NO PLAYS EXCHANGED. PS 3523 .1943 D5 1900 Copy 1 ^MER'3 Coition m or Pl7\y:5 ..<..«s.3i<:^rc3:^;^(^3Mi^3K^^^&:ig>^^ DIFFERENCE IN CLOCKS COPVrtiG+HT, 1889. BY WALT tn H. BAKE.R & CO tk, W. PINERO'S PLAYS. I yAiL Uniformly Bound in Stiff Paper Covers, ijv JAv Price, 50 cents each. ylC /♦S t^ The publication of the plays of this popular author, made feasible by the new ^l^ Copyright Act, under which his valuable stage rights can be fully protected, /iv enai)les us to offer to amateur actors a series of modern pieces of the highest '" t class, all of which have met Avith distinguished success in the leading English ifAV ,,. and American theatres, and most of which are singularly well adapted for ama- ^f* iiV teur performance. This publication was originally intended for the benefit of ilAW 'I* readers only, but the increasing demand for the plays for acting purposes has ^XS ifiW far outrun their merely literary success. With the idea of placing this excel- ifiv 'f* lent series within the feach of the largest possible number of amateur clubs, we 'f3 iiV have obtained authority to offer them for acting purposes at an author's roy- ifiv 9W altyof 9XS j/k\ Ten Dollars for Each Performance. iiv ilw This rate does not apply to ]jro/essional performances, for which terms will be illC rjjy made known on application. wm\ fss — — Has TWF AMA701\r^ A Farcical Romance in Three Acts. By Arthur 1 r\C. rviVirvz^ WlNJ> | ^^y^ Pkneko. Seven male and five female char- — — ^ ^ acters. Costumes, modern; scenery, an exterior and an iiiterior, not at all difficult. This admirable farce is too well known ^|^ through its recent performance by the Lvceum Theatre Conipany, New York, to Mf sv \k'g need description. It is especially recommended to young ladies' schools and Mf colleges. (1805.) \y THE CABINET MINISTER. I l,,S;^f v^"pSh„.^t?u ,n?>l M/ Wljl ! ' and nine female characters, ^k'd Mr Costumes, modern society ; scenery, three interiors. A very amusing piece, in- Mr ^lif genious ill constructiui , and brilliant in dialogue. (1892.) ^k'4 ^^ DAN"DY DTO<" I ^^ Farce in Three Acts. By. Arthur W. Pisero. Mf k|^ i-'z-vi'<«j^ X j^iVrfX-^* Seven male, four female characters. Costumes, mod- ^k'd Mr ' ern ; scenery, two interiors. This very amusing piece Mr fkk'A was another success in the New York and Boston theatres, and has been ex- ^k'g Mr tensiveiy played from manuscript by amateurs, for whom it is in every respect Mr ^k'd suited. It provides an unusualnumber of capital character parts, is very funny, ^k'£ Mr and an excellent acting piece. Plays two hours and a half. (1893.) Mr i^'S THF HORRV HOR^sF I a Comedy in Three Acts. By Arthir ^A'm Mf i^rilL n^^DDX riKjr^^XL*] w. Pineko. Ten male, live female char- Mf actei's. Scenery, two interiors and an ex terior ; costunies, modern. This piece is best known in this country thr admirable performance of Mr. fjohn Hare, who produced it in all the cities, its story presents a clever gatire of false philanthropy, and interest and humor. Well adapted for amateurs, by whom it has been success' fully acted. Plays two hours and a half. (1892.) ind an ex- ^|*| rough the \|f prim-ipal ^k'^ is full of Mf ?K LADY ROTTTSTTTFITT I ^ P^^y ^ Four Acts. By Arthur W. W W ^^^ PWUIN 1 irUi^« I pi^ERO. Eight male and seven female chal-- iU ?K — — 1 acters. Costumes, modern ; scenery, four W yta interiors, not easy. A play of powerful sympathetic interest, % little sombre in Mi 'I. i^«y, but not unrelieved by humorous touches. (1892.) ;!' W vf A DiiFerence in Clocks A Sketch in One Scene By Ethel Livingston BOSTON WALTER H. BAKER & CO 1900 L.H>rary of Congress Two Cf>Pit£ RECEIVED C&iyrigh* entry. TWO COPIES KtCElVE. Library of Cebgr«s% Qffleo cf tbi lie- 64436 MAY 2 11900 liter cf Ccpfpig l2^ • ^^, ^/^^ Hcglttcr cf Ccpfpiglfft ^mm COPY. Delivwed t(^ ORDER OlVISlO^i , A Diiierence m Clocks JUL 3 I90U CHARACTERS -i^' v<=\ Miss Maria, spinster. Joshua Stebbins, bachelor. Joshua should be played as a slow deliberate man with a slight drawl. Miss Maria, quick and excitable. COSTUMES, IN CHARACTER. Copyright, 1900, by Walter H. Baker & Co. A Difference In Clocks, SCENE. — An old-fashioned sitting-room ; open fi^'e r., kettle over fire, mantel with clock and niirror. Table l., set ivith cloth and one or two dishes. Door c. Doors l. and r. Old-fashioned dresser with dishes l. of c. door. Hat-tree R. of c. door. Easy chair front of fire. Rocking-chair c. Fumbling with key at door heard ontside. Enter Miss Maria dressed in old-fashioned dress, bonnet^ shawl, gloves, etc., laden with bundles. Miss Maria {out of breath, putting key under clock on mantel'). Thar ! I'll jest put thet key under the clock so's not to fergit it. {Hurriedly takes off outside wraps.) My, but I'm late ! Most six o'clock, and Joshuvvay alius comes to tea at six prompt. {Puts on white apron, peeps into kettle over fire, scurries back and forth from dresser to table, setting table with dishes, talking all the time.) Ef Joshuway Stebbins ain't the most persistent man alive. He's bin comin' to tea ev'ry Friday night reg'lar for the last thirty years. I s'pose I'd bin Mrs. Stebbins by this time ef we could only agree 'bout one blessed thing. But we can't, though we hev tried so many years. Mercy me ! {Rushes out door l. , and returns with potatoes in covered dish in one hand and sausages in covered dish in the other.) Law's sakes ! But I nearly fer- got them pertaties and sassage. {Sui'veying table with appar- ent satisfaction.) Thar ! I guess ev'rything's ready all but puttin' on the tea, and I shan't do thet till I hear him comin'. {Knock at door.) Law me ! Thar he is now. {Rushing wildly from fire to table and back again, and finally puttiw^ tea on table and vibrating between glass and door, putting touches to curls, necktie, apron, etc., while the knocking at the c. door grows louder and more impatient.) Thar 1 Thar ! I'm 4 A DIFFERENCE IN CLOCKS. comin'. I'm comin'. Bless the man ! He's dretful impa- tient ! {^Opeiis c. door. Joshua enters, cap, coat, muffler, mittens, etc.) Joshua. Evenin', Mis' Maria. Thought I should be late, fer my watch said six jest as I reached the top of meetin' -house hill. (^Bloius finders, stamps feet, removes outside wrappings and approaches fire with evident relish. Holding out hands to the blaze.') It's so cold I jest about run all the Avay. Miss M. {takes hat, etc. , and hangs them up carefully on hat- tree). Yes, I know it. I most froze my nose off jest goin' down to Aunt Sarah's. But, Joshuway, it ain't but two min- nits to six now. Joshua. Your clock must be slow, Mis' Maria, 'cause I cert' inly looked at my watch. Miss M. {bustling about, putting final touches to table). Now, Joshuway, you know my clock keeps the best time of anybody's in the village, and your watch is alius fast. I s'pose it's the comp'ny it keeps. {Snickers at her owjtjoke.) Joshua {goes to clock, takes out watch and compares them earnestly). Wal, Mis' Maria, I've carried thet watch nigh onto thirty years, and I jest know it Avouldn't go back on me now. Your clock Miss M. {excitedly). My clock's all right; it belonged to grandfather, and don't I wind it up ev'ry night reg'lar and give it a little shake and Joshua {contemptuously). Huh ! A woman don't know how to take care of a clock, anyhow. This watch I wind up ev'ry night at nine o'clock exact, and I alius hang the key right back on the watch chain soon's I git through. Miss M. {with aft appare7it effort). Well, well, set down and have some supper anyway. I know my clock's right, but never mind. {They both sit at table, Joshua facing clock.) Joshua. Now I know my watch's right, but as you say, never mind. Miss M. Here's your tea, Joshuway. Don't give me sech a big pertater. That'll do, thank ye. {They help each other to the various dishes. Joshua eats for a moment in silence, and then rises abruptly, pushes A DIFFERENCE IN CLOCKS. 5 chair back, takes out bi<^ bandanna handkerchief and throws it over the face of the clock ; then takes large old- fashioned timepiece from pocket and leans it against clock, resumes seat in silence, and with a sigh of relief begins to eat again. Maria during the proceeding has sat bolt upright with knife and fork held straight up, mouth open, staring at Joshua.) Miss M, Joshuway Stebbins, — be you crazy? Joshua {mouth full). I couldn't set thar any longer with thet clock a-starin' me in the face, a-tellin' lies ev'ry minnit. (Miss M. gives a sniff of disdain. A short silence ensues. Joshua might pour tea into saucer and blow it.) Joshua. I heerd some talk down to the store 'bout Elder Nevvcombe's family bein' so poor. Miss M. Poor ! Why it's nothin' but closeness, thet's what 'tis. Elder Newcombe he's close as the varnish to wood, and they do say thet his family hev cornbread made out oi saw- dust ev'ry mornin' for breakfast. Joshua. Is — thet — so ? Wal, I swan. Have some more sassage ? Miss M. No, thank ye, I guess not. I hed some tea down to Aunt Sarah's. You know. Aunt Sarah's as lively as a cricket fer all her eighty odd years. Joshua. Eighty odd ! Why, she's ninety, ef she's a day. Miss M. She ain't either. She was jest eighty-seven her last birthday, which came on the day thet the speckled hen fell into the brook and you fished her out. Don't you remem- ber how I wropped her up in a flannel petticoat and set her in front of the fire, so's she wouldn't ketch cold ? Joshua. He — he — he. Yes, I remember thet — but Aunt Sarah's ninety jest the same. {Emphatic nod of head.) Miss M. (angrily). Well, I guess I know how old my own aunt is, Joshuway Joshua. I can't help thet, but I know thet she's ninety — but let's not argy. Miss M, I'm not argyin', but ain't thar a single thing thet you kin talk about, Joshuway Stebbins, without contradictin' me? {Durino; the above discussion they have pushed back from the table and are now standing facing each other.) 6 A DIFFERENCE IN CLOCKS. Joshua {sloivly 7vith an effort^. I — don't — know's — thar — is, but {Lon^ pause.) Miss M. {impatiently). Wal, — but Joshua (bashfully, fitting toe into imaginary crack and cast- ing a sheepish glance at Miss Maria). But — but — but you know, Mis' Maria, Aunt Sarah' d hev bin my aunt too, ef you'd seen fit to say what I wanted yer to years ago and Miss M. Now, you know, Joshuway, thet I said I'd never change my mind till we could agree better'n we do now. Joshua. I know, I know, but thet was thirty years ago and Tve bin tryin' and tryin' to agree ever sence but you won't agree at all. Miss M. Why, Joshuway, F d agree all right but you jest won't. As soon's I say anything then you turn round and say jest the opposite, so how kin I agree ? Joshua. You know I don't, Maria. I agree alius but you don't. Miss M„ How kin you say thet? / alius agree with ev'ry- body, unless they disagree with me. Joshua {Jieatedly). I — I — I (^Pause.^ Thar you go agin, Maria ! Let's talk about something else. Miss M. Well, I'd like to talk 'bout something we kin agree on. (^Aside.) Ef thar's anything on this airth thet we kin. Joshua (^sits in front of fire'). It's awful cold out, Maria. Miss M. (^begins to clear off table, puts things on tray ready to carry out). Yes, but 'tain't so cold as I've known it to be this time of year. Joshua. Wal, I don't know. They were sayin' down to the store thet 'twas colder for November than it hed bin for twenty years. Miss M. O, no, 'tain't. Why, last year 'bout this time 'twas colder than this. Joshua (rises). Why, Mis' Maria, last year 'bout this time I wore my single mittens, and now already I've got on my doubles. Miss M. {quickly). Well, I hain't carried my hot soapstun to church yit, and I know I did last year by this time. Joshua. You hed a cold last year and it 7nay have seemed colder to you, but 'twan't, really. Miss M. (picks up tray of dishes and departs, saying as she does so). I'll take these dishes out in the kitchen, and p'raps by thet time you'll feel better; but ' tivas colder all the same. A DIFFERENCE IN CLOCKS. 7 ( Goes out L. , closes door with bang. Joshua hurries after her.) Joshua (^loudly). It is colder 7iow. (^Looks blankly at the closed door for a moment, then resumes seat by fire with a sigh, shaking head dolefully.) Too bad ! Too bad ! Thet Mis' Maria should hev. such a temper. Such a nice woman, too ! Nobody kin beat her biscuits, and as for her whaffles — m-m-m ! Seem 's queer she should be so disagreein'. (Slowly.) She said ef we'd jest agree once she'd take me — but thet was nigh onto thirty years ago, and we hevn't agreed once, yit. {Looks about.) Strange she doesn't come back. (^Catches sight of clock on mantel.) Thar's thet lyin' old clock. I'll jest set it forrard two minutes, and then Mis' Maria' 11 think she made a mistake, p'raps we'll agree once. {Sets hands of clock forward two minu-tes, as he speaks, and stops clock with- out knowing it.) Thar ! Now I guess I'll go out into the kitchen and hunt her up. Guess I'll take my watch. {Takes watch from i7iantel, stumbles over rug, lays watch on table, goes back to straighten rug and then goes out \.., for- getting watch.) Miss M. enters from r., carrying knitting ; she speaks as she enters. Miss M. I went upstairs to git my knittin', so I came down the front stairs, and jest as I got — why, he ain't here ! He ain't gone home, for thar's his hat. Bless the man ! I hope he ain't fallen into the fire. {Pokes fire ; looks toward table ; sees Joshua's watch, which he has forgotten.) He ain't taken his watch, anyway. {Takes it up and shakes it.) The pesky thing ! I'll jest set it back two minnits, and then Joshua'U think he made a mistake. {Gets carving knife, while speak- ijig, and with much pursing of mouth and nodding of head, laboriously opens watch and fixes hands.) Thar ! {Listens.) Goodness gracious ! Here he comes now. {Drops watch on floor, picks it up hastily, throws it down on table, hurries to rocking-chair c, takes knitting and begins to knit, counting stitches, as Joshua enters l. She is apparently unaware of his entrance.) One, two, three, four, five, six Joshua {aside, seeing watch on table, putting it in his pocket without looking at it). Guess I'll take my watch. {Aloud, dropping into chair 7iear fire.) I was jest lookin' for you out in the kitchen, Mis' Maria. Miss M. {starting). Gracious, Joshuway, how you did 8 A DIFFERENCE IN CLOCKS. Startle me — made me drop a stitch. Thought I'd git my knit- tin', so's we could hev a good talk. What'd you hear down to the store to-day? Joshua. Mrs. Twombley has fell down her stairs and broke her arm. Miss M. (^dropping knitting). Dew tell ! I alius said she'd fall on thet ragged old carpet. But thar ! Mr. Twombley he don't care so long's he kin set by the fire and smoke. Joshua (gleans forward, says mysteriously'). And they do say thet they called in thet new doctor — thet young feller who's jest moved to town. Miss M. Is thet so? Why, they alius used to hev old Dr. Brown. {^Knits vigorously for a moment in silence^ while Joshua turns first one boot to the fire and then the other. Then drops knitting in lap, draws chair foot nearer Joshua and leans for - ward.) Now, why do you s'pose they changed doctors? Joshua. Didn't you know, Mis' Maria, thet young Dr. Andrew's wife is Mrs. Twombley's sister's husband's half brother's second wife's cousin? Miss M. (gleans back, purses up mouth, nods head while she apparently tells off the relations to herself, then getting it fixed to her liking she beams upon Joshua). Why, yes, I didn't know 'twas so near. Joshua. Besides Dr. Brown's gittin' purty old to doctor, anyway. Miss M. (resumes knitting). He ain't more than seventy- nine, and I declare I think he's the best doctor I ever see. Joshua. Hm — m — m. Wal, I'd enuff sight ruther hev a younger man, anyway. Miss M. (regarding him with a look of indignation). You kin hev who you want to, but as for me, I don't think much of a little young whipper snapper of a man \\\.q your doctor, Joshua (with growing excitement). You needn't, but I guess I know whether I want to be killed or Miss M. Thet's jest it, thet's jest it. J don't want to be killed. Joshua. But you will be ef you keep on with a man who can't see and Miss M. (crushingly). Well, it's ray own business whether I git killed or not. Joshua (ndw has risen by this time ; excitedly). I — I — I ( Controls himself with great effort, sits down and looks at fire.) I shouldn't wonder ef we had a fall of snow to-morrer. A DIFFERENCE IN CLOCKS. g ■ Miss M. {glances at him over her spectacles). It does seem to hev grown chilly. Joshua. It must be gittin' late; guess I'd better be goin' toward home. {Takes out watch, looks at it, jumps up.') Land of Liberty ! It's stopped. Miss M. {uneasily). What's stopped ? Joshua (inournfully). My watch, thet I've carried most thirty years. My father give it to me when I was gittin' growed up, and it's kep' good time ever sence, till now it's stopped. Miss M. (aside). It must hev stopped when I dropped it. I can't tell him thet. {Aloud.) Don't feel so, Joshuway. You can set it agin by my clock. Joshua. But your clock's two minutes slow. {Happens to think he has changed it.) O, so I kin. {Goes to clock, looks at it, starts, adjusts spectacles, looks again, listens, then turns slowly.) I swan. Mis' Maria, your clock's stopped too. Miss M. {gasps). My clock ! {Rushes to it.) Why, thet clock ain't stopped sence grandfather left it to me. Joshua {aside, rubbiiig chin). I must hev stopped it when I put it forrard. We'd never agree ef I should tell her thet. ( Goes to clock, shakes it, lays his watch on mantel while ke does so.) Miss M. {taking out capacious handkerchief^. I — ^jest — can't — stand — it. {Lays her head on mantel and sobs. In putting out her hand to steady herself she touches Joshua's watch, looks at it at first carelessly, then more intently and then ear- nestly compares it with clock. When she took out her handkerchief, Joshua walked to c. and from there has been regarding her uneasily. Sees her comparing watch and clock arid says.) Joshua. What's the matter, Mis' Maria? Miss M. Matter ! Matter ! Why, Joshuway Stebbins, these two timepieces hev stopped at exactly the same time. Do — you — s'pose — it' s — a — warnin' ? Joshua {laughs uneasily). Warnin' ? No, of course not. What should it be a warnin' of? {Aside.) Wonder ef I'd better tell her. Miss M. It may be a sign of sudden death. {Shakes head dolefully,) I shall feel most dretful anxious 'bout this time to- 10 A DIFFERENCE IN CLOCKS. morrer night. {Aside.) Would it do to tell him what I've done? But jest because I put his watch back two minnits wouldn't hev stopped 'em both at the same time. {Aloud?) Yes, it must be a warnin'. (Joshua sits by fire staring at it dismally, while Miss M. sits in rocking-chair c. shaking head nwurnfully.') Miss M. I've heard tell thet a clock often stops when its owner's goin' to die. {Pause ; sniffs.) Do you s'pose we'll both die at the same time? {Pause ; s?iiffs.) Your lot in the cemetery ain't fur from mine. {Pause; sniffs.) V^q might h^ buried at the same time. ( Weeps in handkerchief, Joshua holds his to his face and peeps out, to watch Miss Maria, furtively now and then. Long pause only interrupted by sobs from Miss Maria.) Miss M. {after wiping her eyes, chokes down her sobs and says brokenly). It's best to look sech things in the face, and I've bin thinkin', Joshuway, thet p'raps I've bin to blame con- sid'able in our disagreein'. Joshua {not to be outdone in generosity). No, no. Mis* Maria. / was most to blame and — and Miss M. And, Joshuway, I've bin thinkin' too thet it wouldn't do any harm ef we should be buried on the same lot. {More mournfully .) And {sobs) and — {sobs) and we might hev some sort of an inscription like this — "Though divided in life they were not separated in death." {Pause, durijig which Miss Maria sobs in handkerchief and Joshua gazes in fire ; he suddenly starts, smiles, rises and goes to Miss Maria saying as he does so.) Joshua. Why, Mis' Maria, thar ain't nobody goin' to die. Our clocks stopped jest the same time to show us thet we'd better agree before it's too late. I guess it means we'd better hev a weddin' 'stead of a funeral. ( With a comfortable chuckle.) Seems to me 'twould be a heap pleasanter to be married than buried. What do you think, Mis' Maria? Miss M. {regarding Joshua loith undisguised amazement). Joshuway Stebbins — I — believe — you — air — right. Joshua. Right, of course, I'm right. Ain't your time- piece agreein' and so why shouldn't we? Miss M. I do believe thar's a providence in it and {slowly) of course, 'tain't in the nater of things for a human bein' to hold A DIFFERENCE IN CLOCKS. II out agin providence, still — we might be mistakin' the vvarnin' Joshua. Wal, Mis' Maria, I think I'd orter tell you thet I tried to set your clock forrard, and you see it's stopped ; now, I ain't providence, and Miss M. You did ? Joshuway Stebbins, I set your watch back, and then I heard you comin' so I dropped it and Why ! You and me's the only providence in this matter. {Angrily,^ Siill, I do think, Joshuway, you might hev left my clock alone, Joshua. Wal, Mis' Maria, you might hev left my watch alone, the watch my father gave me. Miss M. You tetched my clock fust — the clock thet be- longed to my grandfather, and I can't fergit how I felt when I thought I was goin' to die. (^Impressively.') So we hevn't agreed once yit. Joshua {slowly). No — but — {hopefully) — but we may yit. I'll come again next Friday night. {Takes coal, hat, puts them on, goes to c. door.) Good-night, Mis' Maria, Miss M. Good-night, Joshuway. {Follows him to door, holds lighted candle high above her head to light him out.) Take care of the ice on the steps. Good-night. {Closes door, sighs, puts knitting away, turns out light, and fi7ially sits in rocking-chair front of fire. An oldfash- ioned melody such as '■^ Auld Lang Syne'' could be played softly until fall of curtain.) Miss M. P'raps I've been to blame all this time. Joshu- way's good and he's kind and folks say thar ain't an honester man about than Joshuway Stebbins. {Rises quickly, lights candle, goes to door r.) I'll jest see what time 'tis by the clock in the hall. {Goes out r., returns to clock on mantel, takes key and ivinds clock ; sets hands carefully, saying as she does so.) I'll set this clock one minnit forrard of the other, and then it'll be givin' in half to Joshuway. I really couldn't give in the //////. Thar ! {Leaves lighted candle on mantel, sits in rocking-chair by fire.) I'm sorry I argyed with him. I'd orter told him I was sorry. Sometimes, I think {Pause, during which' she rocks quietly and gazes into fire, c. door opens softly; Joshua's head appears. Then he tiptoes in, coughs gently. Miss Maria turns, sees him, and rises.) 12 A DIFFEREN'CE IN CLOCKS. Joshua {bashfully^. Mis' Maria, it was so cold goin' down meed n' -house hill, and I felt lonely and— and — I thought I'd come back and — and — tell you I was sorry — and Miss M. {quickiy). Well, Joshuway, I'm sorry too, and I was jest wishin' I'd told you so while I hed the chance. I'm most to blame and Joshua {interrupting). No, I am and I come back to tell you so and to tell you thet I stepped into Mr. Twombley's house on my way down the bill, and set my watch back one minnit so's to give in half to you. {Suddenly takes out watch.) I declare ef I won't give in the hull two minnits to you. Miss M. {with a gasp). Why, I've jest set mine one minnit forrard by the hall clock. (Joshua steps to mantel and compares clock and watch by the light of the one candle which remains lighted on shelf. ) Joshua {joyfully). Why, Maria, we hev agreed at last. {They clasp hands as curtain goes doivn.) Jki THF MAH-T^sTR ATF I ^ ^^^^^e in Three Acts. By Arthitu W. ^P yi^ 1 niL lVlAUi>^ 1 1^ A X r.« I p,j,,EKo. Twelve male, four female char- /|\ ^C acters. Costumes, modern ; scenery, all ^i^ 0m\ interior. The merits of this excellent and amusing piece, one of the mostpopu- /Am jiZ lar of its author's plays, are well attested hy long and repeated runs in the 'a: 0m\ principal American theatres. It is of the highest class of dramatic writing, and /IV JkV '^ uproariously funny, and at tUe same time unexceptionable in tone. Its entire "aC /i\ suitability for amateur performance has been shown by hundreds of such pro- #lV jl: ductions from manuscript during the past three years. Plays two hours and %k /)\ a half. (1892.) ^j\ ^{N THE NOTORIOUS MRS. EBBSMITH A Drama in Four Acts. By Arthur W. /i^ PiNERO. Eight male and five female charac- * ■* ters; scenery, all interiors. This is a "prob- lem " play continuing the series to which •' The Profligate" and "The Second Mrs.Tanqueray" ifiV l^elong, and while strongly dramatic, and intensely interesting is not suited for iiw ^f^ amateur performance. It is recommended for Heading (Jlubs. (1895.) ffj^ A TRF PROFT TriATF I A Play in Four Acts. By Arthur W. Pike- ^Y; /l\ in.IL r-rsvV-^rJ^l^/\lIL. jjo. seven male and five female characters. /A\ jiC ' Scenery, three interiors, rather elaborate ; ^v wm\ costumes, modern. This is a piece of serions interest, powerfully dramatic in #AV j[c moveuient, and tragic in its event. An admirable play, but not suited for ama- •*• fm\ teur perfoanance. (1892.) THE SECOND MRS. TANQUERAY* A Play in Four Acts. By Arthi'R W. Ptnero. Eight male and five femalechar- acters. Costumes, modern ; scenery, three interiors. This well-known and powerful play is not well suited for amateur per t rVS XMF ^r'T-TOOT MT^XPF^^ ( A Farce in Three Acts. ByARTnrR A\ A nn D^^nVJV^i^lVllO 1 I^JLOD* W. Pinkro. Nine male, seven fe- iiw ffy — —- — ^ 1 male characters. Costumes, mod- ^1^ /AV ^'"n ' scenery, three interiors, easily arranged. This ingenious and laughable iik r|3 farce Avas played by Miss Kosina Vokes during her last season in America with ^W great success. Its plot is amusing, its action rapid and full of incident, its dia- jui logue brilliant, and its scheme of character especially rich in quaint and humor- wV\ ous types. The Hon. VereQueckett and Peggy are especially strong. The piece >*v is in all respects suitable for amateurs. (1894.) 'm\ .., , vv \l# forniance. It is oifered to Mr. Piuero's admirers among the reading public in iTA^ ^r answer to the demand which its wide discussion as an acted plav has cieated. Mr M> (1804.) Also in Cloth, $1.00. ^A^ ^)/