Red Riding Hood (Chaperon Rouge) Caroline W. Thomasson The Penn Publishing Company Successful Rural Plays A Strong List From Which to Select Your Next Play FARM FOLKS. A Rural Play in Four Acts, by Arthur Lewis Tubus. For five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costumes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the viilain and his female accomplice art both starting and novel. Price, 25 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes ea.sy. The hero, a »»u«t.ry lad, twice saves the life of a banker's daughter, which Ees«Jts in their betrothal. A scoundrelly clerk has the banker m his power, but the White Mountain boy finds a way to check- ma!t« his schemes, saves the banker, and wins the girl. Price 25 eent«. THE PENN PUBLISHING COMPANY PHILADELPHIA RED RIDING HOOD CHAPERON ROUGE A Play for Children in Three Scenes arranged to be given in English or in French By CAROLINE WASSON THOMASON author oj "Cinderella," "The Three Bears," etc. ^ THE PENN PUBLISHING COMPANY PHILADELPHIA 1920 '\ /1^^ COPYRIGHT 19 19 BY THE PENN PUBLISHING COMPANY Red Riding'Hood Chaptron Rouse TMP96-006326 \rhb 27 1920 Q)G,.D 5.-^9 3 RED RIDING HOOD CHAPERON ROUGE CHARACTERS Personnages RED RIDING HOOD Chaperon Rouge THE WOLF Le Loup THE MOTHER La Mere THE GRANDiMOTHER La Grand'mere THE WOODSMAN Le Garde Fores tier THE NYMPHS OF THE WOOD {Four or more) Les Nymphes du Bois TIME OF PLAYING Thirty Minutes Three Scenes tell the Story: I. Near Red Riding Hood's House II. In the Wood III. In the Grandmother's House THE STORY OF THE PLAY Red Riding Hood (Chaperon Rouge) visits her grandmother and takes her some dainties. On the way she falls asleep. The Wood Nymphs arouse her before the Wolf comes. The Wolf arrives first at the cottage and is in the grand- mother's bed when Red Riding Hood arrives. The Wolf intends to eat the little girl but is killed by the Woodsman. I'he grandmother and mother arrive safely, and all, with the Nymphs, join in " The Marseillaise." COSTUMES, ETC. RED RIDING MOOD. Red rain cape with hood, very short. Half stockings, and low slippers, preferably without heels. THE WOLF. His voice is deep and gruff. Scene I. Large fur rug over back and head. Walks on all fours. Black stockings on hands and feet. Scene III. White night gown. Face well cov- ered by huge night cap. Wolf's head mask adds to the effect but is not essential. THE MOTHER. Dutch cap in white. White blouse. Black laced bodice. Full red skirt. THE GRANDMOTHER. Black Cap. Black shawl. Black skirt. Cane. THE WOODSMAN. Green cap with feather. Belted coat, preferably of bright color. Ax and horn in belt. Knee trousers, green stock- ings. THE NYMPHS. There must be at least four Nymphs. There may be as many as desired. Green crepe paper dresses — skirts very short and full. Garlands of gay flowers on heads, and over shoulders. White slippers and stock- ings. SCENE I. SCENE II. SCENE III. PROPERTIES Basket containing loaf of bread, butter, some apples, a glass of jelly, and some cake. Stage set with trees and flowers. Flowers for Red Riding Hood to pick. Ax and horn for the Woodsman. Stage set with cot covered with patchwork quilt, pillow. Cro- cheted rug by cot. Table. Chair. Basket of chips for the Grand- mother. At least one French tricolor to display at the end. MUSIC The song " The Bird " {L'Oiseau) is set to the music of the well known song " Long, Long Ago." This may be found in many collections of familiar songs, for example, in " The Golden Book of Fa- vorite Songs," published at a popular price by F. A. Owen Pub. Co., Dansville, N. Y., and Hall and McCreary, Chicago. The air for the song " Let Us Walk in the Woods " (" Prom'nons-nous dans les Bois ") is as follows : Prom'non-nous dans les bois Tan-dis que le loop n'^ est Let us walk in the woods While the wolf is not in — IV— tNcd ^ gzzzqvzTJSc: -li — # li^ pas Si le loup y 6 - tait II nous man - ge - rait power, If the wolf were a- bout He would us de - vour. The air for the song " I am the Wolf" {*' J c Suis Loup") is as follows: -^tzL- i -*T Je - suis loup, Je - suis loup, Qui vous man - ge - ra ! I'm the wolf, I'm the wolf, Who will you de - vour ! The air for the song "To Paris" {''A Paris") is as follows: ■Ar- t5q==i=H A Pa - lis, a Pa - ris, sur un - pe - tit chev - al - gris. To Pa - ris. To Pa - ns, on a lit - tie pon - y grey. The complete music for these shorter songs may be found in the book " Chansons, Poesies, et Jeux " (" Songs, Poems, and Plays "), by Agnes Godfrey Gay, published by Brentano's, Fifth Ave- nue and 27th St., New York City. The music for " The Marseillaise " may be found in many collections of popular songs. It is in " The Golden Book of Favorite Songs " re- ferred to above. The English words that are found printed with the music may be used, if pre- ferred, instead of those given in this text. SCENE PLOTS SCENE I. Near Red Riding Hood's House. This may be acted at the front of the stage be- fore the curtain is raised. Or if preferred, it may be any simple exterior, or an interior cot- tage scene. As the scene is very short, how- ever, it should be arranged so that it may be quickly replaced by Scene II. SCENE II CREC/\f CUHTA/N CO <^ TREES i^l 1^;^2^ PLANTS r^A/wrsiC ^y SCENE II. In the Wood. The above represents a simple setting that may be arranged any- where with a green curtain for background, trees in tubs or boxes, cut boughs or bushes, potted plants, and flowers. The boxes or pots holding trees or plants should be covered with green or brown cloth or paper to represent banks of moss or earth. Leaves may be strewn over them. Or, where painted scenery is obtainable, set with woodland back drop and wood wings; bushes and flowers massed up stage and down R. and L. SCENE III SCENE III. In the Grandmother's House. The setting shown above may be used on any plat- form. It requires no painted scenery. A bed or couch up L. C, covered with a patchwork or other gayly colored quilt. Near the bed a cro- cheted rug. Table up R. Stool at R. of bed. Chairs and other furnishings appropriate to an old woman's cottage. Entrance L. ; or, if de- sired, at back, up R. Where painted scenery is obtainable this should be set as a cottage interior with window in flat up L., and door in flat up R., and en- trance also at L. Fireplace and mantel R. Furnishings as above with addition of kettle at fireplace, etc. RED RIDING HOOD CHAPERON ROUGE SCENE I {Near RED riding hood's house. This may be acted at the front of the stage before the cur- tain is raised.) {Enter the MOTHER, L., carrying basket.) MOTHER. Red Riding Hood, Red Riding Hood ! Come here, my Child ! Chaperon Rouge, Chaperon Rouge! Viens ici, nion enfant/ {Enter RED RIDING HOOD, R.) R. RIDING HOOD. Yes, yes, my dear Mother. What do you wish? Oui, oui, ma chere mere. Que veux-tuf MOTHER. Your grandmother is sick. So take her this basket of dainties, please. Ta grand'mere est malade. Done porte-lui ce panier de bonnes bouchees s'il te plait. 9 RED RIDING HOOD R. RIDING HOOD. Lovely ! It pleases me very much to go to grandmother's! Ties hien! II me donne grand plaisir dialler chez grand' mere/ MOTHER. Here is the basket. Foici le panier. R. RIDING HOOD. What IS in the basket, Mother? Qu'est-ce que c' est dans le panier, ma mere? MOTHER. There is bread, and butter, and cake, and some ripe apples, and currant jelly. II y a du pain, et du beitrre, et du gateau, et des pommes milres, et de la gelee de groseille. R. RIDING HOOD {taking the basket and dancing about zvith it). I love the woods — I love the flowers — I love the birds ! J'aime les bois — j'aime les ffeurs — j'aime les oiseaiix! MOTHER, Go quickly, my child. Have a good time, but do not loiter along the way. There are wolves in the forest ! Va vite, mon enfant. Amuse-toi, mais ne tarde pas an long du chemin. If v a des hups dans le bois! R. RIDING HOOD. Good-bye, my dear Mother. Au rez'oir, ma chere mere. ID CHAPERON ROUGE MOTHER. Good-bye, my dear. Ju revoi?', ma cherie. {Exit the MOTHER, L., and RED RIDING HOOD, R.) II SCENE II — In the Woods (Curtain rises on forest scene — trees — flow- ers — etc. ) (Enter RED RIDING HOOD. She wanders about picking flowers, humming to her- self.) R. RIDING HOOD. Here are lovely flowers for dear grandmother. She loves flowers. {Sits down, L. — plays with flowers.) I shall make a pretty bouquet for grandmother. Void des fJcurs trcs charmanies pour chere grand' mere. Elle aime les fleurs. Je ferai un beau bouquet pour grand' mere. (Enter the woodsman, R.) WOODSMAN. Where are you going, Red Rid- ing Hood? Ow allez-vous, Chaperon Rouge? R. RIDING HOOD. I am taking dainties to my grandmother. Je prends des bonnes bouchees a ma grand' mere. 12 CHAPERON ROUGE WOODSMA.N. Do not loiter long, little girl, for there are beasts in this forest. Ne tardez pas longtefiips, petite pile, parcequ'il y a des betes dans cette foret. R. RIDING HOOD. Oh! WOODSMAN. Yes, there are beasts. There is a wolf that is my greatest enemy. Good day. Red Riding Hood. Otii, il y a des betes. II y a iin loup qui est moti plus maiivais ennem'i. Bon jour, Chaperon Rouge. R. RIDING HOOD. Good day, Mr, Woodsman. Bonjour, Monsieur le Garde Forestier. {Exit WOODSMAN, R.) (red riding HOOD finishes her bouquet, then goes to sleep, down L. Enter the nymphs of the JVood, R. and E. The nymphs are costumed in green, and carry garlands of bright flowers. They dance; discover RED riding hood; are filled with glee.) THE NYMPHS. {Sing "The Bird," '' E'Oi- seau," to the tune of " Long, Long Ago.") THE BIRD (Translation not literal.) There came to my window, one morning in May, A gay little bird, warbling a lay; 13 RED RIDING HOOD His song of fair springtime, and sweet birdies wee, Flooded my soul with its wild melody, // vint a ma croisee, tin matin de Mai, Un joli oiseati; il y vint chanter; Sa chanson si douce me ravil le ca'iir, II chantait le printcmps, son nid, son bonheiir. His nest at the top of a high bough appeared, Where the mother bird no evil thing feared; The breeze wafted softly their love's harmony, Whispering low, " A blest family! " All haut dti grand ormeau je voyais son nid, Oil la mere oiseau gardait scs pctils; La brise m'apportait leiir joli ramage En souffiant tout bas, " Quel charmant menage! '* FIRST NYMPH. The sweet child sleeps. La douce enfant, elle dort. SECOND NYMPii. She loves us. She loves flowers, and woods, and birds. Elle nous aime. Elle aime les fleurs, et les hois, et les oiseaux. THIRD NYMPH. The wolf may be near! He will eat her ! Le hup pent etre prochef II la mangera! 14 CHAPERON ROUGE FOURTH NYMPH. Let US Call to scc if he is in this green wood. Appelons pour voir s'il est dans cc bois z'crt. THE NYMPHS. {Shi^ " Let US zvalk in the IFoods," " Prom'nons-nous dans les Bois." For music, see page 4.) LET US WALK IN THE WOODS Let us walk in the woods While the wolf is not in power; If the wolf should be there He would us devour. Prom'nons-nous dans les hois Tandis que le loup n'y est pas; Si le loup y etait II nous mangerait. NYMPHS {calling). Wolf, are you there? Loup, y es-tuf THE WOLF {voice heard off R.). No, I am putting on my coat. Non, je mets mon habit. NYMPHS {singing as above). Let us walk in the woods, etc. Promnons-nous dans les bois, etc. 15 RED RIDING HOOD NYMPHS {calling). Wolf, are you there? Loup, y es-tuf THE WOLF. No, I am putting on my boots. Non^ je mets mes boltes. NYMPHS {singing). Let us walk in the woods, etc. Prom'nons-nous dans les hois, etc. NYMPHS {calling). Wolf, are you there? Loup, V cs-tu? THE WOLF. Yes, I am taking my gun. Oui, je prends mon fusil. {Sings. For music see p. 5.) I'm the wolf, Fm the wolf. Who will you devour. I'm the wolf, I'm the wolf, Who will you devour. Je suis loup, je suis loup, Qui vous mangera, Je suis loup, je suis loup, Qui vous manger a. NYMPHS. Awake, Red Riding Hood! Awake, sweet child ! Reveille-toi, Chaperon Rouge! Reveille-toi, douce enfant! 16 CHAPERON ROUGE ( They sing as above. ) Let us flee through the woods While the wolf's not in power; If the wolf should be there He would us devour. Sauvons-nous dans les bois Tandis que le loiip n'y est pas; Si le loup y etait II nous mangerait. {Exit NYMPHS, L. RED RIDING HOOD awakes. Enter THE WOLF, R., and pro- ceeds up C.) WOLF {up C). How-do-you-do, Red Riding Hood ! Comment vous portez-vous, Chaperon Rouge/ R. RIDING HOOD. I am very well, thank you, Mr. Wolf! Je me porte tres bien, merci, Monsieur le Loup/ WOLF {moving down L.). Where are you go- ing, Red Riding Hood? Oil allez-vous, Chaperon Rouge? R. RIDING HOOD {backing to the R.) . I am go- ing to take dainties to my grandmother, Mr. Wolf. 17 RED RIDING HOOD Je vais porter de bonnes bouchces a ma grand'- mere, Monsieur le Loup. WOLF {down L.). Where is your grand- mother's house, Red Riding Hood? Oil est la maison de votre grand' mere, Chape- ron Rouge? R. RIDING HOOD {down R.) . Through this wood, Mr. Wolf. De I' autre cote de ce bois-ci, Monsieur le Loup. WOLF {moving toward her). Good day, Red Riding Hood. Bon jour, Chaperon Rouge. R. RIDING HOOD {terrified). G-G-ood day, Mr. Wolf! Bon j-jour, Monsieur le L-L-ou-pf {Exit RED RIDING HOOD R., running.) WOLF. I shall get there first! {Howls.) I shall eat her grandmother, and then eat her when she comes! {Howls.) J'y ar river ai le premier! Je manger at sa grand'mere, et ensuite je la mangerai quand elle arrivera! {Exit the WOLF, R.) CURTAIN SCENE III — In the Grandmother's House (the wolf is in the bed, up L. C. He is wearing the nightgown and cap of the grand- tnother. Seems expecting someone. There is a knock at tJie door.) WOLF. Come in, come In ! Entrez, entrez! {Enter red riding hood, L. If preferred she may enter door in flat, up R. C.) R. RIDING hood {going to R. of bed.) Oh, my dear Grandmother, I am so scared! I met a ter- rible wolf in the forest! {Seats herself by the bed.) Oh, ma chere grand' mere, je suis tellement ef- frayee! J'ai rencontre iin mediant loiip dans la foret! WOLF {behind the bed clothes). Is that true, my Child? Put the basket on the table and get into bed with me. Est-ce vrai, mon enfant! Mets le panier stir la table, et fiens te coticher avec moi. 19 RED RIDING HOOD (red riding hood starts toward table, up R., but slops suddenly, turning toward WOLF. ) R. RIDING HOOD. Why have you such a terrible voice, Grandmother? Pourqiioi avez-vous une voix tellement terrible. Grand' mere? WOLF. The better to speak to you, my Child ! Pour mienx te parler, mon enfant! (red RIDING HOOD puts basket on table.) R. RIDING HOOD. Why have you such big eyes, Grandmother? Pourquoi avez-vous les yeux si grands, grand- mere? WOLF. The better to see you, my Child! Pour mieux te voir, mon enfant/ (red RIDING HOOD returns to side of bed.) R. RIDING HOOD. Why have you such big ears, Grandmother? Pourquoi avez-vous les oreilles si grandes, grand'mere? WOLF. The better to hear you, my Child ! Pour mieux t'ecouter, mon enfant! 20 CHAPERON ROUGE R. RIDING HOOD. Why have you- such a big nose, Grandmother? Pourquoi avez-vous iin si grand ncz, grand'- meref WOLF, The better to smell you, my Child! Pour m'leiix te sentir, moft enfant! R. RIDING HOOD. Why have you such big arms, Grandmother? Pourquoi avez-vous les bras si grands, grand'- meref WOLF, The better to embrace you, my child ! Pour mieux t'embrasser, man enfant! R. RIDING HOOD. Why have you such long teeth. Grandmother? Pourquoi avezoous les dents si longues, grand'- mere? WOLF. The better to eat you up! (wolf springs out of bed.) Pour 7nieux te manger! (red RIDING HOOD tries to escape — rushes from place to place. The WOODSMAN rushes in, L., or may enter up R. C. He carries an axe. There is a struggle be- tween the WOODSMAN and the WOLF, down L. The WOLF tries to escape, but is killed.) 21 RED RIDING HOOD WOODSMAN {down L.). At last, at last, I have overcome my greatest enemy! Hurrah! Hur- rah ! Enfin, en fin f J'ai vaincu mon plus mauvais en- nem'i! Houra! Bravo! RED RIDING HOOD {down C). But my grand- mother, my dear old grandmother! Where is she? The bad wolf has eaten her! Mais ma grand^mere, ma chere vieille grand'- meref Oil est ellef Le mauvais loup I'a man- gee! WOODSMAN, No ! I have just seen her com- ing through the woods. Non! Je viens de la voir traverser le bois. (woodsman points off L.) RED RIDING HOOD. Splendid! (She dances to R.) Tres bien! woodsman. She is picking up wood. She is well. Elle ramasse du bois. Elle se porte bien! RED RIDING HOOD {R.) . Good, Good ! Very good ! Bon, bon! C'est tres bien! (Enter the GRANDMOTHER, L., or up R. C. She comes down C.) 22 CHAPERON ROUGE GRANDMOTHER. Red Riding Hood, dear child ! What is the matter ! Chaperon Rouge, ma cheriel Qu'y a-t-il! RED RIDING HOOD {going to her, C). Oh! Grandmother, I came to bring you dainties, and the wolf was in your bed! Oh! Grand'mere, je viens de toi porter de bonnes bouchees, et le hup ctait dans ton lit! GRANDMOTHER. Mercy ! Terrible! Who killed him? Mon Dieu! Terrible! Qui I' a tuef WOODSMAN {points to wolf). I killed him — my greatest enemy ! Je I'ai trie — mon plus mauvais ennemi! (The mother's voice is heard calling RED RIDING HOOD. They listen.) MOTHER. Red Riding Hood, Red Riding Hood! Chaperon Rouge, Chaperon Rouge! {Enter the MOTHER, L., or up R. C. Comes down R. C.) MOTHER. Red Riding Hood, where have you been? It is almost night. {Sees WOLF.) Hor- rors! What is this! 23 RED RIDING HOOD Chaperon Rouge, oil as-tu ete? C'est presque nuit. Oh! Oiiest-ce que c'est! RED RIDING HOOD. The Woodsman has killed the terrible wolf. He was in grandmother's bed. He wanted to eat me, Mother. Le Garde Foresticr a tue le mechant hup. II etait dans le lit de grand'mere. II desirait me manger, ma mere. MOTHER. My child, my child! Mon enfant, mon enfant! {Enter the NYMPHS, L. or R. C., dancing.) (nymphs sing " To Paris on a Little Pony," " A Paris sur un Petit Cheval." For mu- sic see page 5.) Paris gay, Paris gay. On a little pony gray. A Paris, a Paris, Sur un petit cheval gris. Rouen bright, Rouen bright, On a little pony white. A Rouen, a Rouen, Sur un petit cheval hlanc. 24 CHAPERON ROUGE Verdun town, Verdun town, On a little pony brown. A Verdiuty a Ferduri, Stir un petit cheval brtin. To Cambrai, to Cambrai, On a little pony bay. A Cambrai, a Cambrai^ Sur un petit cheval bai. Let us now all go back On a little pony black. Revenons an manoir, Sur un petit cheval noir. {All join the NYMPHS in a merry-go-round frolic, after which RED riding hood comes down C. On either side of her are the GRANDMOTHER, MOTHER, and WOODS- MAN, and surrounding all are the NYMPHS.) ALL. We are saved! All is well! Long live Red Riding Hood! Long live America! Long live France ! 25 RED RIDING HOOD Nous sommes sanves! Tout est hi en! Vive Chaperon Rouge! Vive I'Amerique! Vive la France! (all sing " The Marseillaise," "La Mar- seillaise.") THE MARSEILLAISE LA MARSEILLAISE Ye sons of freedom, awake to glory, The sun of vict'ry soon will rise; Tho' the tyrant's standard gory Is uprear'd in pride to the skies, Is uprear'd in pride to the skies ! Do ye not hear in ev'ry village Soldiers fierce who spread war's alarms? Who even in our sheltering arms Slay our sons and give our homes to pillage ! Jllons, enfants de la patrie, Le jour de gloire est arrive. Contre nous de la tyrannie L'etendard sanglant est leve, L'etendard sanglant est leve! Entcndez-vous dans les campagnes Mugir ces feroces soldatsf 26 CHAPERON ROUGE lis vienncnt jiisque dans nos bras Egorger nos fils, nos compagnes! Chorus {All wave flags.) To arms, ye brave, to arms! We'll form battalions strong, March on, march on, Their blood impure Shall bathe our thresholds soon! Aiix armes, Citoyens! Formez vos bataillons, Marchons, marchons, Qu'un sang htipur Abreuve nos sillons! O sacred love of home and country. Do thou direct each vengeful blade. Liberty, so sought, and so cherish'd In thy cause now lend us thine aid. In thy cause now lend us thine aid! Beneath our flag may mighty victVy O'erwhelm all their hosts at thy call; And grant our cruel foes may fall As they see our triumph and our glory. 27 RED RIDING HOOD Amour sacre de la patrie, Conduis, soutiens nos bras vengeurs, Liberie, liberie cherie, Combats avec tes defenseurs, Combats avec tes defenseurs! Sous nos drapeaux que la victoire Accoure a tes males accents! Que tes ennemis expirants Voient ton triomphe et notre gloire! {Chorus is repeated.) CURTAIN 28 Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Wakd Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary Brinkley, recently graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, which surprises the surpriscrs. The entertainment is a sure success. Price, 15 cents, JONES VS. JINKS. A Mock Trial in One Act, by Edward Mumfokd. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of ihe parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One Act, by Ernest M. Gould. For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost any number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter- tainment in One Act, by Louise Latham Wilson. For thirteen females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward Mumford. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILL SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a hall without scenery. The unusual com- bination of a real "entertainment," including music, recitations, etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions,' and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight mala and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in- cludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quigley Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special (scenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con- vention. The climax comes when a woman's rights cham- pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may be played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity for specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBUSHING COMPANY PHILADELPHIA Successful Pkys for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOR DEVINE, A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, IS cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a. Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia Sanford. For seven female char- acters and ton or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, modern. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AITAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price IS cents. THE PENN PUBLISHING COMPANY PHILADELPHIA LIBRARY OF CONGRESS The Power ^ « . ^ 015 910 034 ^ Expression and emaency go nan» ». ..<»•>««. The power of clear and forceful expression brings oonfi- 4ence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, wo learn to command thought itself, and thought is power. You can have thi» power if you will. Whoever has the power of clear expression is alway» surf of himself. Xhe power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other mind« Social prominence Business success Efficiency in any undertaking Arc these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of theoe accomplishments may be attained will be sent free on r«quMt. THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY 1714 Delancey Street Philodelplui