teur X5.J>ENI§0N & 0MPANV 1 1 Publishers Chicago] ^/?*o'>v//a/-£>. £>£A- DENISON'S ACTING PLAYS Partial List of Successful and Popular Plays. Large Catalogue Free. Price 15c each, Postpaid, Unless Different Price Is Given DRAMAS, COMEDIES, ENTERTAINMENTS, Etc. M. F. Aaron Boggs, Freshman, 3 acts, 2y 2 hrs (25c) 8 8 After the Game, 2 acts, \% hrs. (25c) 1 9 All a Mistake, 3 acts, 2 hrs. (25c) 4 4 American Hustler, 4 acts, 2y 2 hrs (25c) 7 4 Arabian Nights, 3 acts, 2 hrs. 4 5 As a Woman Thinketh, 3 acts, ZYz hrs (25c) 9 7 At the End of the Rainbow, 3 acts, 2Y A hrs (25c) 6 14 Bank Cashier, 4 acts, 2 hrs. (25c) 8 4 Black Heifer, 3 acts, 2 hrs. (25c) 9 3 Brookdale Farm, 4 acts, 2 1 /^ hrs (25c) 7 3 Brother Josiah, 3 acts, 2 hrs. (25c) 7 4 Burns Rebellion, 1 hr (25c) 8 5 Busy Liar, 3 acts, 2% hrs. (25c) 7 4 College Town, 3 acts, 2^4 hrs. ,..(2Sc) 9 8 Corner Drug Store, 1 hr. (25c) 17 14 Danger Signal, 2 acts, 2 hrs. . 7 4 Daughter of the Desert, 4 acts, 2^4 hrs (25c) 6 4 Down in Dixie, 4 acts, 2v£ hrs (25c) 8 4 Dream That Came True, 3 acts, 2J4 hrs (25c) 6 13 Editor-in-Chief, 1 hr (25c) 10 Enchanted Wood, 1$4 h.(35c).Optnl. Everyyouth, 3 acts, 1 x /z hrs. (25c) 7 6 Face at the Window, 6 acts, 2 hrs (25c) 4 4 Fascinators, 40 min (25c) 13 Fun on the Podunk Limited, 1% hrs (25c) 9 14 Heiress of Hoetown, 3 p.cts, 2 hrs (25c) 8 4 High School Freshman, 3 acts, 2 hrs (25c) 12 Honor of a Cowboy, 4 acts, 2% hrs (25c) 13 4 Indian Days, 1 hr (50c) 5 2 In Plum Valley, 4 acts, 2% hrs (25c) 6 4 Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 Jayville Junction, 1% hrs. (25c) 14 17 Kingdom of Heart's Content, 3 acts, 2% hrs (25c) 6 12 Lexington, 4 acts, 2 l / A h. . (25c) 9 4 M. F. Light Brigade, 40 min (25c) 10 Little Buckshot, 3 acts, 2J4 hrs. (25c) 7 4 Lodge of Kye Tyes, 1 hr.(25c)13 Lonelyville Social Club, 3 acts, \y 2 hrs (25c) 10 Man from Borneo, 3 acts, 2 hrs (25c) 5 2 Man from Nevada, 4 acts, 2 1 /fe hrs (25c) 9 5 Mirandy's Minstrels (25c) Optnl. New Woman, 3 acts, 1 hr.... 3 6 Old Maid's Club, \y£ hrs. (25c) 2 16 Old Oaken Bucket, 4 acts, 2 hrs (250 8 6 Old School at Hick'ry Holler, 1J4 hrs (25c) 12 9 On the Little Big Horn, 4 acts, 2i/ 2 hrs (25c) 10 4 Out in the Streets, 3 acts, 1 hr. 6 4 Prairie Rose, 4 acts, 2y 2 hrs. (25c) 7 4 Rustic Romeo, 2 acts, 2% hrs (25c) 10 12 School Ma'am, 4 acts, 1^4 hrs. 6 5 Scrap of Paper, 3 acts, 2 hrs. . 6 6 ' Soldier of Fortune, 5 acts, 2% h. 8 3 Southern Cinderella, 3 acts, 2 hrs (25c) 7 Third Degree, 40 min (25c) 12 Those Dreadful Twins, 3 acts, 2 hrs (25c) 6 4 Tony, The Convict, 5 acts, 2y 2 hrs (25c) 7 4 Topp's Twins, 4 acts, 2 h.(25c) 6 4 Town Marshal, 4 acts, 2^4 hrs (25c) 6 3 Trip to Storyland, 154 hrs. (25c) 17 ?3 Uncle Josh, 4 acts, 2% hrs. (25c) 8 3 Under Blue Skies, 4 acts, 2 hrs (25c) 7 10 Under the Laurels, 5 acts, 2 hrs. 6 4 When the Circus Came to Town, 3 acts, 2J4 hrs. (25c) 5 3 Women Who Did, 1 hr. . . (25c) 17 Yankee Detective, 3 acts, 2 hrs. 8 3 FARCES, COMEDIETAS, Etc. April Fools, 30 min 3 Assessor, The, 10 min 3 2 Baby Show at Pineville, 20 min. 19 Bad Job, 30 min 3 2 Betsy Baker, 45 min . 2 2 Billy's Chorus Girl, 25 min... 2 3 Billy's Mishap, 20 min 2 3 Borrowed Luncheon, 20 min.. 5 P>orrowing Trouble, 20 min.... 3 5 Box and Cox, 35 min 2 1 Case Against Casey, 40 min... 23 Convention of Papas, 25 min.. 7 Country Justice. 15 min 8 Cow that Kicked Chicago, 20 m. 3 2 T.S.DENISON & COMPANY, Publishers ,154 W.Randolph St., Chicago ALL ON A SUMMER'S DAY A COMEDY FOR FOUR MEN AXD SIX WOMEN BY LINDSEY ^ARBEE AUTHOR OF "After the Game," "At the End of the Rainbow," "The Dream That Came True," "The Fifteenth of January," "The Kingdom of Heart's Content," "Sing a Song of Seniors," "The Thread of Destiny," "A Trial of Hearts," "When the Clock Strikes Twelve" "In the College Days," etc. CHICAGO T. S. DENISON & COMPANY Publishers tvtvta All On A Summers Day ^V* CHARACTERS. ytT* tK (Named in order of their appearance.) Dorette. . ) „ '. . „ y Summer uirls Gladys . . . j Miss Parker • . . .An Advocate of Suffrage Miss Trimble A Bridge Fiend Mrs. Reed A Delusion and a Snare Mrs. Laxe. . ) _ ' - , _ ,, T > Bride and Groom Mr. Lane. . . j Tom Warner Dorette' s Fiance Bob Doyle Tom's Friend Rafferty • A Plain Clothes Man Place — The Porch of a Summer Hotel. A Summer Afternoon. Time — The Present. Time of Playing — About Forty Minutes. COPYRIGHT, 1916, BY EBEN H. NORMS. 2 FEB 25 1916 ©ao 43134 *1 I ALL OX A SUMMER'S DAY STORY OF THE PLAY Among the guests at a summer hotel, one couple espe- cially claims attention — both man and woman being young and exceedingly attractive, but mysterious from the fact that all attempts to establish intimacy fail and because the man publicly is often indifferent and even harsh to the women. Various theories as to their identity are advanced, and it is even suspected that they are two clever thieves who are even then being tracked. After great cleverness on the part of the real thief and great efforts by the suspected pair to extricate themselves from the difficulty, it is discovered that they are bride and groom who have chosen this way of avoiding public attention and who have hoped by studied indifference and harshness on the man's part to carry out their joke and still to have an uninterrupted honeymoon. CHARACTERS AND COSTUMES. Dorette and Gladys — Attractive summer girls. Gladys of the "fluffy-ruffle" type ; Dorette, livelier and more clever. Miss Parker — Older than Gladys and Dorette ; deter- mined, independent and a trifle mannish. Miss Trimble — Middle-aged, of great dignity and poise; inclined to be sarcastic. Mrs. Reed — Insinuating in manner, smooth of speech, exceedingly gracious. Mrs. Lane — At first, reserved ; later, quite self-possessed and spirited. Mr. Lane — At first, arrogant and haughty ; later, his natural self. Tom Warner and Bob Doyle — Light-hearted young fel- lows. Raffertv — Typical of his profession. Gladys, Dorette, Mrs. Lane and Mrs. Reed wear pretty and stylish summer gowns suitable for the afternoon, Mrs. Reed's costume being most elaborate. Miss Parker wears strict tailor shirtwaist suit. Miss Trimble appears in a summer gown of subdued hue and old-fashioned cut. 4 ALL ON A SUMMER'S DAY. Tom and Mr. Lane wear light flannel suits, Panama hats, etc. Bob wears good-looking traveling suit. Rafferty ap- pears in a plain business suit. PROPERTIES. Two porch benches ; porch pillows, card table and chairs ; two or three porch rocking-chairs ; curtains and flower boxes for windows ; two packs of cards, score cards, etc., for card table. Crocheting and padlocked box for Mrs. Reed. Three letters, magazine and newspaper for Tom. String of pearls for Gladys. Small jewel case for Dorette. Roll of greenbacks for Miss Parker. Lorgnette for Miss Trimble. Suitcase for Bob. Watch and memorandum for Rafferty. Scene Plot. Window Window -1 _l Door I =1_ Flower Boxes ■ ' Flower Boxes '< Table OChalr J Ch °DD M ' a a a % , D Chair Rocking Chairs ? Flower Beds \ — - Flower Beds •j- Steps -r- The setting of the hotel porch is not difficult. It may be easily arranged by a slight elevation from the stage itself (flooring laid over props). The door leading from porch to interior will necessitate some kind of elevation back of drop, so that the actor may reach the stage easily and noiselessly. STAGE DIRECTIONS. R. means right of the stage; C, center; R. C, right cen- ter; L., left; i E., first entrance; U.E., upper entrance; R. 3 E., right entrance up stage, etc.; R.D., right door; L. D., left door, etc. ; D. P., door in flat or scene running across the back of the stage ; up stage, away from footlights, down stage, near footlights ; / G., first groove, etc. The actor is supposed to be facing the audience. All On A Summers Day Scene: The porch of a summer hotel. Door {screen door if possible) C. in F. leading to interior. Windows R. and L. of door in C. in F. Elevation a few feet from stage with steps at C. leading to stage. Simulated flozver beds and grass on either side of the steps, close to porch. Entrances R. 2 E. and L. 2 E. Card table and straight porch chairs R. of C. of porch. Bench down R. of porch, bench down L. of porch. Three rocking-chairs placed in a straight line L. of C. of porch. Inside curtains for windows, window boxes of flowers, porch pillows, etc. Curtain rises disclosing Gladys seated back of card table, shuffling cards. Dorette opposite with back to audience, also shuffling cards. Miss Parker at L. of table, Miss Trimble at R. of table. Mrs. Reed, crocheting, is rocking back and forth m first chair L. of C. of porch. Gladys {dealing cards one by one). There's a mystery about them — I don't care what you say. {Abruptly.) Did I deal you two cards, Miss Parker ? Miss Parker {slowly counting her cards while Gladys pauses in her dealing). No mistake, Gladys. {As Gladys resumes her dealing.) Mystery, you say. It's always a mystery when a self-respecting young girl throws herself away on a good-for-nothing, disagreeable and overbearing man. Dorette. Don't be so hard on the men. They're sad but necessary evils — especially at a summer resort. • Gladys {emphatically). And she isn't self-respecting. No self-respecting young woman would allow her husband to bully her, dictate to her and politely swear at her. {Weakly.) But he is good looking. {Takes up her cards.) Dorette (gathering up her cards). And you must con- fess that he gives her perfectly stunning clothes. Miss Parker (pounding table). Good-looking clothes! 5 6 ALL OX A SUMMER'S DAY. There you've said it, Dorette. (Scornfully.) Good-looking clothes ! The badge of slavery — the exchange for subservi- ence ! Until woman meets man fairly and squarely — until she changes the old order of things — • Mrs. Reed. Dear me, Miss Parker, do you think there will ever be a new order of things ? Miss Parker (turning around). My dear Mrs. Reed, do you mean to say that woman is never to have her rights ? Mrs. Reed. Now, now, let's not discuss that perilous subject. What I mean is, that the women will marry just so long as the men keep asking them. Miss Parker. You forget that marriage is no longer the sole aim of woman — Mrs. Reed. There are very few old-fashioned old maids, I grant. Nowadays they are so busy taking care of the married women's business, and so glib in telling them how to bring up their children, that you can't distinguish them from the housekeepers themselves. Gladys (as Miss Parker starts to argue). But, Mrs. Reed, you must have noticed this Mr. Lane and his poor, intimidated little wife. Mrs. Reed. I came just yesterday, you know. Dorette. They've been here just about a week and no- body knows them any better. They make no effort to get acquainted. He continues to treat her indifferently and to speak harshly, even in the presence of others. It's dreadful ! Mrs. Reed. How very extraordinary ! Has it ever oc- curred to you that — (hesitates) that — Gladys (eagerly). Yes? Mrs. Reed. That — perhaps — something is amiss? That there is a good reason why they wish to escape notice? Gladys. My idea, exactly — a mystery! Mrs. Reed. This aversion to society may mean — (insin- uatingly) oh, lots of things! (For some time Miss Trimble has shown impatience and disgust. As Mrs. Reed concludes her remark she rises angrily.) Miss Trimble. May / ask if it has ever occurred to you that this is a game of bridge and not a discussion of what does not concern us? (Sits down emphatically.) ALL ON A SUMMER'S DAY. 7 Gladys (in confusion). Oh, Miss Trimble, it is my make, isn't it? I'd quite forgotten. (Scans cards.) Dear me! Such a hand! (Holds out cards toward Mrs. Reed.) Now, what would you do in such a case? (Mrs. Reed rises, stands behind Gladys, looks at the cards and shakes her head.) Hopeless, isn't it? (To herself, as she counts.) One — two — three — I'll — no, I won't either. I'll make it — {hesitating and frowning) no — that won't do. I'll — let me see — I'll — I'll — (suddenly) well, I think I'll pass! Miss Parker. Well, it certainly took time for you to reach that conclusion. , (Without looking at her cards.) A heart. Dorette. My, but you're confident. I'll make it two diamonds, just to be contrary. (To Mrs. Reed.) I infer that you really know something about the Lanes. Miss Trimble (in stentorian tones). Two hearts! Mrs. Reed (in feigned dismay). Not at all, my dear. What made you think so? Did I say anything to give you that impression? Oh, I'm sorry. Gladys. Of course we can't help noticing what is thrust before our very eyes. Miss Trimble (acidly). Then suppose you notice your cards. Gladys (in surprise). Are you waiting for me to bid? I should think you'd know I couldn't do it after passing the first time. Miss Parker (to Miss Trimble). Why did you make it two hearts? Miss Trimble. Didn't you bid hearts? Miss Parker. Certainly, but that doesn't necessarily mean anything. Miss Trimble (sarcastically). Since when does a bid mean nothing? Perhaps you find such a contingency in the revised edition of Hoyle. Miss Parker. Hoyle or no Hoyle, I know what I'm saying, and you had no right to raise my bid. Why, I just intended to start things — I didn't even look at my hand. Dorette. Well, you started things all right, and. just to keep them moving, I'll allow your bid to stand and will lead 8 ALL OX A SUMMER'S DAY. off with this perfectly stunning ace. (Plays.) Now, I defy anybody to take it. ( Miss Trimble spreads out her cards.) Mrs. Reed. Far be it from me to gossip ; but this morn- ing I did see something very suspicious about the Lanes' conduct. Miss Parker (excitedly playing from dummy). What? Miss Trimble (furiously). Did you mean to play that king? Miss Parker. Why shouldn't I play that king — isn't it mine? Gladys. Oh, tell us what you saw, Mrs. Reed. We've all surmised so much that — (Miss Trimble leans toward her, pointing to cards.) Oh, is it my play? (Plays hur- riedly.) Nothing could shock us now. Dorette. Gladys, you've trumped my ace ! Gladys (composedly). So I have. But a trick's a trick. Miss Parker (playing). Is a heart the trump? Miss Trimble (rising). Is a heart the trump? This question, after you yourself had the make! (Ironically.) Is a heart the trump? I grant- that it might as well be any- thing else, if we consider the intelligence with which this particular game is being played. (Throws cards on table.) Find someone to take my place who is more gifted in con- versation and gossip than I. (M / alks to door at C. in F., then turns.) May I suggest Mrs. Reed as eminently suited to the position? (Exit C. in F.) Mrs. Reed (returning to chair and resuming her cro- cheting). What an unnecessary display of temper! Her insinuations are almost insulting. Gladys (rising pettishly). I despise bridge, anyway. (Sits on arm of Mrs. Reed's chair.) It always makes my head ache when I think so hard. (Mrs. Reed looks up quickly at her, smiles to herself and bends her head over her work.) Miss Parker (seating herself in chair just vacated by Gladys). That's the first time anyone ever told me I couldn't play bridge. (Gathers cards together fiercely.) Dorette. Maybe others have thought it, dear lady. (As Miss Parker attempts to reply.) No, don't say a word. ALL OX A SUMMER'S DAY. 9 I haven't energy to quarrel. It's too hot for bridge or any- thing else that requires effort. (Rises, walks languidly to bench at R. of porch and scats herself.) Dear me ! ( Yawn- ing.) There's a prospect of twelve men for the dance tonight. Gladys. Well, I don't know how you make that out. Dorette. Tom says — Gladys (pettishly). Oh, do leave Tom out of the ques- tion ! Just because you're engaged to him doesn't warrant his being dragged into every conversation. Dorette. You can't leave him out. He's one of the eight perfectly good unattached men. Gladys. Call them perfectly good if you wish, but they wouldn't pass muster at a city social function. Dorette. But they do here. A summer resort is no re- specter Of persons. Gladys. Well, who are the other four? Dorette. The clerk. (Gladys starts to protest.) Not a word. We are not considering race, color or previous condition of servitude. Gladys. Who else? Dorette. Mr. Jones. Gladys (sarcastically). Just as common as his name.' Dorette. What's in a name? So long as it adorns a dance card. Then there's old Mr. Grange. Gladys (in horror). Dorette! He has a wooden leg! Dorette. Then he ought to be good in a one-step. Gladys (with a resigned air). Who's the twelfth? Dorette. A paragon borne hither on the five-thirty train — a friend of Tom. Oh, I beg your pardon, Gladys, for mentioning his name. Gladys. Don't be silly, Dorette. Who is he? Dorette. Bob Doyle. Gladys (excitedly). The Bob Doyle who was usher at the Van Antwerp wedding? Miss Parker (sleepily). What is the Van Antwerp wedding ? Gladys. Miss Parker, the chief charm of this summer 10 ALL ON A SUMMER'S DAY. burg is the fact that it entices a few New Yorkers — and always keeps on file the New York papers — Dorette (interrupting). And if you kept up with cur- rent events you couldn't help but know of Margaretta Van Antwerp's 'marriage to Rupert Irving, just about a week ago at their country home. Bob Doyle was the only usher outside of New York, and as he comes from Tom's home town, we're interested. Mrs. Reed. Why aren't you counting on Mr. Lane as one of your cavaliers? Dorette. He'd make an unlucky thirteenth. And, any- way, I'm scared of him. Mrs. Reed. Speaking of angels, here come the Lanes. (Points off stage L. All peer curiously.) Enter Mr. and Mrs. Lane, L. 2 E. They advance to C. at front of stage. Mrs. Lane (looking nervously around). Oh, I'm afraid — I really am. They look at us as if they know. Lane. They can't know. It's impossible. But re- member what would happen if they did know — and brace up. Mrs. Lane. I'll try. (Walks toivard steps and turns.) Then I'll see you later. Lane (harshly). Perhaps so. In any case, await my orders here. (Exit R. 2 E.) Mrs. Lane ascends steps. Dorette smiles, rises and walks toivard C. of porch. Dorette (meeting Mrs. Lane at C). Can't I persuade you to be sociable? That bench (pointing R.) is -the nicest kind of a resting place after a hot summer walk. Mrs. Lane (turning at C). It does look inviting — but it doesn't admit of a nap, does it? (Nods brightly.) Thank you just the same. Miss Parker. Perhaps a hand at bridge — Mrs. Lane (raising her hand). Oh, spare my brain! Mrs. Reed. Then bring your work — Mrs. Lane. But I haven't any work. ALL OX A SUMMER'S DAY. 11 Gladys (rising and coming to her). Neither have I. Let's be the lilies of the field and watch the others toil. Mrs. Lank. 1 fear I can't be even a successful lily — it's humiliating to confess. But {moving to door) I thank you for asking me. Gladys. Are you coming to the dance tonight ? Mrs. Lane. That depends upon what my husband wishes. (Exit C. in F.) Gladys (coming back to arm of Mrs. Reed's chair). Isn't she maddening? I shan't bother any more to be nice. Miss Parker (mockingly). "What my husband wishes." Bah! Dorette. Hasn't she a "thus-far-shalt-thou-come-and- no- farther" air? One couldn't touch her with a ten-foot pole. (Takes chair L. of table, drags it down stage, seats herself near edge of porch.) IVIrs. Reed (insinuatingly). It is certainly a strange atti- tude to assume. They would not be so unapproachable and so non-committtal if they were not anxious to hide some- thing. Dorette waving excitedly as Tom enters R. 2 E. Dorette. Look who's coming! (As Tom rushes up steps.) What did you bring us? Tom (taking letters and magazines from pocket). Greet- ings from Uncle Sam — that's all. Two effusions for Gladys — masculine handwriting. (Hands letters to Gladys.) Gladys (gloomily scanning the envelopes). From the men whom I asked to the dance tonight. My sixth sense tells me that they've both refused. (Sits in chair next to Mrs. Reed and opens letters.) Tom. Suppose they've both accepted — then wltat'll you do? (Hands magazine to Miss Parker.) Literary Digest, Miss Parker. Read it and tells us the contents in words of one syllable. (Hands letter to Dorette.) What do you mean, Dorette, by flaunting a bill before my very eyes? Dorette (taking envelope and slowly opening it). Just a reminder, dear, of the happy days coming. 12 ALL ON A SUMMER'S DAY. Tom. I might have brought vour mail, too, Mrs. Reed. Never thought of it. Mrs. Reed. I hardly expect any so soon. Thank yon just the same. (Tom seats himself on porch at Dorette's feet.) Gladys (cramming letters into envelopes). Just as I sus- pected. Each had "unexpected business." Tom, if you men must lie, why can't you lie artistically? {Scornfully.) "Unexpected business !" Adam probably used the same ex- cuse to Eve ! Tom (hastily taking newspaper from pocket). And would you like to hear the metropolitan news ? Mrs. Reed. Please. Tom (scanning newspaper) . Well, here's the account of a woman trampled to death at a bargain sale. Ladies, I trust that a word to the wise — Dorette. We don't believe that bargain sale story any more than we believe that excuse of unexpected business. Next ! Tom (reading). The suffragettes have been raising Cain. Dorette. Only Cain? That's surely an improvement upon the hammer? Tom. Help! A joke like that on a hot summer day is a crime. Gladys (yawning). Go on. Tom (reading). Bridge fiend has lost her mind. Miss Parker (roused from her reading). That's a wann- ing to Miss Trimble. I'll tell her. (Resumes reading.) Mrs. Reed. But aren't the men figuring in any way? Or don't you think we're interested? Tom. Modesty forbade me to laud their deeds unless re- quested. Dorette. Nonsense! I'll wager that they've done noth- ing worth the menton. Tom. Oh, haven't they? What do you think of a fellow who, at the greatest personal risk, rescues a fair maid sus- pended over a yawning abyss ? Dorette (looking over his shoulder). Sounds dime- novelly to me. Suspended by what ? ALL OX A SUMMER'S DAY. 13 Tom. A projecting crag. Dorette. In the first place, what is she doing on a pro- jecting crag? Tom. Hasn't she a right to suspend herself if she wishes ? Dorette. Don't he silly, Tom. Tom (referring to paper again). What do yon think of a fellow who, at the greatest personal risk — Dorette (interrupting). Don't repeat, please. We re- member the sentiment. Gladys (warmly). I think he's splendid. Of course he got a medal for bravery. Tom. No, I believe not. Dorette. Why didn't he get it ? Tom. How do / know if the paper doesn't say? Dorette (sternly). Tom. don't equivocate. Why didn't he get it ? Tom (desperately). Well — hang it all — 'twas only a movie rehearsal. Dorette (wisely). I thought so. Tom. And why did you think so? Dorette. Why, I can read between the lines — and inci- dentally over your shoulder. (Silenee for a few moments.) Tom (whistling). Listen to this, all. of you! (All bend forzvard attentively as lie reads. Miss Parker lays aside her magazine.) Detectives are hot upon the trail of an attractive pair, man and wife, who are cleverly collecting valuables from the guests of various summer hotels in the state. It is said that Mr. and Mrs. Raffles mingle socially with the hotel visitors and enrich themselves as the oppor- tunity presents itself. Their latest achievement is to ab- stract the jewels which had been entrusted to the safe of the Ocean View Hotel and — Mrs. Reed (interrupting, rises in great agitation). Does it describe them ? Tom (referring to paper and reading). The thieves are young, attractive and exceedingly well-dressed. They — 14 ALL ON A SUMMER'S DAY. (Mrs. Reed gasps as in terror, Tom rises.) Why. Mrs. Reed, what is it? You're frightened. Mrs. Reed. I am frightened. I am beginning to under- stand that our mysterious couple — Gladys (brcatJilessly). The Lanes! Mrs. Reed. Oh, don't you see that the Lanes are this notorious pair? That — (seats herself). Miss Parker. Oh, no — it can't be — Mrs. Reed. Why can't it be? They answer to the de- scription. Dorette. Not quite. They don't mingle socially — they don't even attempt it. Mrs. Reed. That's a blind. That sort of people never do the same thing twice in succession. Tom. Now look here. Aren't you people rather jump- ing at conclusions ? I met Lane as I was coming from the postoffice. He seems a bully sort of chap — and — Dorette (f ree singly) . Tom! Tom (hastily). Oh, if you're going to look at it that way, I've nothing more to say. I'll leave you people to argue it out — and — see you later! (Exit C. in F.) Gladys (tragically) . What are we to do? Mrs. Reed (eagerly). Have you valuables in the safe? (Gladys, Dorette and Miss Parker nod.) Then draw them out immediately, for the safe will be the first place they try to rob. Dorette. I want my emeralds for the dance anyway. Mrs. Reed (excitedly). Your emeralds — emeralds? Dorette (in surprise). Yes — why not? Don't I look like an emerald kind of lady? Mrs. Reed (confusedly). Oh, yes — yes. How can you think otherwise? I'm just excited — that's all. Gladys. Well, I have a string of pearls that I shouldn't want to lose. Mrs. Reed (eagerly). Pearls? Real pearls? Gladys (pettishly). Why, of course they're real. Dad gave them to me when I came out. Do you think I bought them by the yard ? Mrs. Reed. My dear, you don't understand. Just to ALL OX A SUMMER'S DAY. 15 think that such treasures have been so perilously threat- ened. Miss Parker. Including- a little bank note roll of my own. Mrs. Reed {moistening her lips). How — how much? Miss Parker. Oh, a couple of hundred — or more. Mrs. Reed. What would have happened if I had not unraveled this mystery? Gladys. I don't think you need to take such credit to yourself. We should have discovered it for ourselves a moment later. Dorette. Anyway, we're not sure that the Lanes are the people. And if they are, it doesn't necessarily follow that they'll succeed in opening the safe. I'm sure we're rather weak and silly to do this before we know. Let's think it over and not attempt to raid the safe until just before the dance. Mrs. Reed. My dear, you're foolish. Why not do it now? No one need know, and if we are mistaken, all right. If we are not mistaken, how much better to take a little pre- caution, to — Dorette. Oh, if you feel like that, Mrs. Reed, let's do it by all means. But — dear me — I don't want to wear all my sparklers. I can't leave them in the room — and — (rises) Miss Parker. I certainly can't go around with, green- backs adorning my person. {Rises.) Gladys. And I don't want to rattle with pearls. Mrs. Reed (suddenly). Listen. I've just thought of a plan. I have a little pad-locked strong box where I always carry my valuable papers. Why not put all your possessions in this until time for the dance? We can carry it around with us. It simplifies matters. Gladys (rising). The very thing. Get your little box, Mrs. Reed, and we'll join you here as soon as we collect our precious possessions. (Mrs. Reed rises and hastens through C. in F. in advance of Gladys, who follows her. Dorette hesitates and appears unwilling to go, but is pushed along by Miss Parker. Exeunt all C. in F.) 16 ALL ON A SUMMER'S DAY. Ruler Lane R. 2 E. As he hurries up the porch steps, Tom emerges C. in F. Lane is about to brush past him zvhen Tom lays a restraining hand on Jiis shoulder. Tom. Maybe it isn't any of my business, Lane, but, anyway, I thought I'd drop you a word of warning. Lane (coolly). I don't understand. Tom. They're on to you — the jig's up. Lane (off his guard). Impossible! Who told? Tom. The newspapers. (As Lane attemps to protest.) No use trying to deny it — especially after you've given yourself away. Lane. I repeat that it is quite impossible for any news- paper to know of our movements. Tom (shrugging his shoulders). Read for yourself. (Takes newspaper from pocket and hands it to Lane). Why did you chooose another hotel? 'Twas poor business. Lane (puzzled). Another hotel? Again, I don't follow you. Tom. Why, you were sure to be recognized. What you did in one hotel couldn't safely be repeated in another. Lane. I tell you, man, we haven't been to any other hotel. We came directly here. Tom. See here. Lane, what's the use of beating 'round the bush. Without a doubt you've been tracked. The whole thing's been discovered and I ought to be giving the alarm. Some way or other I can't do it. Hang it all, I like you and I've a mind to help you give them the slip. Lane. I don't want to give them the slip. Since the secret's out, I'll stay and face the music. Tom. But your wife. Lane. She can stand it if I can. Tom. Why did you drag her into this mess? Lane (angrily). Look here, I don't like your tone. Enter Mrs. Reed C. in F. with small padlocked box. She goes stealthily to chair L. of C. Tom (Jiastily). Let's argue it in the smoking room. (Exit C. in F.) As Lane follows Tom, Gladys, Dorette and Miss Par- ALL OX A SUMMER'S DAY. 17 ker emerge from C. hi F. As he stands aside to let them pass, they draw their skirts as in fear of touching him and glance stealthily at him. Lane, as he steps inside the door, turns and looks at them with a surprised and puzzled ex- pression, then goes off C. in F. Miss Parker stands stiffly behind Mrs. Reed's chair. Dorette crosses back of her to chair at L. of Mrs. Reed and sits on arm. Gladys (sinking to floor by Mrs. Reed). Did you see that X-ray look of his? It saw just where I had hidden my pearls. (As she drazvs a string of pearls from the front of her dress). Here — take them — quick (Mrs. Reed takes the pearls) before he charms them away! Mrs. Reed (opening her box and dropping the pearls within). Now, see how safe they'll be. Miss Parker (tossing bills into the box). This will keep them company. Dorette. And this. (Places small jewel case in box.) Really this is all nonsensical. Think of three perfectly able-bodied women quaking- before a possible pair of thieves. And I don't believe they are thieves any more than we are. So there ! Mrs. Reed. But, my dear, even if we are mistaken, a little precaution is surely wise. Dorette. Precaution ! Idiocy! We've acted like a set of babies. Mrs. Reed. Then suppose you put them back in the safe — Gladys (interrupting). And get them out again before the dance? Not much. Mrs. Reed. Or, at least, one of you take the box. (Holds out box.) Miss Parker. Impossible ! I can't be bothered. Gladys. I'd lose it. Dorette. And I'd probably hand it to Mr. Lane just to test him. If you don't mind, Mrs. Reed, we'd much prefer your taking charge. Mrs. Reed (reluctantly). Well — if you insist. (Whistle sounds.) 18 ALL ON A SUMMER'S DAY. Gladys (rising). Listen! The train! Mrs. Reed (rising hastily). Shall I wait you in the li- brary — or my room — or — Gladys (impatiently). Any old place! Mrs. Reed (smiling). Any old place suits me. Dorette. Why not the dining-room? That will give us an opportunity to collect our property in time to dress for the dance. Mrs. Reed (at doorway). Very well. Until then I'll re- lieve you of your valuables. (Exit C. in F.) Miss Parker (thoughtfully). That woman arrived yes- terday. What do we know of her? And yet, without a particle of hesitancy, we entrust our money and jewels to her keeping. Gladys (sitting in chair vacated by Mrs. Reed). Why not? She's a lady. One can easily tell that. Dorette. Oh. I'm not so sure. The present age is one of clever imitations. Why not perfection in this particular line? (Crosses to chair R. of C. and seats herself.) Enter Mrs. Lane C. in F. Mrs. Lane (looking anxiously around). Oh, I beg your pardon. I'm looking for my husband and — Miss Parker. You can't see him right now — and — Gladys (impulsively). Oh, I'm sorry for you — so sorry that it's happened ! Mrs. Lane (in agitation). What's happened? Why are you sorry? (Clasps her hands.) Is my husband — (falters and advances to C. of porch). Miss Parker (laying her hand on Mrs. Lane* arm). No, he's not hurt. He's merely — detained. For — every- thing's found out. Mrs. Lane (off her guard). Found out! That's impos- sible — nobody knows ! Miss Parker. Were you foolish enough to think you could escape detection? Mrs. Lane. Certainly we could have escaped it. if it had not been for the vulgar curiosity of the meddlesome public. ALL OX A SUMMER'S DAY. 19 Miss Parker. That is a most peculiar term to apply to the law. Mrs. Lane (sharply). The law? What has the law to do with it? Miss Parker (icily). The law usually handles cases of crime. Mrs. Lane. And you call marriage a crime — you dare to? Miss Parker. Who said anything about marriage ? Mrs. Lane. You did yourself — you — you — (disgust- edly) suffragette! Miss Parker. Look here ; you're trying to evade me. It won't work, my dear. Dorette. Don't lose your temper, Miss Parker. Mrs. Lane probably had nothing to do with the scheme — the idea was her husband's and — Mrs. Lane (interrupting). Oh, no, it wasn't; it was mine — and — Gladys. Well, you weren't very clever or you never would have gone to another hotel. Mrs. Lane (frigidly). Do you mind my saying this is our first stopping place? Gladys (rising). I don't mind your saying so — but I don't believe you. Miss Parker. And I shouldn't advise you to move on to any other public place. Mrs. Lane (furiously). Is that your business or mine? MisS Parker. People are not so unsuspecting as you think. Mrs. Lane. I don't understand your attitude. You are all very insulting. Miss Parker. And you are exceedingly brazen. Now that we know all about you — Gladys (interrupting). We shall take pains to warn everybody against you — Miss Parker. For your case is now in the hands of the hotel authorities — Gladys (interrupting). And our money and jewels are safely guarded — quite out of your reach. 20 ALL OX A SUMMER'S DAY. Mrs. Lane (gasping). What do you mean? There must be some terrible mistake. Enter Tom and Lane from C. in F. Mrs. Lane rushes to her husband. Mrs. Lane. Oh, Rupert ! Rupert ! What does it all mean? (Tom crosses to R. and stands back of Dorette's chair.) They say such strange things — such insinuating things — I don't understand. (Miss Parker and Gladys withdraw to L. of stage. This leaves the Lanes in the center.) Lane (soothing her). There, there, Retta. No wonder you're bewildered. I'm a little bit knocked-out myself. ( Takes paper from pocket.) It seems that the kind and charitable guests of this hotel have decided that we are a pair of thieves. Mrs. Lane (gasping). Thieves! Lane. Just so. Here — read. (Points out paragraph.) The only pleasant thing about it is that we are "young, at- tractive and exceedingly well-dressed." Mrs. Lane (excitedly) . So that's what they meant when they said that their jewels and their money were out of my reach. Oh! (Throws paper aside). Have you told them who we are? Lane. Not at all. What would my mere word do in a crisis of this kind? As Bob Doyle and Rafferty enter from L. 2 E. Lane. Bob Doyle, by all that's lucky ! (Bob drops his suitcase and hastens to the porch. Raf- ferty stands L. of porch steps.) Bob (taking Lane's and Mrs. Lane's outstretched hands.) Well, who would have thought of seeing the bride and groom! (Turns and shakes Tom's hand.) Llello, Tom. Have you been taking good care of the newly-weds ? (Stands R. of C.) Tom (dazed). I — I — confound it, man, what do you mean ? Lane (ironically) . Tin's is your cue, Bob, for a formal ALL OX A SUMMER'S DAY. 21 introduction. Will you explain to the assembled multitude just who we are? Bob. Is this a joke? Lane. We've been here under an assumed name. Bob (relieved). Oh, that's it! Well, ladies and gentle- man, I take pleasure in establishing- the identity of the strangers in your midst. (With a flourish.) Mr. and Mrs. Rupert Irving — married a week ago — and enjoying a quiet and peaceful honeymoon ! Lane (chuckling) . Quiet and peaceful is good. Gladys (clasping hands). Margaretta Van Antwerp! Mrs. Lane (scornfully). Yes, Margaretta Van Ant- werp! And I've taken your money, your jewels! Bob (in amazement) . What on earth is the matter, Retta? Lane. There's been a mistake. Bob — a ridiculous mis- take — due to our desire to be let alone. When we first came here, dreading the curiosity and comments always bestowed upon bride and groom, we took another name ; and in order to disarm suspicion still further, Retta decided that I must be curt, indifferent and even harsh to her in public. (Grimly.) The plan succeeded too well. Miss Trimble quietly enters at C. in F. and goes to L., standing back of chair. Bob (puzzled). How do you mean? Lane. We have been taken for a pair of notorious thieves, now doing the various hotels, who, it seems, are (sarcastically) "young, attractive and exceedingly well- dressed." In fact, we are at present on the verge of arrest. Bob (eagerly). The pair that stole the jewels at the Ocean View Hotel last week ? Lane (laconically). The same. You seem interested. Friends? Bob. Well, Rafferty (nodding at Rafferty) here is trailing them and — step up, Rafferty, and spring your news. Rafferty (ascending steps). The fact is, the woman has been traced to this hotel. We have learned that she is known as — (consulting memorandum) as — Mrs. Reed. 22 ALL OX A SUMMER'S DAY. Dorette (rising). Mrs. Rccd! Oh, no — no! (Wrings hands.) Gladys (wildly). And she has onr money — our jewels — our — Rafferty (sharply). What's that? Gladys. We gave them to her to keep for us — (hyster- ically) to keep for us! Rafferty (rushing tozvard C. in F.). Let me by. I must arrest her before she escapes. Miss Trimble (calmly). And is it Mrs. Reed you're after? (Rafferty turns.) You'll be interested to know that she has gone. All. Gone? Miss Trimble. A carriage came to the side door not ten minutes ago. She entered and was driven rapidly away. Rafferty (rushing down steps). To the train, then! We'll catch her — or telegraph the next station — or (looking wildly about). Good heavens! Is there nothing to take me there ? Tom. My car! Wait here. I'll be back in a jiffy. (Runs down steps and off at R. 2 E. Rafferty paces back and forth, watch in hand. In the midst of the tense silence a whistle sounds.) Dorette (tragically). The train! It's going! (Staggers to bench at R. and sinks upon it. Gladys drops in nearest chair and buries her face in her liands. Miss Parker leans against the wall for support. Miss Trimble regards every- body through a lorgnette, and in the midst of the confusion the bride and groom clasp hands and look blissfully into each other's eyes.) Curtain. The Deacon Entangled By HARRY OSBORNE. Price, 25 Cents Comedy in 3 acts; 6 males, 4 females. Time, 2 hours. Scene: 1 interior. Characters: Deacon Penrose, a member in good stand- ing. Calvin, his nephew. Rev. Sopher, a supporter of foreign mis- sions Harry Baxter, a sporting writer. Rafferty, a policeman. A Plain Clothes Man. Mrs. Penrose. Ruth, her daughter. Georgie, Rev. Sopher's daughter. Katy, a maid. SYNOPSIS. Act I. — In which the Deacon finds himself in a tight corner. Dr. Sopher, who can coax money out of a wooden Indian. A thou- sand dollars for the new pipe organ. Cal arrives. A clean-up- clouter instead of a ministerial prospect. "Did I forget my necktie and button my collar in the back?" The Deacon spends a night out. "We won't go home until morning." Act II. — The raid on the gambling joint. "Why didn't you jump when I told you." On bail. "A thousand dollars to the Doc or you lose your job as Deacon; a thousand to the judge or six months." A sporting chance. Ready for the game. A donation to Foreign Missions and a double barreled courtship. The elope- ment. The arrest. "Come on Cal, I'll see you through." Act III. — The big game. Tied in the Tenth. Cal goes to the box. A Pinch Hitter. "Over the scoreboard." On the Deacon's trail — the Horse pistol — pay the fine or go to jail. A hair line finish. "Hold on, Copper." "Here's your thousand and here's your girl. Look happy and have your picture taken." A new son-in-law. "Bother Boarding School." The Deacon smiles. A Trial of Hearts By LINDSEY BARBEE. Price, 25 Cents College comedy in 4 acts; 6 males, 18 females. Time, 2*4 hours. Scenes: 3 interiors, 1 exterior. Characters: Dudley Van Antwerp, a wealthy college man. Philip, his best friend. Roger, Teddy, Jack and Jerry, fraternity men. Mrs. Van Antwerp, of great im- portance. Honor, Dudley's wife. Fourteen lively sorority girls. A chaperone and a maid. SYNOPSIS. Act I. — Gretchen and Jerry plav Romeo and Juliet. Ted pleads the cause of Kappa Psi. Jack argues for Delta Chi. Dudley intro- duces Honor to his mother. Virginia learns of Dudley's marriage. "I want to go home — oh. I want to go home!" Act II. — The football enthusiasts bring news of Barbara. Gretchen and Jerrv study Latin and argue fraternity. Honor finds it all a little strange. Dudley tells Virginia his love story. "Oh, Dudlev, you hurt me!" "There's nothing left for me but to go away!' Act III.— "I wonder if people ever get too busy to Care!" Mrs. Van Antwerp opens fire and Honor stands her ground. I mean to stay!" "I wish I had no heart— it aches so!" "Dear little girl, it is good-bye." Honor hears Dudley declare his love for Virginia. "Oh, Dad-Dad— your little girl is coming home!" Act IV. — Gretchen and Jerry "grow up." The Seniors toast the past, the present and the future. Mrs. Van Antwerp reproaches herself. "Here comes the bride." The Kappa Psis and the Delta Chi holds reunions. "Honor, is it really you?" "If you want me, I am here." T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO By Way of the Secret Passage By LINDSEY BARBEE. Price 25 Gents Comedy-drama in 3 acts; 1 male, 11 females. The character of John Harvey can easily be assumed by a girl if it is not de- sirable to have a man in the cast. Time, 1% hours. Scene: 1 interior. Characters: Mrs. Sherman, the hostess. Betty Drew, her niece. Ruth, Alice and Rita, guests. Hannah, a maid. Madame Drew, of revolutionary days. Annette, Caroline and Elizabeth, her daughters. Wenonah, an Indian maid. John Har- vey, of the Patriot army. SYNOPSIS. Act I. — B'etty's engagement dance on Christmas night. The por- trait of Mrs. Elizabeth Drew. Betty's great-great-grandmother. The story of Mistress Elizabeth's romantic career. Ghosts of the happy pair haunt the room each Christmas night. Rita falls asleep in a chair and dreams a dream. Act II. — Scene I — The dream of long ago. John Harvey gains an interview with his lady love. The secret mission is made known to Mistress Elizabeth and the marked chart is put into her hands. Shots, pursuit and the secret passage. Scene II — Where is Elizabeth? The mysterious tapping. Elizabeth makes a dramatic entrance and brings astounding news. Act III. — Rita awakes. Betty's puzzling absence is discussed. Another mysterious tapping. "He's waiting for me — at the end of the secret passage, the same as in the long, long ago!" Abbu San of Old Japan By WALTER BEN HARE. Price 25 Cents Comedy-drama in 2 acts; 15 females. Time, about 2 hours. Scene: A simple interior. Characters: Abbu San, daughter of his majesty. Duchess Fuji-no. Lady Yu-giri, Mist of the Even- ing. O Matsuka San and O Kiku San, maids of honor. Ohano, wife of the bandit chief. Natsu-no, hostess of the inn "Million Welcomes." Okuku, sister of the Ox, a porter at the inn. ITrni, Sada and Yasa, peasant maids. Henrietta Dash, an American newswriter. Aunt Paradise, a black mammy. Madam Masago, manager of the players. Ono, her maid of all work. An absolute novelty in play construction, bristling with inci- dents and sparkling with comedy. The play is presented after the fashion of "The Yellow Jacket." the stage hands changing scenery in full view of the audience and the manager explaining the action and introducing the different characters from her seat at the side. The star part is particularly suited to the tempera- ment of a pretty little ingenue, the characters of Fuji-no and Mist of the Evening call for heavy and effective dramatic work and old Aunt Paradise who longs for "ole Virginny" is a comedy creation of especial note. Dances and song numbers from Mi- kado are called for by the text but these may be given or not at the pleasure of the manager. A picturesque and very effective dramatic entertainment with a distinct plot that will interest and amuse any audience. Suitable for schools, colleges, clubs or churches. T. S. DENISON & COMPANY, Publishers 154 W. Randolph Street, CHICAGO DENISON'S ACTING PLAYS Price 15 Cents Each, Postpaid, Unless Different Price Is Given M. F. Documentary Evidence, 25 min. 1 1 Dude in a Cyclone, 20 min.... 4 2 Family Strike, 20 min 3 3 First-Class Hotel, 20 min.... 4 For Love and Honor, 20 min.. 2 1 Fudge and a Burglar, 15 min.. 5 Fun in a Photograph Gallery, 30 min 6 10 Great Doughnut Corporation, 30 min 3 5 Great Medical Dispensary, 30 m. 6 Great Pumpkin Case, 30 min.. 12 Hans Von Smash, 30 min.... 4 3 Happy Pair, 25 min 1 1 I'm Not Mesilf at All, 25 min. 3 2 Initiating a Granger, 25 min.. 8 I^ish Linen Peddler, 40 min... 3 3 Is the Editor In? 20 min... 4 2 Kansas Immigrants, 20 min... 5 1 Men Not Wanted, 30 min 8 Mike Donovan's Courtship, 15 m. 1 3 Mother Goose's Goslings, 30 m. 7 9 Mrs. Carver's Fancy Ball, 40 m. 4 3 Mrs. Stubbins' Book Agent *o min 3 2 My Lord in Livery, 1 hr.... 4 3 My Neighbor's Wife, 45 min.. ? 3 My Turn Next, 45 min 4 3 My Wife's Relations, 1 hr 4 6 Not a Man in the House, 40 m. 5 Obstinate Family, 40 min 3 3 Only Cold Tea. 20 min 3 3 Outwitting the Colonel, 25 min. 3 2 Pair of Lunatics, 20 min 1 1 Patsy O'Wang, 35 min....... 4 3 Pat, the Apothecary, 35 min.. 6 2 Persecuted Dutchman, 30 min. 6 3 Regular Fix, 35 min 6 4 Rough Diamond, 40 min 4 3 Second Childhood, 15 min.... 2 2 Smith, the Aviator, 40 min... 2 3 Taking Father's Place, 30 min. 5 3 Taming a Tiger, 30 min 3 That Rascal Pat, 30 min..... 3 2 Those Red Envelopes, 25 min. 4 4 Too Much of a Good Thing, 45 min 3 6 Treasure from Egypt, 45 min. 4 1 Turn Him Out, 35 min 3 2 Two Aunts and a Photo, 20 m. 4 Two Bonnycastles, 45 min. ... 3 3 Two Gentlemen in a Fix, 15 m. 2 Two Ghosts in White, 20 min.. 8 Two of a Kind, 40 min 2 3 Uncle Dick's Mistake, 20 min.. 3 2 Wanted a Correspondent, 45 m. 4 4 Wanted a Hero, 20 min 1 1 Which Will He Marry? 20 min. 2 8 Who Is Who? 40 min . . 3 2 Wide Enough for Two, 45 min. 5 2 Wrong Baby. 25 min 8 Yankee Peddler, 1 hr 7 3 VAUDEVILLE SKETCHES, MON- OLOGUES, ETHIOPIAN PLAYS. M. F. Ax'in' Her Father, 25 min.... 2 3 Booster Club of Blackville, 25 m.10 Breakfast Food for Two, 20 in. 1 1 Cold Finish, 15 min 2 1 Coon Creek Courtship, 15 min. 1 1 Coming Champion, 20 min.... 2 Coontown Thirteen Club, 25 m.14 Counterfeit Bills, 20 min 1 1 Doings of a Dude, 20 min.... 2 1 Dutch Cocktail, 20 min 2 Five Minutes from Yell Col- lege, 15 min 2 For Reform, 20 min 4 Fresh Timothy Hay, 20 min . . 2 1 Glickman, the Glazier, 25 min. 1 1 Handy Andy (Negro), 12 min. 2 Her Hero, 20 min 1 1 Hey, Rube! 15 min 1 Home Run, 15 min 1 1 Hot Air, 25 min.. 2 1 Jumbo Jum, 30 min 4 3 Little Red School House, 20 m. 4 Love and Lather, 35 min 3 2 Marriage and After, 10 min.. 1 Mischievous Nigger, 25 min.. 4 2 Mistaken Miss, 20 min 1 1 Mr. and Mrs. Fido, 20 min 1 1 Mr. Badger's Uppers, 40 min. 4 2 One Sweetheart for Two, 20 m. 2 Oshkosh Next Week, 20 min . . 4 Oyster Stew, 10 min 2 Pete Yansen's Gurl's Moder, 10 min 1 Pickles for Two, 15 min 2 Pooh Bah of Peacetown, 35 min. 2 2 Prof. Black's Funnygraph, 15 m. 6 Recruiting Office, 15 min 2 Sham Doctor. 10 min 4 2 Si and I, 15 min .'. . . 1 Special Sale, 15 min . ... 2 Stage Struck Darky, 10 min.. 2 1 Sunny Son of Italy, 15 min.. 1 Time Table, 20 min 1 1 Tramp and the Actress, 20 min. 1 1 Troubled by Ghosts, 10 min... 4 Troubles of Rozinski, 15 min.. 1 Two Jay Detectives, 15 min.. 3 Umbrella Mender, 15 min 2 Uncle Bill at the Vaudeville. 15 min 1 Uncle Teff, 25 min 5 2 Who Gits de Reward? 30 min. 5 1 A great number of Standard and Amateur Plays not found here are listed in Denison's Catalogue T.S. DEN I SON & COMPANY, Publishers, 154 W.Randolph St., Chicago POPULAR ENTERTA Price, Illustrated Paper Co LIBRARY OF CONGRESS I I NUCESOCENT! I t LITTLE PEOPLE'S PLAYS/ ^T.S.DENISOKT 4 COMPANY PUBLISHERS CHICAGO jN this Series *- are found books touching every feature in the enter- tainment field. Finely made, good paper, clear print and each book has an attractive individual cov- ,J er design. DIALOGUES AM Sorts of Dialogues. Selected, fine for older pupils. Catchy Comic Dialogues. Very clever; for young people. Children's Comic Dialogues. From six to eleven years of age. Dialogues for District Schools. For country schools. Dialogues from Dickens. Thirteen selections. The Friday Afternoon Dialogues. Over 50,000 copies sold. From Tots to Teens. Dialogues and recitations. Humorous Homespun Dialogues. For older ones. Little People's Plays. From 7 to 13 years of age. Lively Dialogues. For all ages; mostly humorous. Merry Little Dialogues. Thirty-eight original selections. When the Lessons are Over. Dialogues, drills, plays. Wide Awake Dialogues. Brand new, -original, successful. SPEAKERS, MONOLOGUES Choice Pieces for Little People. A child's speaker. The Comic Entertainer. Recitations, monologues, dialogues. Dialect Readings. Irish, Dutch, Negro, Scotch, etc. The Favorite Speaker. Choice prose and poetry. The Friday Afternoon Speaker. For pupils of all ages. Humorous Monologues. Particularly for ladies. Monologues for Young Folks. Clever, humorous, original. Monologues Grave and Gay. Dramatic and humorous. The Patriotic Speaker. Master thoughts of master m«nds. Tf 018 604 638 9 p Pomes ov the Peepul. Wit, humor, satire, funny poems. Scrap-Book Recitations. Choice collections, pathetic, hu- morous, descriptive, prose, poetry. 14 Nos., per No. 25c. DRILLS The Best Drill Book. Very popular drills and marches. The Favorite Book of Drills. Drills that sparkle with originality. Little Plays With Drills. For children from 6 to 11 years. The Surprise Drill Book. Fresh, novel, drills and marches. SPECIALTIES The Boys' Entertainer. Monologues, dialogues, drills. Children's Party Book. Invitations, decorations, games. The Days We Celebrate. Entertainments for all the holidays. Good Things for Christmas. Recitations, dialogues, drills. Good Things for Thanksgiving. A gem of a book. Good Things for Washington and Lincoln Birthdays. Little Folks' Budget. Easy pieces to speak, songs. One Hundred Entertainments. ..New parlor diversions, socials. Patriotic Celebrations. Great variety of material. Pranks and Pastimes. Parlor games for children. Private Theatricals. How to put on plays. Shadow Pictures, Pantomimes, Charades, and how to prepare. Tableaux and Scenic Readings. New and novel; for all ages. Twinkling Fingers and Sway- ing Figures. For little tots. Yuletide Entertainments. A choice Christmas collection. MINSTRELS, JOKES Black American Joker. Minstrels' and end men's gags. A Bundle of Burnt Cork Comedy. Monologues, stump speeches, etc. Laughland, via the Ha-Ha Route A merry trip for fun tourists. Negro Minstrels. All about the business. The New Jolly Jester. Funny stories, jokes, gags, etc. Large Illustrated Catalogue Free T.S.DENJSON& COMPANY, Publishers, 154 W.Randolph St. ,Chicagt J