIMONY— BEFORE AND AFTER. 25 cents, a humor- ous monologue, describing in a series of funny stories and sly deductions from facts more or less authentic, the hopes and delusions of the maudlin stages of love and courtship, and the awa.kening realities as viewed from the final standpoint of matri- mony. It keeps an audience in broad grins and explosive laughter for about 20 minutes. GREAT LIBEL CASE, The. 15 cents, a new mock trial, by Harry E. Shelland. 21 males. 8 leading characters and 13 jurymen (i excused). A roaring travesty of proceedings in court in the backwoods of Kentucky. The war experiences of the defendant, a bogus colonel, and the personalities of a jury of mixed nationalities and occupations, make this trial a screaming farce. It plays a whole evening. CASE OF HERR BAR ROOMSKI CONEYISKEY, The. (An Anarchist.) 15 cents. A new Mock Trial, by Harry E. Shelland. 27 male, I female (usually played by a male) characters. The latest and most amusing mock trial published. Good Tramp, French, German, Irish, Negro and Jew parts. Plays a whole evening. RUGGLES vs. THE PADERWHISKIE SCHOOL. 15 cents. A mock trial, by Charles J. Martin. Arranged for i8 male and 14 female characters or more as circumstances require ; the female characters are usually performed by males. This mock trial will keep the audience laughing every moment ; the action is rapid and replete with irresistible drolleries. Rugbies brings suit against the Pader- whiskie School for damages caused by the insufferable noise, vocal and instrumental, by which his rest is destroyed. Examples are performed to enable the jury to appreciate their excellence, giving opportunities for the introduction of specialties. Can be played a whole evening. RIDING THE GOAT. 15 cents, a burlesque initiation in a lodge of the *' Sovereign Union of the Emancipated Husbands," by O. E. Young. 12 male characters, also the wives of all of them (performed by males), and 2 attendant imps; associate members and their wives, ad libitutn. Time, i%, hours. The cast includes a Dutchman, an Irishman, a Yankee and a Darkey. The proceedings are intensely funny with a roaring climax. Just the thing for a club where a large cast is desired. One copy del. to Cat. Div. APf? 13 1911 . 1 !$S$S$$$SSSSS$$SSSSS$SSSSSSSSSSSSS$ MILITARY PLAYS 25 CENTS EACH M. F. BY THE ENEMY'S HAND. 4 Acts; 2 hours 10 4 EDWARDS, THE SPY. 5 Acts; 2^ hours 10 4 PRISONER OF ANDERSON VIELE. 4 Acts; 214 hours. 10 4 CAPTAIN DICK. 3 Acts; 1)^ hours 9 6 ISABEE, THE PEARE OF CUBA. 4 Acts; 2 hours 9 3 EITTEE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 4 BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2i^ hours 9 3 BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 3 RURAL PLAYS 25 CENTS EACH MAN FROM MAINE. 5 Acts; 214 hours 9 3 AMONG THE BERKSHIRES. SActs; 2^4 hours 8 4 OAK FARM. 3 Acts; 21^ hours; 1 Stage Setting 7 4 GREAT ^VINTERSON MINE . 3 Acts ; 2 hours 6 4 SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2}^ hours 5 2 WHEN A MAN'S SINGLE. 3 Acts; 2 hours 4 4 FROM PUNKIN RIDGE. (15 cents.) 1 Act; Ihour... 6 3 LETTER FROM HOME. (15 cents.) 1 Act; 25 mmutes 1 1 ENTERTAINMENTS 25 CENTS EACH AUNT DINAH'S QUIETING PARTY. 1 Scene 5 11 BACHELOR MAIDS' REUNION. 1 Scene 2 30 IN THE FERRY HOUSE. 1 Scene; IJ^ hours 19 15 JAPANESE ^VEDDING. 1 Scene; Ihour 3 10 MATRIMONIAL EXCHANGE. 2 Acts; 2 hours 6 9 OLD PLANTATION NIGHT. 1 Scene; I34 hours 4 4 YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 FAMILIAR FACES OF A FUNNY FAMILY 8 11 JOLLY BACHELORS. Motion Song or Recitation 11 CHRISTMAS MEDLEY. 30 minutes 15 14 FASTER TIDINGS. 20 minutes 8 lUNCH OF ROSES. (15 cents.) 1 Act; 1^ hours 1 13 »VER THE GARDEN WALL. (15 cents) 11 8 aCK & FITZGERALD, Publishers, 18 Ann Street, N. m 13 isiv HORARY OF CONGRESS 016 102 826 5 COMEDIES AND DRAMAS ^ 25 CENTS EACH BREAKING HIS BONDS. 4 Acts; 2 hours 6 3 BUTTERNUT'S BRIDE. 3 Acts; 2i^ hours U 6 COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 3 COUNT OF NO ACCOUNT. 3 Acts; 2}4 hours 9 4 DEACON. 5 Acts; 21^ hours... 8 6 DELEGATES FROM DEISTER. 2 Acts; 45 minutes 3 30 DOCTOR BY COURTESY. 3Acts;2hour8 6 5 E ASTSIDERS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 GIRL FROM PORTO RICO. 3 Acts; 23^ hours 5 3 GYPSY QUEEN. 4 Acts; 2}^ hours 5 3 IX THE ABSENCE OF SUSAN. 3 Acts; li^ hours 4 6 JAIL BIRD. 5 Acts; 21^ hours 6 3 .lOSIAH'S COURTSHIP. 4 Acts; 2 hours 7 4 MY LADY DARRELL. 4 Acts; 21^ hours 9 6 MY UNCLE FROM INDIA. 4 Acts; 2]^ hours 13 4 NEXT DOOR. 3Act8;2hour8 5 4 PHYLLIS'S INHERITANCE. 3 Acts; 2 hours 6 9 REGULAR FLIRT. 3Acts;2hour8 4 4 ROGUE'S LUCK. 3Acts;2hour8 5 3 SQUIRE'S STRATAGEM. 5 Acts; 2% hours 6 4 STEEL KING. 4 Acts; 2»^ hours 5 3 ^V HAT'S NEXT? 3 Acts; 2}^ hours 7 4 WHITE LIE. 4Act8; 2i^ hours 4 3 WESTERN PLAYS 25 CENTS EACH ROCKY FORD. 4Acts;2hour8 8 GOLDEN GULCH. 3 Acts; 2^ hours 11 RED ROSETTE. 3Acts;2hours 6 MISS MOSHER OF COLORADO. 4 Acts; 2i^ hours... 5 STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 CRAAVFORD'S CLAIM. (15 cents.) 3 Acts; 2^ hours. 9 DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. :>S^^$$SS$:$$SS$SS$S$S8$S^$S$$$$$$$SSS$