PROPERTIES.
The following list gives the properties needed in the play.—
In the hut:
1. A porridge pot.
2. Three small bowls.
3. Three spoons. If pewter spoons are not to be had, wooden spoons can be bought cheaply.
4. Porridge. Custard or Spanish cream looks like porridge and is more easily eaten on the stage, but hot cream of wheat is also palatable if sweetened and the steam from it will lend a touch of realism to the scene.—It will save time to have it put in the three small bowls before the rise of the curtain, and the bowls can be covered with three little plates to keep the steam in till the food is wanted.
5. Two roughly made but substantial stools, one near the window, the other before the fire. Stools are better than chairs with backs because they do not obstruct the view of the audience during the chancel scene.
6. Three large nails or wooden pegs in the walls strong enough to hold things, one on each side of the fire-place and one near the door. These would be impracticable with scenery made of screens as any weight on the screen would pull it over. A solid wooden chest, as a carpenter's tool chest, could be substituted to hold the children's wraps and the extra shawl for the old woman. The chest could be placed against the screen on the left or right as convenient.
7. Steen's cap and cape.
8. Holger's cap and cape.
9. The extra shawl Holger puts around the old woman.
10. Two bright pennies for Holger's gift.
11. Logs of firewood on the hearth. Not needed of course if the brazier is used instead of the fireplace.
In the chancel:
12. An altar cloth. This is properly a piece of fine linen edged with deep real lace. It should not be so wide as to cover the top of the altar, lest it obscure the light shining up through the hole. It should hang down in front of the altar and at the sides about eighteen inches. A very handsome looking lace altar cloth can be cut from white paper.
13. Candle-sticks.
14. Candles.
15. Two censers: Very passable censers can be made by swinging brass cups on the brass chains that come for looping back curtains.
16. Incense.
17. Charcoal to burn the incense. (This comes in the box with the incense.)
18. Matches to light the incense.
19. The chimes (or the phonograph and record.)
20. The organ.
Gifts to be put on the altar.
21. A chest full of gold coins for the rich man. (This chest should be about six by twelve inches, made of some polished wood. If difficult to find, substitute a money-bag of stout canvas for it.)
22. Gold coin for the rich man. These coins may be made of cardboard with gold paper pasted over them.
23. A gilded jewel box for the courtier (this can be made from a cardboard box covered with gold paper.)
24. Jewels to fill the gilded box. The smaller things that come for Christmas tree decorations make very acceptable stage jewels.
25. A great book bound in vellum for the sage to give. A heavy book can be covered with wrapping paper the color of vellum.
26. A pearl necklace.
27. A great sheaf of fresh lilies. These can be made at home of tissue paper or very beautiful ones can be bought from the Dennison Manufacturing Company.
28. A golden crown. Made of cardboard coated with gold paper and set with Christmas tree jewels. A more substantial crown can be made of thin sheet brass with all the edges turned like a hem, and trimmed with the inexpensive jewels which come for brass work.
BIG-HEARTED HERBERT
Farce-comedy. 3 acts. By Sophie Kerr & Anna Steese Richardson. 7 males, 6 females. Interior. Modern costumes.
Herbert Kalness, the leading character, is a selfmade man. His success and his belief in himself have unwittingly turned him into a domestic autocrat. Moreover he prides himself on being a plain man and imagines that he lives plainly, though his devoted and charming wife has modernized and decorated their home quite successfully. The day arrives when the daughter of the house becomes engaged, and at a dinner to celebrate the event, Herbert, who has been upset and worried all day about business, has a great big tantrum which even his wife can't excuse. So, the next day, when he proposes to bring his best customer and wife home to dinner—assuring them that he is a plain man—his wife turns the house plain to the nth degree and serves them a plain dinner in the plainest of ways. In a final riotous scene Herbert realizes that he is not so plain, and that his life will be happier if he is more of a father and less of a tyrant.
(Royalty, $25.00.) Price, 75 cents.
FLY AWAY HOME
Comedy. 3 acts. By Dorothy Bennett & Irving White. 7 males, 6 females. Interior. Modern costumes.
A comedy hit on Broadway. The four Masters children, ranging in age from 14 to 19, are enjoying their usual summer sojourn at Provincetown. Without much enthusiasm they are looking forward to the imminent marriage of their mother to the professor who has summered next door. Then word comes that their mother, who is just completing the last two weeks of her contract as dress designer in a Hollywood motion picture studio, has invited their own father to visit them and make arrangements for a divorce. They haven't seen him for twelve years and they are determined he shan't treat them like children. James Masters, the father, comes. Although he has a sense of humor and would sincerely like to make friends with his children, he antagonizes them at once. For a week the father struggles against the professor and his influence. After the various problems have been more or less solved the children suddenly decide that they prefer their own father as a member of the family and set to work in a businesslike way to help him win their mother back.
(Royalty, $25.00.) Price, 75 cents.
ANNE OF GREEN GABLES
L.M. Montgomery's most popular novel, dramatized into a tender and amusing play in 3 acts by Alice Chadwicke. 4 males, 10 females, 1 interior set. Modern costumes.
Mark Twain, the celebrated humorist, was so taken with the quaint charm of L.M. Montgomery's tremendously popular novel that upon reading it for the first time he said: "In 'Anne of Green Gables' you will find the dearest and most moving and delightful girl since the immortal Alice." [Anne is played by a girl in her middle teens.] And for years this fascinating book has headed the list of best sellers. It has been made twice as a movie, once a silent picture and only recently as a talkie, but it has remained for the distinguished dramatist, Alice Chadwicke, to make the first and only dramatization of this magically beautiful story. Green Gables is the home of lovable Matthew Cuthbert and his stern sister, Marilla Cuthbert. Nobody suspects that beneath her hard exterior there lurks a soft and tender heart. When Matthew, after a great deal of reflection, finally decides to adopt an orphan boy to help with his farm work, Marilla grudgingly consents. Through a rattlebrained friend of theirs, one Nancy Spencer, they agree to take a boy from the Hopeton Orphanage. Marilla makes ready to receive the boy and Matthew drives to the station to get him. Fancy his consternation when he finds little Anne Shirley waiting for him! There has been a mistake and Anne has been sent to Green Gables in lieu of a boy whom the Cuthberts plan to adopt. From the instant Anne and Matthew meet a strong attachment grows up between the little orphan and the man who has been starving for affection without realizing it. Anne, with her vivid imagination, her charitable viewpoint, her refreshing simplicity, touches the old bachelor's heart. But not so with Marilla. She determines to send Anne back to the orphanage the following day. But she reckons without Anne who is so enchanted by everything at Green Gables and who cries and begs and pleads so hard to remain that even Marilla finally gives in and consents. Anne is the sort of part that every young girl will adore playing, and the other parts offer splendid opportunities to the various members of the cast. The play breathes of youth, is thoroughly modern in spirit, very simple to prepare and present and Miss Chadwicke has written into it such an abundance of warmth, wit, and motion that it becomes an endless delight.
(Royalty, $25.00.) Price, 75 cents.
GROWING PAINS
Comedy. 3 acts. By Aurania Rouverol. 7 males, 8 females, 1 set (patio). Modern costumes.
Produced originally at the Ambassador Theatre in New York. George and Terry are the son and daughter of Professor and Mrs. McIntyre who struggle valiantly to lead their children through the difficult phases of adolescence, so familiar to us all. Terry is shown outgrowing the tomboy stage, and unable to play with the boys on an equal status. She finds herself thrown back on her feminine resources; and how she tries out her "resources," makes this play an illuminating study of feminine psychology. George McIntyre, the boy adolescent, goes through the customary symptoms of his age—begging his parents for a car—and falling victim of the wiles of Prudence, a successful "vamp" in the neighborhood. At a party George is sent out for some more ice cream. In his rush to get back for his dance with Prudence, he passes a traffic light, and is pursued home by an officer, subsequently is hauled off to jail, loses Prudence, but discovers a new blue-eyed blonde in the neighborhood.
(Royalty, $25.00.) Price, 75 cents.
THE BISHOP MISBEHAVES
Farce-comedy. 3 acts. By Frederick Jackson. 7 males, 3 females. 2 interiors. Modern costumes.
Produced originally by John Golden at the Court Theatre, New York, with Walter Connolly in the leading role. Here is the story of the Bishop, an elderly and saintly dignitary, who stops by accident with his charming and quaint sister at a roadside inn just after there has been a hold-up and robbery. The Bishop has always had a secret love for detective stories and here is a chance to apply some of his choicest solutions. His sister, thrilled with the excitement of it all, eagerly joins in. The Bishop, now playing policeman, gobbles up clews and discovers the stolen jewels. Deftly removing them from a mug on the wall he leaves in their stead, one of his calling cards, and proceeds to his home to await developments. The developments arrive in the form of three ruffians, the masked hero in evening clothes, and the attractive heroine who had engineered the robbery. From now on it is a game of outguessing, turning tables, turning out lights, knife-brandishing, and gun-play, until the Bishop finally emerges triumphant to bestow his blessing on the young hero and charming heroine.
(Royalty, $25.00.) Price, 75 cents.
CHARITY BEGINS
Comedy. 3 acts. By Ireland Wood. 3 males, 7 females. Interior. Modern costumes.
First produced at the Aldwych Theatre in London. The Deveral household consists of old Mrs. Deveral, her middle-aged children—Agnes who is efficient, Emily who is muddle-headed, and Henry who is fussy—and Judy Deveral, her granddaughter. Rodney Walter, Henry's agent, is making love to Judy, and she prefers him to the young and unsophisticated Bobbie Forrester, who also loves her. It is Judy's eighteenth birthday, and her relations feel that it is time to tell her about Aunt Catherine, the black sheep of the family, who is supposed to have run off with another woman's husband. It is the day of the village bazaar, and amid a lot of hustle and bustle Catherine enters—the prodigal daughter most inopportunely returned! As the day progresses Old Mrs. Deveral becomes fractious, the Fête entertainment falls through and Judy decides to run away with the unpleasant Rodney. Things are going from bad to worse when Catherine steps in. She pacifies her mother, gives a talk on her experiences to the Village audience, and convinces Judy that Bobbie is nicer than Rodney. We hear, incidentally, that she never actually eloped with her Philip after all.
(Royalty, $15.00.) Price, 75 cents.
THE GHOST FLIES SOUTH
Comedy. 3 acts. By Frederick Jackson. 4 males, 7 females. Interior. Modern costumes.
Anita and Diana, who have been reared to regard gambling as something of a major vice, decide to gamble on the stock market regardless, and with beginner's luck they win four hundred thousand dollars. In order to keep Morgan, an anti-gambling addict and Anita's fiancé, from discovering the situation they tell him that the money was left Anita by an Uncle William who died in the west. The little lies grow beyond the control of the two girls in an amusing series of climaxes. Most amusing and concerned is Grandma, who has to be convinced that she had a son William. Morgan finally sees a flaw and hires a cowboy and an Indian squaw—actors—to come and blackmail Anita for half the money. They are to represent William's partner and wife. Anita realizes what Morgan has done, so she scares the two with threats and they leave. She then tells Morgan that she gave them the money, but he can't find them. Finally the situation is cleared, and Anita is conceded to be very clever indeed.
(Royalty, $25.00.) Price, 75 cents.
SPRING DANCE
Comedy. 3 acts. By Philip Barry. Adapted from an original play by Eleanor Golden and Eloise Barrangon. 6 males, 7 females. 2 interiors. Modern costumes.
This gay, light, frothy comedy was first produced by Jed Harris at the Empire Theatre in New York where it found a ready audience. The story concerns a number of New England college girls in general and one, Alexandra—called Alex—Benson in particular, who finds it very difficult to attract young men of any description; primarily because she feels that she looks very much like a horse with a fly up its nose, which as a matter of fact, she doesn't at all. Alex sets her heart on Sam Thatcher, a Yale man who has turned against college and regimentation to set off for Russia with a free-thinking, free-living, rebellious companion oddly called "The Lippincott," who knows everything about women except how to get along without them. When Alex can't seem to get very far with the courtship by herself, her girl friends decide to take the matter into their own hands to secure Sam for the sad and bewildered Alex. They conspire to make Sam jealous as well as interested in things other than communism, Russia, and candid cameras, and to raise Alex to the rank of belle of the ball. Sam, a sad funny figure the world over, finally capitulates under the ministrations of the many females, and he and Alex elope to the great delight of Alex's gang.
"Spring Dance is a bright and amusing comedy, splendidly adapted, in cast, subject matter, and its collegiate background to students of high school and college."—American Academy of Dramatic Arts.
"I recommend Spring Dance to any theatre that is still selling entertainment."—H. Miles Heberer, Director, The Manhattan Theatre, Kansas State College.
"Its youthful spirit and gay wit made it more than just good entertainment. Other Little Theatres will doubtless find, as we did, that the casting will give them a chance to capitalize on the natural popularity of young and enthusiastic actors."—Gordon Giffen, Director, Little Theatre of Duluth.
Spring Dance, when offered by colleges, high schools, or Little Theatres, draws extremely enthusiastic audiences.
(Royalty, $35.00.) Price, 75 cents.
CRAB APPLE
Comedy. 3 acts. By Theodore Packard. 4 males, 3 females. Interior. Modern costumes.
First done at Yale and several summer theatres, Crab Apple is a light and amusing play of contemporary American life enlivened with up-to-the-minute allusions. "She's got a good mind," is said of one character, "she's read 'Anthony Adverse.'" The play gives a brief glimpse of everyday life in the Hunter family, with Mr. Hunter grown crotchety and weary with business cares, making life miserable instead of pleasant for the family he has toiled for. His wife meekly accepts his grumblings and his tyranny. His children frequently threaten rebellion, but their feelings smolder until the situation is brought into sharp focus by the arrival of son Jim from college with a bride. This overt act of Jim's gives courage to his brother George to bring home a radio, banned as a nuisance by the head of the family, and to sister Amy to blossom out in a low-backed evening gown and plan to step out dancing. Mr. Hunter is only brought to reason by a conspiracy which makes him believe he is seriously ill. The family coddles him into a change of heart, and then finds it impossible to believe that their jest has become earnest and that their father's health is really in danger.
(Royalty, $25.00.) Price, 75 cents.
THE LATE CHRISTOPHER BEAN
Comedy. 3 acts. By Sidney Howard. 5 males, 4 females. Interior. Modern costumes.
Produced by Gilbert Miller in New York and elsewhere, this is one of the outstanding successes of the theater season of 1932-33. The comedy has to do with a family of New Englanders who have, years before, given refuge to a great artist. The play opens some years after Bean's death, with an excited world in pursuit of his work and any details they can gather as to his life and character. Dr. Haggett and his family, who have some of Bean's canvases, suddenly realize their value, and become hard, selfish, and ill-tempered. It is, however, Abby, the family servant, who ultimately holds them all in her power: she has one of his greatest paintings, which she cannot be persuaded into selling or giving away; it turns out that she is the only one who really understood and appreciated the artist—besides, she had been married to him! An ideal play for colleges and Little Theaters.
(Royalty, $25.00.) Price, 75 cents.
LADY PRECIOUS STREAM
Chinese play. 4 acts. By S.I. Hsiung. 5 males, 5 females (extras). Conventional Chinese scene for all sets. Chinese costumes.
This Chinese play by S.I. Hsiung, was produced successfully in New York, and in London, where it was performed more than 500 times. It is in every respect an authentic play written and performed in the Chinese manner with the delightful and charming conventions of that ancient institution. This beautiful romantic drama of love, fidelity, treachery and poetry is a decidedly colorful fantasy that appeals to all classes of theater goers. It tells, in varied scenes, of the devotion of a wife for her adventurous husband, of his prowess as a warrior and his ultimate return. (Not available for amateur production at present, but if interested in producing let us know and we shall notify you immediately it is released for your locality.)
Price, 75 cents.
CHARLEY'S AUNT
Farcical comedy. 3 acts. By Brandon Thomas. 7 males, 5 females. Interior, exterior. Modern costumes.
The first act introduces us to Jack Chesney's rooms in college. He is violently in love with Kitty Verdun. A chum of his, Charles Wykeham, is in the same quandary, loving Miss Spettigue. The young men at once lay their plans and ask the objects of their affections to join them at their rooms for luncheon—in order to meet Donna Lucia D'Alvadorez, Charley's aunt, who is expected to arrive from Brazil. Miss Spettigue and Miss Verdun accept the invitation, but the millionaire Donna from the antipodes sends a telegram saying that she will have to defer her visit for a few days. The problem is solved at once by forcing another undergraduate of the name of Lord Fancourt Babberley into a black satin skirt, a lace fichu, a pair of mitts, an old-fashioned cap and wig. As Charley's Aunt, then, this old frump is introduced to the sweethearts, to Jack Chesney's father, and to Stephen Spettigue. Unexpectedly the real aunt turns up, but she assumes the name of Mrs. Smith or Smythe. To attain his object,—viz., the rich widow's hand—the solicitor invites everybody to dinner. She gets his consent to the marriage of his ward to young Chesney, and eventually everybody but the avaricious solicitor is rendered overwhelmingly happy.
(Royalty, $25.00.) Price, 75 cents.
DOUBLE DOOR
Drama. 3 acts. By Elizabeth McFadden. 7 males, 5 females. Interior. Costumes, 1910.
An outstanding success on Broadway. Its theme is the battle for power that goes on in an old New York family and culminates on the verge of murder. "This one deserves especial thanks and hearty praises. It returns us to expertness and fascination and fine mood in the theater." Gilbert Gabriel, in New York American. "At last a play has come to town that can be heartily recommended. Sturdy theater, compelling. Once you are within the radius of Double Door you will remain transfixed until you know what's behind it." Bernard Sobel, Daily Mirror. "Double Door is a thriller of a new kind, beautifully written, superbly played, clean as a whistle, and arousing in its spectators a tenseness of interest I have rarely seen equaled in a playhouse." E. Jordan, America. Leading part acted by Mary Morris in America and by Sybil Thorndike in London. A play that will challenge the best acting talent of Little Theatres and colleges.
(Royalty, $25.00.) Price, 75 cents.
THE DISTAFF SIDE
Play. 3 acts. By John Van Druten. 5 males, 8 females. 2 interiors. Modern costumes.
Produced with preeminent success in London and New York. Mr. Van Druten's new play deals with the women of one family, women so unlike that they set one another off startlingly. There is the tart, querulous old Mrs. Venables, and there are her three daughters—Nellie who is married and whose life has slipped away from her in the provinces; Liz who is divorced and whose life has been brilliant and unconventional on the Continent; and Evie who is a widow and whose life has been spent being happy through others—her husband, her children, her friends. Evie's young daughter Alex is the fifth woman in the family, and the drama of The Distaff Side centers chiefly in her and her two suitors who represent such different things. But if the plot belongs to Alex, the honors of the play go to her mother—for seldom has a modern playwright drawn so warm and womanly and endearing a character as Evie. The family life of these people is extraordinarily human, but it is Evie that it revolves around, Evie who lights it up.
(Royalty, $35.00.) Price, 75 cents.