{"1": {"fulltext": "NO PLAYS EXCHANGED,\\nR 1273\\n.Z9 S7\\nSopy 1\\nBeer s Edition\\ni or Pltws\\n\u00e2\u0080\u00a2p V\\n1900\\nHAMLET S BRIDES.\\nCOPYWiGiHT, 1b89, BY WALTfcH H. BAKE.R CO-", "height": "3524", "width": "2086", "jp2-path": "hamletsbrides00ster_0001.jp2"}, "2": {"fulltext": "9S ft\\nI A. W. PINERO S PLAYS.\\ni|V Uniformly Bound in Stiff Paper Covers, Iy\\nijw Price, 50 cents each. i!c\\nft\\nft\\nft\\nft\\nTHF AMAZON S I A Ftfrcjcal Romance in Three Acts. P.vArthcr\\n1 ran ^m/YZ.WlN.3. J w PrjlE o. Seven male and five female char-\\nacters. Costumes, modern: scenerv, an exterior\\nand an interior, not at all difficult. This admirable farce is too well known\\nthrough its recent performance by the Lyceum Theatre Company, New Vork, to\\nneed description. It is especially recommended to young ladies schools and\\ncolleges. (1895.)\\nft\\nft\\nf\\nThe publication of the plays of this popular author, made feasible bytbe new\\nJj\\\\ Copyright Act. under which bis valuable stage rights can be fully protected*.\\n|J enables us to offer to amateur actors a series of modern pieces of the highest\\nJj\\\\ class, all of wbich have met with distinguished success in tbe leading English /AW\\nIf* ami American theatres, and most of which are singularly well adapted for aina- 5!*\\n/A tear performance. This publication was originally intended for tbe benefit of ifAV\\nreaders only, but tbe increasing demand for the plays for acting purposes has\\niAW far outrun their merely literary success. With tbe idea of placing this excel- ifAW\\nKW lent series within the reach of the largest possible number of amateur (dubs, we *f*\\niAV have obtained authority to offer them for acting purposes at an author s roy- ifAV\\nW altyof f$J\\nTen Dollars for Each Performance. ifji\\niii This rate does not apply to professional performances, for which terms will be }fkji\\nmade known on application. fn\\nft ft\\nft\\nft\\nt\\nw\\nf THE CABINET MINISTER. I i\u00c2\u00abK\u00c2\u00a3#ite\\\\gfci 1\\n\\\\t j and nine female characters. t|j\\nyf Costumes, modern society scenery, three interiors. A very amusing piece, in- Mr\\nk|j genious in construction, and brilliant in dialogue. (1892.) ^|j\\nM DANDY DTfTC I A Farce in Three Acts. By Arthcr W. Pjxero. \\\\(f\\nik j x *s I Seven male, four female characters. Costumes, mod-\\nMf J ern scenery, two interiors. This very amusing piece Mr\\nwlf was anotlier success in the New York and Boston theatres, and has been ex-\\nMf tensively played from manuscript by amateurs, for whom it is in every respect Mr\\nw|/ suited. It provides an unusual number of capital character parts, is very funny, t|j\\nMr and an excellent acting piece. Plays two hours and a half. (1893.) \\\\ff\\nS\u00c2\u00bb THE HOBBY HORSE. I tt*# *S52 W\\nV|j acters. Scenerv, two interiors and an ex- si M\\nMf tenor: costumes, modern. This piece is best known in this country through the \\\\f/\\nadmirable performance of Mr. John Hare, who produced it in all the principal sY d\\nMf cities. Its story presents a clever satire of false philanthropy, and is full of \\\\l/\\n^i^ interest and humor. Well adapted for amateurs, bv whom it has been success- ci\\nMf fully acted. Plays two hours and a half. (1892.) ^J/\\n?K LADY BOUNTIFUL I A Fl *y n Four Ac i- Bv Arthur w. W\\n\\\\U U X p UiN X irUL I Pixeko. Eight male and seven female char-\\n..I.. i acters. Costumes, modern; scenerv. four Mf\\n114 interiors, not easy. A play of powerful sympathetic interest, little sombre in fcli\\nZ. key, but Dot unrelieved v humorous touches. (1892.) Mr\\nW Sir*", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0002.jp2"}, "3": {"fulltext": "Hamlet s Brides\\nA Shakespearean Burlesque in One Act\\nBy SARA HAWKS STERLING\\nBOSTON\\nWALTER H. BAKER CO\\n1 900", "height": "3524", "width": "2086", "jp2-path": "hamletsbrides00ster_0003.jp2"}, "4": {"fulltext": "TWOCOPIESRECElVEi\\nOffice of th\\nFEB 17 19\\n56683 copyright*\\nHamlet s Brides\\nCHARACTERS 7 q Z\\nHamlet, a princely widower.\\nPortia, a haughty lawyer.\\nRosalind, a bicycling girl.\\nJuliet, a flirtatious widow.\\nBeatrice, an up-to-date damsel.\\nViola, a timid dove.\\n1 ^7\\nCopyright, 1900, by Walter H. Baker Co,", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0004.jp2"}, "5": {"fulltext": "SECOND COPY,\\nCOSTUMES\\nThe burlesque may be given in modern costume, Hamlet\\nwearing a dress-suit, and Rosalind, a bicycling skirt and\\njacket. It will be more effective, however, if the characters\\nare dressed as follows\\nHamlet. Black tights and doublet, black cloak, sword.\\nPortia. Red or black lawyer cap and gown.\\nRosalind. A modern bicycling suit.\\nJuliet. A white dress, of some thin, clinging material.\\nBeatrice. Richly-colored silk or satin court-dress.\\nViola. Pale green or pink dress, thin and clinging to figure.\\nPROPERTIES\\nDoyly, work-basket, and embroidering materials for Viola.\\nBook, watch, and if possible, a lorgnette, for Portia. Large\\nhandkerchief for Hamlet. Two small handkerchiefs for\\nRosalind. A moon of pasteboard and gilt paper for Juliet.\\nLarge book to represent hotel register. Table and chairs, ar-\\nranged as the action requires.\\nNote. If Hamlet speaks with a lisp throughout, the part\\nwill be still more effective.", "height": "3514", "width": "2015", "jp2-path": "hamletsbrides00ster_0005.jp2"}, "6": {"fulltext": "", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0006.jp2"}, "7": {"fulltext": "Hamlet s Brides,\\nSCENE. An ordinary parlor, entrances R. and l. Sofa at\\nback, L. c. Table down r. with a large book upon it. Sev-\\neral chairs. Other furniture and decorations as space per-\\nmits. Portia and Viola discovered seated, Portia reading\\nat table r. c. Viola embroidering L. c. To them enters\\nJuliet from r., running down c.\\nJuliet. Say, girls, have you heard the news\\n(Viola jumps, Portia closes her book majestically\\nPortia. I do wish, Juliet, that if there is any news, you\\nwould not announce the fact in so startling a manner\\nViola (patting her side distractedly). Yes, so do I. You\\nscared me so, that my heart is thumping yet.\\nJuliet. Oh, bother, Viola, you re always talking about\\nyour heart. I got over hearts long ago. But, oh the news.\\nWhere are the others Here comes Rosalind, and Beatrice is\\nwith her, raging as usual\\nEnter Beatrice and Rosalind, l.\\nBeatrice. Well, I should just like to see a man have the\\neffrontery to make love to me again\\nRosalind. No doubt you d like to see it, dear, but you\\nnever will. You ve fallen off dreadfully of late. And even if\\nany one should be bold enough to attempt it, you couldn t\\nmanage matters any better than when you trapped poor Bene-\\ndict.\\n(They look angrily at each other. Juliet comes between\\nthem.)\\nJuliet. Do stop fighting, girls, and listen. I ve a piece\\nof news.\\nPortia. Pray tell us that wonderful piece of news.\\nJuliet. Then listen, every one (They gather about her\\nA man has arrived at the hotel", "height": "3524", "width": "2086", "jp2-path": "hamletsbrides00ster_0007.jp2"}, "8": {"fulltext": "6 HAMLET S BRIDES.\\nAll {except Juliet, in a tone of disgust). Oh {They\\nturn away from her.)\\nJuliet. Why, what s the matter? I thought you d be\\npleased.\\nPortia {cru shingly). Pleased When we have each of\\nus come to Salt Lake City, fresh from dissolving the odious\\nbonds that marriage laid upon us Pleased When the mere\\nsight of a man is a source of disgust to well, to most of us,\\nMrs. Montague\\n{All except Juliet make nods and gestures of approval dur-\\ning Portia s speech.)\\nJuliet {injured). Oh, well, if you feel that way, of course\\nthere s no more to be said. m\\n(Viola begins to sob, wiping her eyes on her doyly.)\\nBeatrice. Why is that infant crying\\nViola. I m thinking of my Orsy. Oh, Orsy, Orsy\\n(Sobs.)\\nRosalind. Orsy W T ho s Orsy\\nPortia. Orsino. Her husband, you know.\\nViola {sobbing at intervals). Yes/ he said that his marry-\\ning me was an awful mistake You remember that he wished\\nto see me in my woman s weeds. When I wore them, he\\ndidn t like my appearance a bit. Then I put on doublet and\\nhose again, just to please him, whereupon he said I was a New\\nWoman, and would be riding a bicycle next and that nearly\\nbroke my heart {Sobs.)\\nRosalind. Pshaw Your mistake was in consenting to\\nlay off your emblems of superiority. Now I never did. From\\nthe time Orly first made love to me, I always wore the breeches\\nHe s left me now.\\nViola. Oh, did he die\\nRosalind. Die No. He s gone into an insane asylum.\\nThe doctors horrid wretches said it was my tongue that\\ndrove him mad.\\nBeatrice. As for me, I was glad to get rid of my Benny.\\nHe was always so rude to me I wanted to do the most talk-\\ning, of course, and that didn t suit him at all, selfish creature\\nSuch a long tongue as that man had At last, in desper-\\nation, I said, Let s have a divorce. He had the impudence\\nto reply, With pleasure, my dear Lady Disdain. So we\\nparted by mutual consent. 1 never want to see a horrid man\\nagain", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0008.jp2"}, "9": {"fulltext": "7\\nJuliet. Oh, don t you? I m sure I was awfully fond of\\nmy poor, dear Romeo; but I wouldn t mind at all having\\nanother lover, and marrying again. He was so foolish to take\\nthat poison, especially when that old dear, Friar Lawrence, had\\neverything arranged so nicely. Well, anyway, I m glad I\\ndidn t kill myself, as I intended. It would have been so un-\\ncomfortable, you know.\\nPortia. Yes, how was it you didn t? I saw the account\\nof both your death and Romeo s, headed Tragedy in High\\nLife, in all the morning papers.\\nJuliet. Why, you know, I tried to stab myself with\\nRomeo s dagger. The poor dear fellow was so hard up that it\\nhadn t been sharpened for an age. Consequently, it was so\\ndull that it didn t stick me at all. Of course, however, my\\ngrief and excitement caused me to remain in a dead faint for\\na long while. When I recovered, I came right straight off\\nhere.\\nPortia. I, too, have had my matrimonial trials. As .you\\nknow, I am a lawyer, and have always been fond of intellectual\\npursuits. Bassy, I regret to say, knew not the joys of either\\nlaw or intellect. This fact was the first little rift within the\\nlute, and it kept growing wider and wider until at last we\\nparted. It was on the question of women riding diamond\\nframes that we finally agreed to differ. He said I should\\nnever ride one. I said I would. Enough We parted, and\\nI console myself with intellectual pursuits. I must go now\\n{looking at her watch), for I have an article to read in a scien-\\ntific magazine on The Theosophic Philology of Protoplasms.\\n[Exit r.\\nBeatrice. I want to look up the account of the latest\\ndivorce suit. Oh, how I love em [Exit l.\\nViola. I need some silk from my room to finish this\\ndoyly. Oh, how prettily I used to talk to Orsy about con-\\ncealment preying like a worm i the bud on damask cheek but\\nnow I work the buds on damask doylies [Exit r.\\n(Juliet runs to entrances at r. and l. and looks out cau-\\ntiously, then carefully examines the room, and finally\\napproaches Rosalind, l. c.)\\nJuliet. Nobody around except us Rosalind\\nRosalind. Well\\nJuliet (insinuatingly). Would you object very much to\\nseeing a man again?\\nRosalind. No. To tell you the truth, I d rather enjoy", "height": "3524", "width": "2086", "jp2-path": "hamletsbrides00ster_0009.jp2"}, "10": {"fulltext": "8 hamlet s brides.\\nit, although it was no use saying so while the others were\\naround.\\nJuliet. Hurrah I agree with you Let s try to have\\nsome fun with this man. It s so dull here. Really, the moon-\\nlight is lovely, and it is perfectly wasted when there is no one\\nswearing by the moon, and longing to be a glove upon your\\nhand so as to kiss your cheek, and all that sort of thing.\\nRosalind. And it is always so much more fun to tease a\\nman than a girl. I think girls are stupid. Do you know the\\nnew arrival s name\\nJuliet. Let s look at the register. Here it is on the table.\\n{They both bend over the book on the tabled) Oh, Rosy, he s a\\nprince What do you think of that? He s from Denmark,\\nthe cold, cold north I wonder if he knows how to make\\nlove.\\nRosalind. We ll see. What s his name? H-a-m, ham\\nHam, how funny Oh, .no, here s some more H-a-m-1-e-t,\\nHamlet. Yes, he s a prince. Have you seen him Perhaps\\nhe has come to marry an American heiress.\\nJuliet. Seen him? Yes, indeed, I have. He looks so\\nsweetly romantic and melancholy. Goodness, Rosy, here he\\nis.\\n{They nudge each other, and Rosalind whispers to Juliet.\\nJuliet nods and laughs, and then begins to rush about the\\nstage wildly.)\\nRosalind {following her madly). What is it? What is it?\\nEnter Hamlet, r., slowly.\\nJuliet. Ow, ow Catch it, Rosy, catch it {Slapping at\\nher face.)\\nRosalind. Oh, I can t Waving her hands at her\\nwildly.)\\nHamlet {speaking with a lisp, and looking mildly aston-\\nished). Rest, rest, perturbed spirits, rest\\nRosalind (pausing an instant). It is all very well for you\\nto stand there and speak calmly about our refilling but it\\nwould be much more to the purpose if you d kill this horrid\\nmosquito. Oh, Juliet, I believe it s on me now They both\\nrush about again.)\\nHamlet. I own the soft impeachment. Allow me {He\\nfollows Rosalind r. c, where she pauses. Juliet stops l.\\nc, Hamlet c.) Allow me! {He slaps Rosalind s cheek.)\\nNow, have I done it, pat", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0010.jp2"}, "11": {"fulltext": "hamlet s brides. 17\\nJuliet {pulling one made of pasteboard and gilt paper from\\nthe folds of her dress). Here (Aside.) I brought it for\\nthe occasion. A love-scene is nothing without a moon\\nHamlet. I swear by my sword\\nJuliet. Oh, horrors, no By the moon\\nHamlet (resignedly). Very well, by the moon\\nJuliet. All right, that s done Now go to Beatrice, quick.\\n(Aside.) She s treated me fairly, so I ll give her a chance to\\nflirt a little.\\nHamlet (as he crosses to Beatrice). I might as well have\\nem both. I ve proposed to two others, and will have to run\\naway, anyhow.\\nBeatrice (as he reaches her). Oh, have you come back\\nto me\\nHamlet. I love you, Beatrice.\\nBeatrice. Can this be true\\nHamlet (for the third time repeating the handkerchief busi-\\nness used first in scene with Viola). That I love thee best,\\noh, most best, believe it (Aside, as he picks up handkerchief.)\\nI might as well say it to the other one, and be done with it.\\n(Returns to Juliet, and repeats handkerchief business for the\\nfourth time.) That I love thee best, oh, most best, believe it\\nWhile Hamlet is on his knees to Juliet, enter Portia, hur-\\nriedly, r. She comes down c. and seizes him by the throat,\\nbefore he has time to rise.)\\nPortia. Murderer\\n(Beatrice and Juliet rise hastily, and come on each side of\\nHamlet and Portia.)\\nBeatrice. Be careful, Portia.\\nJuliet. Don t be so rough\\nPortia (excitedly to Hamlet). Matricide, unclicide,\\nwould-be suicide, at last I have thee (Fiercely to Beatrice\\nand Juliet.) Hence, and let me deal with him Hence, I\\nsay\\nBeatrice. We ll go for help.\\nJuliet. Isn t she a vixen\\n[Exeunt Beatrice and Juliet, l.\\nHamlet (rolling his eyes abjectly upward to Portia). Are\\nyou a lawyer\\nPortia (keeping firm hold of his collar). Yes I take\\npride in saying, yes\\nIT ami ft {beseechingly). Then save me What shall I do?", "height": "3494", "width": "2127", "jp2-path": "hamletsbrides00ster_0011.jp2"}, "12": {"fulltext": "1 8 hamlet s brides.\\nI have proposed to four girls in one evening. How am I to\\nget out of it Oh, help me\\nPortia. That problem is easily solved. You are in Salt\\nLake City.\\nHamlet. What difference does that make\\nPortia. All the difference in the world. Just turn Mor-\\nmon, and marry every one\\nHamlet. Is it so Oh, my deliverer Am I allowed\\nonly four\\nPortia. Oh, no You may marry an infinite number\\nHamlet. Then, if you will kindly remove your lovely, lily-\\nwhite hand from my unworthy neck, and allow me to rise from\\nthis very ungraceful position, I have a proposition to lay before\\nyou, oh, my deliverer\\n(Portia releases him. He rises, and both exit, R.)\\nEnter Viola and Rosalind, l.\\nViola (sobbing). I ll never let a man propose to me again.\\nOh, the traitor\\nRosalind. Yes, he is. (Aside.) I m so furious that that\\nwhining baby got ahead of me Well, I had him on my\\nwheel before he spoke to anybody else, so now\\n(They come dozun stage. Viola seats herself at table, and\\nbegins to embroider. Reenter Portia and Hamlet, r.)\\nHamlet. So you, too, will be my bride, oh, my deliverer\\nPortia. Yes, I consent to your proposal.\\n(They come down c. together.)\\nHamlet (repeating handkerchief business for the fifth time).\\nThat I love thee best, oh, most best, believe it (Rising.\\nW T here are my other brides\\nRosalind. Your other brides What do you mean\\nEnter Beatrice and Juliet, l.\\nHamlet. Are we not in Salt Lake City? Are we not under\\nthe heavenly shadow of Mormonism? Oh, blessed, blessed\\nBrigham Young! Oh, my Viola, come to my arms! Oh,\\nmy Beatrice, oh, my Rosalind, oh, my Juliet, oh, my Portia,\\nhere to my heart! (Standing c, he spreads out his arms.\\nViola falls on his neck. Beatrice and Rosalind are en-\\ncircled by one arm, Juliet and Portia by the other.) How I\\nwish Ophelia had lived to see this day. Then I might have", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0012.jp2"}, "13": {"fulltext": "HAMLET S BRIDES. 1$\\nhad six wives instead of only five Let us hence to the Tem-\\nple, then, my darlings, and we six shall be made one. That I\\nlove each one best, oh, most best, believe it\\n{The five girls join hands in a ring and dance around Ham-\\nlet, singing as follows, to the air of Oh, My Darling\\nClementine, 11 or other popular air, while Hamlet stands\\nin the middle, smiling at them seraphically\\nTo the Temple we will hurry,\\nTo the Temple, let us go\\nHamlet s brides are his forever\\nFor not one could tell him, No\\nCURTAIN.", "height": "3524", "width": "2086", "jp2-path": "hamletsbrides00ster_0013.jp2"}, "14": {"fulltext": "A NEW PATRIOTIC PLAY.\\nBROTHER AGAINST BROTHER.\\nA Military Drama in Five Acts.\\nBy BERNARD FRANCIS MOORE.\\nAuthor of The Rough Rider, Captain Jack, Etc.\\nNine male, two female characters. A stirring play of strong sym-\\npathetic interest turning upon incidents of the Civil War. The thousands\\nwho played The Rough Rider, by the same author, will find a similar\\nsuccess in this piece, which is distinguished by the same qualities of\\nhumor and action. Two strong leading parts, Irish comedy, and a strong\\nheavy part all other parts effective. Easy to stage, and perfectly suited\\nfor amateurs, for whom it was specially written. Costumes modern and\\nmilitary scenery simple but varied. Plays a full evening.\\nPrice 15 Cents.\\nSYNOPSIS:\\nACT I.\u00e2\u0080\u0094 The Bennett home. That blamed Irishman. The coming\\nstruggle. Yes or no. The first rebel captured. A soldier s wife. The\\ntraitor. A blow and its recoil. The declaration of war. Brother against\\nBROTHER.\\nACT II.\u00e2\u0080\u0094 The Union camp. The spy. The fortune of war. A secret\\nmove. In a tight place. Ladies in camp. Cornered. The dispatches.\\nThe capture. Face to face.\\nACT III.\u00e2\u0080\u0094 The court-martial. The weight of evidence. Self-betrayed.\\nAlabama Joe, the scout. A life at stake. The whole truth. The tie of\\nblood. A brother s testimony. The prisoner s defence. I am guilty.\\nThe fate of a spy. Death.\\nACT IV. The prison cell. Alone with death. A surprise. True love.\\nA chance of escape. A strange promise. Brothers and rivals. The trap.\\nThe underground route. An impossible condition. Then die like a dog.\\nAn interruption. Changing guard. Now is your time. I love my coun-\\ntry, but you are still my brother. The escape.\\nACT V.\u00e2\u0080\u0094 Home again. The neglected farm. An Irish-American\\naffair. Sentenced. The first girl you meet. Living or dead. In dis-\\nguise. One slip of the tongue, and I am lost. A disagreable visitor. A\\nmessage from the tomb. Thank God he died like a man with his face to\\nthe foe. The cup and the lip. Michael, you have saved my life. A trai-\\ntor s death and a patriot s love. The end of all.\\nAn Old Maid s Wooing.\\nA Drama in Two Acts.\\nBy flARTHA RU5SELL ORNE.\\nAuthor of The Country School, A Limb o the Law, Etc.\\nFive male, four female characters. Scene, a single easy interior cos-\\ntumes modern. An amusing little play of American rural life, full of\\ngenuine humor with touches of pathos. The dramatic interest is strong,\\nbut that of character is even stronger. Easy to play and all the parts\\neffective. Acts one hour.\\nPrice 15 Cents.\\nSent, postpaid, on receipt of price, by\\nBAKER, 5 HAMILTON PLACE, BOSTON, MASS.", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0014.jp2"}, "15": {"fulltext": "Jki THF MAGISTRATE I A Farce in Three Acts. By Artiti;r W. *!J\\nfk\\\\ l FULWUlKJlO 1 I Ui 1 -C* p, xkko Twelve male, four female char- fk\\\\\\njk aclers. Costumes, modern scenery, all \\\\V\\nym% interior. The merits of this excellent and amusing piece, one of the most popu- fm\\\\\\nTy lar of its author s plays, are well attested by long and repeated runs in the fir\\nf\u00c2\u00a7\\\\ principal American theatres. It is of the highest class of dramatic writing, and\\nViv is uproariously funny, and at the same time unexceptionable in tone. Its entire\\nsuitability for amateur performance has been shown by hundreds of such pro- #i%\\nfit (Mictions from manuscript during the past three years. Plays two hours and y k\\n/J^ a half. (18B2.)\\nffS ft-nT TMHTHP TOT TR A Drama in Four Acts. By Arthur W. p|\\\\\\nUiL. 1 U1UIUWUJ Pinebo. Eight male and five female charac- ;TC\\n%f^ TVTPQ FRR^T\\\\/nTT-T ters; scenery, all interiors. This is a prob- fl\\\\\\njki xVlxvD\u00c2\u00bb JI.DJ_0.LVlx 1 11. j em play continuing the series to which The jlC\\nrfj Profligate and The Second Mrs. Tanqneray fm\\\\\\njjX belong, and while strongly dramatic, and intensely interesting is not suited for ^TC\\nWjiy amateur performance, it is recommended for Reading Clubs. (1895.) f|j\\ni*C TI4T7 DT? f\\\\~7T 1C A Tin I A Play in Four Acts. By Artiur W. Pine- y k\\nJl\\\\ 1 Ull rKUrLlCjA 1 H. KO j^even ma le and five female characters. /J\\\\\\n$Z Scenery, three interiors, rather elaborate; *.v\\nrl^ costumes, modern. This is a piece of serious interest, powerfully dramatic in #4^\\njk movement, and tragic in its event. An admirable play, but not suited for a m a- \\\\v\\n/1\\\\ teur performance. (1892.) fi\\\\\\nf\\\\ TT-TT7 ^ri-TnnT MT^TPF^ f A Orcein Three Avts. Bsr A RfmerR /|V\\nA\\\\ inC nUULiV11,)1WaA W. Pinero. Kine male, seven fe- jli\\nffy male characters. Costumes, mod- m\\niflC ern scenery, three interiors, easily arranged. This ingenious and laughable jki\\n^f 1 farce was played by Miss Rosina Vokes during her last season in America with w t m%\\njk\\\\ great success. Its plot is amusing, its action rapid and full of incident, its dia- i*v\\nf* logue brilliant, and its scheme of character especially rich in quaint and humor- W t fj\\\\\\nJk\\\\ ous types. The Hon. VereQueckett and Peggy are especially strong. The piece i*v\\n^|J is in all respects suitable for amateurs. (1894.) ^|l\\nW\\nSXlf formance. It is offered to Mr. Pinero s admirers among Hie reading public in\\na answer to the demand which its wide discussion as an acted play has created.\\nk| ISt 4.) Also in Cloth, $1.00.\\nTHE SECOND\\nMRS. TANQUERAY.\\nf\\nsWFFT T AVFTST DF R I A Comedy in Three Acts. By Arthur Vl/\\ni_\u00c2\u00bb W X_iX_, X X_-.T_. V X_X J_/X_XV\u00c2\u00bb \\\\rr Pr V1? \u00c2\u00abn\u00e2\u0080\u009eon tiiqIo nr.,1 f/,nv fontuln V7.\\nA Play in Four Acts. By Arthur W.\\nPinero. Eight male and five female char-\\nacters. Costumes, modern scenery, three\\ninteriors. This well-known and powerful\\nplay is not well suited for amateur per-\\nW. Pinero. Seven male and four female\\nl\u00c2\u00bb|\u00c2\u00abg j v. i-iJSEKO. seven ma le ami lour Temaie\\n\\\\l/ J characters. Scene, a single interior, the\\nsame for all three acts; costumes, modern and fashionable. This well known\\n_ i_ s UMe ,01 a ee aci.s costumes, modern anu iasmonauie. l nis wen Known 4\u00c2\u00ab.\\n\\\\ff and popular piece is admirably suited to amateur players, by whom it has been \u00c2\u00bbB#\\nhk d orte given during the last few years. Its story is strongly sympathetic, and its TIC\\nW# comedy interest abundant and strong. (1893.) %l#\\nTHE TIMES I A Comedy in Four Acts. By Arthur W. Ptxero. Six\\nM/ xxvxx_*j\u00c2\u00ab male and seven female characters. Scene, a single ele-\\nJK gant interior; costumes, modern and fashionable. An\\n\\\\m\u00c2\u00a3 entertaining piece, of strong dramatic interest and admirable satirical humor, tfii\\nW (1892.) W\\n?K THF WFAKFR SFX I A Comedy in Three Acts. By Arthur W\\n\\\\B/ XXL1 W X-.rv tVJ^.xX Q\u00c2\u00a3L^V\u00c2\u00ab W. Pinero. Eight male and eight female \\\\y\\nI/-* characters. Costumes, modern scenery,\\n\\\\l# two interiors, not difficult. This very amusing comedy was a popular feature of ^1/\\n2Y d tlie re errf,ire of Mr. and Mrs. Kendal in this country. It presents a plot of JK\\n%l# strong dramah c interest, and its incidental satire of AVoman s Rights em-\\n?K ploys some admirably bumorons characters, and inspires many very clever lines. ;V-\\nIts lending characters are unusually even in strength and prominence, which\\nV/. makes it a very satisfactory piece for amateurs. (1894.) TIC\\nW", "height": "3494", "width": "2219", "jp2-path": "hamletsbrides00ster_0015.jp2"}, "16": {"fulltext": "hbkhky OF CONGRESS\\nS\u00e2\u0082\u00ac\\nfa\\nft\\nfa\\nfa\\nfa\\n/IS\\n/\u00e2\u0099\u00a6s\\n/IS\\n/\u00e2\u0080\u00a2s\\n/\u00e2\u0099\u00a6s\\n/\u00e2\u0099\u00a6s\\nt\\n/IS\\n/IS\\n/IS\\n/IS\\n/IS\\nf\\nf\\nf\\nY\\nM/\\nSI/\\nM/\\nSI/\\nW\\nSI/\\n3$\\nw^ w^-^^ W^-* II II III II\\nNEW OPERETTAS FOR C]\\nEDITH S DREAM,\\nSit \u00c2\u00a9prrrtta for (JTijtltirrn.\\nWords by MARGARET FEZANDIE and EDGAR MORETTE.\\nMusic by EUGENE FEZANDIE, Jr.\\nEleven characters, girls and boysj or all girls, as preferred ten or more addi-\\ntional for chorus. Scenery unnecessary; costumes, pretty and fanciful, but\\neasily arranged at home. This admirable little piece is printed complete with\\nmusic. It is very tuneful and gracefully imagined, and is strongly recommended\\nfor private theatricals or for schools. It is particularly well suited for the latter\\nuse, as it deals whimsically with the question of youthful study, inculcating,\\nhowever, an excellent moral.\\nPrice\\n35 cents.\\nODD OPERASHEVEN TIDE\\nA Collection of Short and Simple Musical\\nEntertainments for Children.\\nBy MRS. G. N. BORDMAN*\\nThis collection provides a simple operetta, a fairy opera, a picturesque motion\\nsong, a quaint musical pantomime, a pretty musical sketch, and two original\\nhumorous recitations for children, complete, with all the music, and full instruc-\\ntions for performance. The music is tuneful ami simple, and is specially written\\nwith the tastes and limitations of. children in view. The solos are easily learned\\nand sung, and all the choruses are written for voices in unison. The collection\\nis strongly recommended for its simplicity and perfect practicability. Neither\\nstage nor scenery is demanded, nor any other requirements that cannot be met\\nwithout trouble by the equipment of the ordinary hall or church vestry, and the\\nzeal of the most economical committee of arrangements.\\nPrice\\nCONTENTS.\\n50 cents.\\nA Glimpse of the Brownies. A\\nMusical Sketch for Children. Any\\nnumber of boys.\\nMarket Day. An Operetta for Young\\nPeople. Seven speaking parts and\\nchorus.\\nQueen Flora s Day Dream. An\\nOperetta for Children. Six speak-\\ning parts and chorus.\\nThe Boating Part v. A Musical\\nSketch for Little Children. Thirty\\nboys and girls.\\nSix ^Little Grandmas. A Musical\\nPantomime for very Little Children.\\nSix very little girls.\\nJimmy Crow. A Kecitatiou for a\\nLittle Girl.\\nA House in the Moon. A Recita-\\ntion for a Child.\\n7*\\nm\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nfa\\nY\\nw\\nI\\nI\\nw\\nt\\nz", "height": "3503", "width": "2117", "jp2-path": "hamletsbrides00ster_0016.jp2"}}