The author believes that this farce will prove one of the most popular. The extraordinary success of his previous plays, notably the farces “Hans Von Smash.” “Irish Linen Peddler,” and “Wide Enough for Two,” renders this prediction a safe one. What the public wants is humor and action. In the latter feature “Patsy O’Wang” is unequaled. Caution, in fact, is necessary here lest the play be overdone. Excessive boisterousness and “horse play” should be carefully avoided.
This is a play that must be well rehearsed. It must be kept in mind that while Mike and Norah are conventional Irish with a thick brogue, Patsy (after his transformation) speaks good English with little if any brogue. In Hong Kong his associations were with officers of the British army (as servant) and naturally he acquired the language of gentlemen.
No instructions can be given here concerning the Chinese part except that the timbre and tones of the Chinese voice are very peculiar, and can be learned only by listening to Chinamen. The Chinese dialect as written here (and elsewhere in America) is at best but a poor imitation, but good enough to be funny, which is the only object in view.
Costumes of the day. Patsy, very thick-soled shoes (can be fixed at home), and tunic to wear outside pantaloons.
PROPERTIES.
Machine of some kind to make noise in wings; bottles in box, bottles on shelves, extra coat and shoes for office, ulster, hot-water bag and tube, funnel, cane, letter, large syringe, or other article to serve as stomach pump, tray, tea-pot, cups, plate of crackers, pig-tail for Patsy, wig for Boyler.
STAGE DIRECTIONS.
R. means right of the stage C., center; R. C., right center; L., left; 1 E., first entrance; U. E., upper entrance, etc.; D. F., door in flat or back of the stage. The actor is supposed to be facing the audience.
