NOTES ON COSTUME AND PRESENTATION
(Mrs. Freeman's story of the same name, from which this little play was taken, has delightful illustrations which would be of help in making the monks' costumes. It appeared first in Wide Awake, Volume 16, and was later published in a collection of Mrs. Freeman's short stories, entitled "The Pot of Gold.")
The Abbot (taken by an adult), and
The Brethren of the Convent (boys, sixteen to eighteen) wear long hooded robes made of white canton flannel. Greek patterns in green are stenciled at hem of skirt and around the wide sleeves. A rope of ground pine, or other Christmas wreathing, is worn for a girdle, ends hanging, and the tonsures are made by wearing close-fitting skull-caps of flesh-colored silk or sateen, with a wreath of green at the edge.
When Peter and the Prince come to the Garden their dress is the same, but their Greek borders should be smaller and they wear no tonsures. They are boys of ten. Hoods of all are worn hanging, except that of Brother Sebastian, who in the 2nd Act goes gloomily hooded. All wear sandals and white stockings.
As the story suggests neither country nor period, there may be a good deal of latitude in the matter of costumes for the rest of the cast, but the court party in the first act should be as resplendent as possible.
The Prince. Plumed hat, short trousers, slippers with bows, coat with broad lace collar and cuffs. Very long cloak, borne behind him by the
Pages. Dressed alike in a style somewhat resembling the Prince.
Courtier. The same, with the addition of a short cape, and a sword.
Court Lady. Dress made with a train and a high beaded collar. The boy and girl playing these parts are also Peter's Father and Mother in the last act.
Mistress Longlane and Mistress Spinning, and the little Village girls wear large poke bonnets, old-fashioned shawls or white kerchiefs, and mitts.
Peter. Neat, but old and faded blouse and knickerbockers. Cap.
Little Rosalia. Quaint smocked dress, of soft blue, a Persian border at hem, square neck, and short sleeves. (Or, white, with blue borders.) Small cap, trimmed in the same way. She is lame and walks with crutches.
Peter's Father and Mother. Poorly and roughly dressed.
Gilbert, the Carpenter's Apprentice. Blue denim apron. Carries T-square.
Robin, the Forester's Son. Sleeveless green coat, over a white shirt with full sleeves; full trousers; broad felt hat, turned up on one side with a quill.
Walter, the Miller's Son. White apron. Dusty felt hat.
(If preferred, instead of using the above suggestions for costumes, the Randolph Caldecott pictures, or Kate Greenaway illustrations of "Mother Goose," may be adopted as a scheme for dressing all but the Monks.)
The entrance and exit of the Monks is always heralded by their singing. Their song may be one of the well-known Christmas carols containing a few Latin words, but a Latin chant is most effective, such as can be found in the little Sunday-school hymnals of the Roman Catholic Church. Suggestions for Rosalia's song and the carol at the end of the play will be found on [p. 315].
Setting
For the Garden wall, a frame must be made sufficiently strong to bear the weight of the Prince, and may need special bracing at the central point where he climbs over. He uses a small ladder, preferably a red-painted one, like those in children's ladder-wagon sets. The framework of the wall may be covered with paper, but unbleached muslin is much more substantial and lasting. On this is painted the wall, representing either brick or stone, with a stone coping, all quaintly stained and moss-grown. It is five or six feet in height.
The beds where the toys grow are outlined in green. Dolls as large as possible should be used in the back row, in order to prevent the contrast with little Rosalia from being too great. Smaller dolls may be used in the front rows. The number depends on the size of the stage and the possibilities for borrowing. They may be made to stand with wooden braces, but it will be found convenient if milliners' stands for displaying hats can be obtained, as they are light and can be easily set in place. For the other bed, two or three small bare bushes, on the branches of which can be fastened such toys as whips, tin trumpets, etc. Small wheelbarrow, watering-pot, and other garden tools scattered about.
For the last scene, the walls should be plain and dark in color. The Abbot's chair is large and ecclesiastical, and Rosalia looks, in it, like the doll for which the Monks mistook her. Two great candles, in tall candlesticks, on the daïs beside her, are effective. No other furniture.
[THE SPELL OF CHRISTMAS]
A CHRISTMAS PLAY, IN TWO SCENES