Produced by Suzanne Shell, Linda Cantoni, and the Online
Distributed Proofreading Team at http://www.pgdp.net
THE WHITE CHRISTMAS
AND OTHER
MERRY CHRISTMAS PLAYS
BY
WALTER BEN HARE
AUTHOR OF THE PLAYS
"_Aaron Boggs, Freshman_," "_Abbu San of Old Japan_," "_Civil
Service_," "_A College Town_," "_Kicked Out of College_," "_Macbeth à
la Mode_," "_Mrs. Tubbs of Shantytown_," "_Parlor Matches_," "_A Poor
Married Man_," "_My Irish Rose_," "_A Rustic Romeo_," "_Savageland_,"
"_A Southern Cinderella_," etc.
ILLUSTRATED BY
BUCKTON NENDICK
CHICAGO
T.S. DENISON & COMPANY
PUBLISHERS
COPYRIGHT, 1917
BY
EBEN H. NORRIS
MADE IN U.S.A.
[Illustration: From "ANITA'S SECRET OR CHRISTMAS IN THE STEERAGE"]
THIS BOOK IS DEDICATED
WITH THE BEST WISHES OF THE AUTHOR
TO
FRANCES MAAS ULLMANN
THE ORIGINAL
"ANITA"
AND
LUDWIG BLOCK ULLMANN
THE ORIGINAL
"JOLLY JACK FROST"
* * * * *
"I have always thought of Christmas time ... as a good time;
a kind, forgiving, charitable, pleasant time; the only time
... when men and women seem by one consent to open their
shut-up hearts freely ...; and I say, God bless it!"
CHARLES DICKENS.
FOREWORD
In these little plays I have tried to bring before the public the two
dominant characteristics of the ideal Christmas season, kindness,
expressed by "good will toward men," and the inward joy wrought by
kind acts, and suggested by "peace on earth." As Yuletide draws near
we like to think of the swell of Christmas feeling, kindness, peace
and good will, that rises like a mighty tide over the world, filling
it with the fresh, clean joys and generous impulses that produce the
peace that passeth understanding.
Some of the plays are filled with the spirit of fun and jollity that
is always associated with Christmas merrymaking; in others I have
tried to emphasize the spiritual blessings brought to the children of
men on that first white Christmas night when Christ, the Lord, was
born in Bethlehem, and all the angels sang, "Gloria in excelsis, peace
on earth, good will toward men."
CHILDREN IN PLAYS.
The love of mimetic representation, either as a participant or as a
spectator, is an ineradicable instinct of childhood and adolescence.
Most of these plays call for a somewhat large number of children. This
need not daunt the producer as the chief characters are few and many
of the parts have very few lines to speak. Many extra children may be
introduced in several of the plays, as a chorus. At Christmas time,
the children's season, it is best to allow all who so desire to take
part in the entertainment. Some of the parts are rather long, but all
have been played by children of the age indicated in the text. Very
little children have sometimes done remarkable work in the plays. I
remember one instance when a very tiny Tiny Tim, who was not four
years old, spoke his part correctly, was heard in every corner of the
church and acted with a naturalness that was indeed remarkable.
REHEARSALS.
First and foremost, do _not_ over-rehearse your play. The chief charm
in Christmas plays lies in their naturalness and simplicity, a part of
which is almost sure to be lost if they have rehearsed the play until
they have lost their wonder and excitement and enjoyment in the
make-believe game of amateur theatricals.
The director's aim should be to establish a happy co-operation with
the players that will make the whole production, rehearsals, dress
rehearsals and final performance, a series of good times crowned by a
happy, if not perfect, production. The director should always strive
to be cheerful and happy, ever ready to give advice and ever ready to
ask for advice, even from the youngest players. Take them into your
confidence. Discuss color schemes, costuming, property making,
lighting and scenic effects with your actors.
At the first rehearsal have the children listen to a reading of the
play. Then read a short scene in detail, allowing each actor to read
several parts. Try every child in every child's part before you make
your final selection of the cast of characters. If it is possible,
begin your second rehearsal on the stage where the play is to be
given. Arrange chairs to represent entrances, doors, windows, etc.,
and have all properties on hand, in order to impress on the children's
minds the necessity of learning the words and the action at the same
time. At the third rehearsal the play should be given in its entirety,
music, gestures, entrances, exits, groupings and crossing from one
side of the stage to another at a given cue, etc. In fact, everything
as in the completed production, except that the actors may use their
copies of the play for reading the lines.
DELAYS.
The director should make every effort to guard against stage waits and
delays of every sort. Have your stage hands, prompter, property
managers, scene painters and all your assistants on hand at every
rehearsal, if possible. Long waits between the acts, tardiness in
beginning the performance, and all delays do much to destroy an
otherwise happy impression. Every piece of scenery, every costume,
every bit of make-up and every property should be in its place--all
ready to make a smooth final performance. Dress rehearsals are
absolutely necessary. The last two rehearsals should be complete
performances of the play with lights, curtains, costumes, make-up,
scenery and all incidentals exactly as they are to be on the night of
the performance.
With such preparation, scarcely anything is impossible of attainment.
The pleasure of the work and the pride in a production well done will
amply repay an ungrudging lavishment of time and labor.
WALTER BEN HARE.
_Drury College_,
_Springfield, Mo._
* * * * *
STAGE DIRECTIONS.
Stage directions are purposely simplified and few abbreviations used.
_R._ means right of the stage: _C._, center; _L._, left, etc. The
actor is supposed to be facing the audience.
MUSIC.
Music is provided for a few of the songs in this book. The others are
to be sung to old airs that are presumably familiar to everyone. If
any of them should prove unfamiliar, the music of all except some of
the hymns will be found in Denison's "_Songs Worth While_," one of the
best arranged and most carefully edited collections of old favorites
ever published. This book is beautifully printed on non-glossy paper,
measuring 7 by 10-1/4 inches, and is well bound in a stout paper cover
done in colors. It may be obtained from the publishers for the price
of $1.00, postpaid.
For all the hymns not included in "_Songs Worth While_," see any
standard church hymnal.
CONTENTS
The White Christmas (8 Male, 7 Female Adults) 13
Anita's Secret or Christmas in the Steerage
(1 Male Adult, 9 Boys, 7 Girls) 49
Christmas With the Mulligan's (2 Female Adults,
5 Boys, 5 Girls) 93
The Wishing Man (4 Male Adults, 13 Boys,
7 Girls) 131
A Christmas Carol or the Miser's Yuletide
Dream (10 Male, 5 Female Adults, 4 Boys,
4 Girls) 167
Her Christmas Hat (4 Male, 5 Female Adults) 203
THE WHITE CHRISTMAS
[Illustration:
JOSEPH MARY SIMEON
TIMOTHY ISAAC ANNA THOMAS
RUTH RACHEL DEBORAH PRISCILLA
MELCHOIR GASPAR BALTASAR PROLOGUE]
THE WHITE CHRISTMAS
A CHRISTMAS MORALITY PLAY IN ONE ACT.
_Originally produced by the Quadrangle Club of the University of
Missouri, Christmas Eve, 1909._
CHARACTERS.
MARY _The Maiden Mother_
JOSEPH _Of the House of David_
SIMEON _An Old Shepherd_
TIMOTHY _A Shepherd, the Husband of Anna_
ISAAC _A Young Shepherd_
ANNA _The Wife of Timothy, the Shepherd_
THOMAS _Her Little Son_
RUTH _Her Little Daughter_
DEBORAH _Hostess of an Inn at Bethlehem_
RACHEL _A Maiden of Bethlehem_
PRISCILLA _Her Cousin_
MELCHOIR }
GASPAR } _The Wise Men from the East._
BALTASAR }
_A Concealed Choir. The Prologue._
_For description of costumes, arrangement of the scene, etc., see
"Remarks on the Production" at the end of the play._
TIME OF PLAYING--_About One Hour._
* * * * *
SCENE I: _Before the play begins the_ PROLOGUE _steps in front of the
curtains and addresses the congregation._
PROLOGUE.
The earth has grown old with its burden of care,
But at Christmas it always is young,
The heart of the jewel burns lustrous and fair,
And its soul, full of music, bursts forth on the air,
When the song of the angels is sung.
It is coming, Old Earth, it is coming tonight!
On the snowflakes which cover thy sod
The feet of the Christ Child fall gentle and white,
And the voice of the Christ Child tells out with delight,
That mankind are the children of God.
On the sad and the lonely, the wretched and poor,
The voice of the Christ Child shall fall;
And to every blind wanderer open the door
Of hope that he dared not to dream of before,
With a sunshine of welcome for all.
--_Phillips Brooks._
And it came to pass in those days, that there went out a decree from
Cæsar Augustus, that all the world should be taxed. And this taxing
was first made when Cyrenius was governor of Syria. And all went to be
taxed, every one into his own city.
And Joseph also went up from Galilee, out of the city of Nazareth,
into Judea, unto the city of David, which is called Bethlehem, because
he was of the house and lineage of David. To be taxed with Mary his
espoused wife....
And so it was, that, while they were there, the days were accomplished
that she should be delivered. And she brought forth her first born
son, and wrapped him in swaddling clothes, and laid him in a manger;
because there was no room for them in the inn.
(_Exit_ PROLOGUE.)
(_Soft chimes. As these chimes die away in the distance a concealed
choir is heard singing._)
O COME, COME, AWAY.
O come, come away
From labor now reposing,
Let busy care a while forbear;
O come, come away.
(_The front curtains are drawn, showing a winter street in Bethlehem.
No one appears on the stage, but the choir continues singing outside
at right front._)
Come, come, our social joys renew,
And thus where trust and friendship grew,
Let true hearts welcome you,
O come, come away.
RACHEL _and_ PRISCILLA _enter from the inn at right front, arm in arm.
They go to the center, then to the rear of the stage, turn and face
the inn, pause a moment or two, listening to the choir, and then go
out at rear left. The choir continues:_
From toils and the cares
On which the day is closing,
The hour of eve brings sweet reprieve,
O come, come away.
O come where love will smile on thee,
And round its hearth will gladness be,
And time fly merrily,
O come, come away.
_While the choir is singing the last three lines of the song_, SIMEON
_and_ ISAAC _enter from rear left, leaning on their shepherd's crooks.
They pause at rear center and listen to the singing. When the song is
finished the organ continues the same music softly._
SIMEON.
Make haste, my son, the hour is waxing late,
The night is cold, methinks our sheep await.
ISAAC.
Nay gran'ther, I would liefer tarry here.
The town is gay, the inns are full of cheer.
SIMEON (_points to rear right_).
But there our duty lies, the wind grows cold!
Come, let's away and put the sheep in fold.
(_Starts off right._)
ISAAC.
Nay, Simeon, wait! What means this crowd of men
And women here in peaceful Bethlehem?
SIMEON (_comes to him_).
Herod the King hath issued a decree
That each and all his subjects taxèd be;
And every one who in this town saw light
Must here return and register tonight.
From all Judea, aye, from th' distant land,
Each Bethlehemite must come at his command.
ISAAC (_comes to the doorway of the inn and peers in_).
The town is full of people, great and small,
Each inn is crowded to its very wall.
SIMEON (_comes down center and takes his arm_).
But come, we're wasting time, 'tis very late.
Make haste, my son, I know the flocks await!
ISAAC.
Thou speakest true, though I would rather stay,
Our duty calls, so to the hills, away!
(_They go out at rear right._)
_The concealed choir repeats the first stanza of the song softly.
After a slight pause_ DEBORAH _enters from the inn._
DEBORAH (_coming down to right front_).
My inn is crowded to the doors. The heat
Is stifling, but out here the air is sweet.
(_Looks upward._)
The bright stars twinkle with mysterious light,
Methinks there's something strange about the night.
_She sits on the bench in front of the inn._ TIMOTHY _enters from rear
left._ DEBORAH _continues her soliloquy._
The air is still, the night is very cold,
The shepherds seek the hills to watch the fold.
(_Sees him._)
(TIMOTHY _goes out at rear R._)
DEBORAH.
Some strange, unearthly voice seems calling me,
Methinks this night portends great things to be.
_Enter_ RACHEL _and_ PRISCILLA _from rear right, then come down center
and address the hostess._
RACHEL.
Hail, hostess of the inn, my cousin here
Hath lodgings at your inn. We'd seek its cheer.
DEBORAH (_rises_).
Enter within. My guests tonight are gay
And fain would turn this winter's night to day.
RACHEL _and_ PRISCILLA _enter the inn, followed by_ DEBORAH. _The
organ music continues softly. After a slight pause enter_ ANNA _from
rear left. She leads_ RUTH _and_ THOMAS _by the hand._
THOMAS (_at rear center_).
Oh, mother, hark! There's music in the inn!
ANNA.
'Tis not for us--their noise and merry din.
RUTH.
Our little town is crowded, joyous, gay.
THOMAS.
So many travelers came this way today.
RUTH.
The night is chill and cold, I much do fear
The little sheep will shiver by the mere.
ANNA.
Too cold it is for thee, I fear, in truth,
Return and get thy cloak, my little Ruth.
We'll wait for thee upon the little hill.
(_Points off R._)
But speed thy steps, the cold will work thee ill.
RUTH.
I'll fly, dear mother, like an arrow home.
(_Runs out at L._)
ANNA.
We must not tarry. Come, my Thomas, come!
(_She leads him out at rear R. There is a pause. The music changes to
a mysterious plaintive air. The old German song, Holy Night, may be
effectively introduced as an organ solo._)
_Enter from rear right,_ JOSEPH, _walking with a staff and supporting_
MARY.
MARY.
Here is a place, now I must rest awhile!
For many a league, for many a weary mile,
We've trudged along since break of day began.
JOSEPH.
'Tis true, and I'm an old and ancient man,
My joints are stiff, my bones are waxing old--
And the long night is bitter, bitter cold.
Here take my cloak and keep thee warm within,
And wait thee here while I search out an inn.
(_He wraps his cloak around her and seats her on the bench or stool in
front of the manger. He goes out at rear left. The music changes to
the Magnificat, to be found in all Episcopal hymnals._)
MARY (_sings_).
My soul doth magnify the Lord: and my spirit hath rejoiced in God
my Saviour.
For he hath regarded: the lowliness of his handmaiden.
For behold, from henceforth: all generations shall call me blessed.
For he that is mighty has magnified me: and holy is his Name.
And his mercy is on them that fear him: throughout all generations.
He hath showed strength with his arm: he hath scattered the proud
in the imagination of their hearts.
He hath put down the mighty from their seat: and hath exalted the
humble and meek.
He hath filled the hungry with good things: and the rich he hath
sent empty away.
He remembering his mercy hath holpen his servant Israel: as he
promised to our forefathers, Abraham and his seed, forever.
_Enter_ JOSEPH _from rear L._
JOSEPH.
For hours I've trudged the street in fruitless quest,
Here is an inn, mayhap at last we'll rest.
_Enter_ DEBORAH _from the inn._
MARY.
Husband, I'm faint; I can no farther go.
Methinks I'll rest me here upon this loe.
(_Sits in front of the manger._)
JOSEPH (_assisting her_).
Have courage, Mary, here's the hostess here.
(_Comes to_ DEBORAH _at right._)
We'd lodge with thee tonight.
DEBORAH.
Alas, I fear
My inn is crowded to the very wall,
Soldiers and scribes, the rich, the great, the small!
JOSEPH.
Is there room for us? My wife is ill.
DEBORAH.
My heart is sad and it is not my will
To send you hence, but naught is left to do.
Perhaps some other inn will shelter you.
JOSEPH.
Alas, the other inns are all the same!
DEBORAH.
Never was seen the like in Bethlehem.
(_Laughter and noise at R._)
My guests are merry, hear their jovial din!
(_Goes to R._)
I pity you, there's no room at the inn.
(_Exits into the inn._)
MARY.
Our last hope gone! Now, what shall we do?
My strength is leaving!
(_Bows head._)
JOSEPH.
Would I could succor you.
I'll wrap thee warm. Now rest thee here a while.
We've traveled far, full many a weary mile.
_Enter_ RUTH _from rear L., hurrying along._
JOSEPH.
Maiden, I fain would stop thee in thy flight--
Can'st tell where we could lodge this winter night?
RUTH.
That inn is crowded. There's one upon the hill.
JOSEPH.
I've tried them all, my wife is very ill.
RUTH.
That little stable there upon the loe,
(_Points to L front._)
'Tis snug and warm. 'Twill shield thee from the snow.
MARY (_rises_).
God's blessing on thy little head, sweet child!
Come, Joseph, for the wind now waxes wild.
(_Exits L. front._)
(JOSEPH _leads her to exit L., then turns and looks off R._)
JOSEPH.
O little town of Bethlehem,
How still we see thee lie!
Above thy deep and dreamless sleep
The silent stars go by.
Yet in thy dark streets shineth
(_Turns toward manger._)
The everlasting Light;
The hopes and fears of all the years
Are met in thee tonight.
(RUTH _stands at rear C., watching him._)
_The curtains slowly fall._
Scene II: _Hymn by the congregation._
WHILE SHEPHERDS WATCHED THEIR FLOCKS.
While shepherds watched their flocks by night,
All seated on the ground.
The angel of the Lord came down,
And glory shone around,
And glory shone around.
"Fear not," said he,--for mighty dread
Had seized their troubled mind,
"Glad tidings of great joy I bring,
To you and all mankind,
To you and all mankind."
"To you in David's town this day,
Is born of David's line,
The Saviour, who is Christ, the Lord,
And this shall be the sign,
And this shall be the sign."
"The heav'nly babe you there shall find
To human view displayed,
All meanly wrapped in swathing bands,
And in a manger laid,
And in a manger laid."
Thus spake the seraph--and forthwith
Appeared a shining throng
Of angels, praising God, who thus
Addressed their joyful song,
Addressed their joyful song:--
"All glory be to God on high,
And to the earth be peace;
Good will henceforth, from heav'n to men,
Begin and never cease,
Begin and never cease."
_The_ PROLOGUE _appears before the curtains and speaks._
PROLOGUE.
There's scarlet holly on the streets, and silver mistletoe;
The surging, jeweled, ragged crowds forever come and go.
And here a silken woman laughs, and there a beggar asks--
And, oh, the faces, tense of lip, like mad and mocking masks.
Who thinks of Bethlehem today, and one lone winter night?
Who knows that in a manger-bed there breathed a Child of Light?
There's fragrant scent of evergreen upon the chilling air;
There's tinsel tawdriness revealed beneath the sunlight's glare;
There's Want and Plenty, Greed and Pride--a hundred thousand souls,
And, oh, the weary eyes of them, like dull and sullen coals.
Who knows the town of Bethlehem, once gleamed beneath the star,
Whose wondrous light the shepherds saw watching their flocks afar?
And yet above the city streets, above the noise and whir,
There seems to come a fragrant breath of frankincense and myrrh.
I saw a woman, bent and wan, and on her face a light
The look that Mary might have worn that other Christmas night.
And as the little children passed, and one lad turned and smiled,
I saw within his wistful eyes the spirit of the Child.
--_Caroline Reynolds._
And there were in the same country shepherds abiding in the field,
keeping watch over their flock by night. And, lo, the angel of the
Lord came upon them, and the glory of the Lord shone round about them;
and they were sore afraid.
And the angel said unto them, Fear not: for, behold, I bring you good
tidings of great joy, which shall be to all people. For unto you is
born this day in the city of David a Saviour, which is Christ the
Lord.
And this shall be a sign unto you: Ye shall find the babe wrapped in
swaddling clothes, lying in a manger.
And suddenly there was with the angel a multitude of the heavenly host
praising God, and saying, Glory to God in the highest, and on earth
peace, good will toward men.
And it came to pass, as the angels were gone away from them into
heaven, the shepherds said one to another, Let us now go even unto
Bethlehem, and see this thing which is come to pass, which the Lord
hath made known to us.
And they came with haste, and found Mary and Joseph, and the babe
lying in a manger. (_Exit_ PROLOGUE _at L._)
(_Soft chimes are heard. The_ SHEPHERDS, _accompanied by the concealed
choir, are heard singing:_)
LEAD, KINDLY LIGHT
Lead, kindly Light, amid th' encircling gloom,
Lead Thou me on!
The night is dark and I am far from home;
Lead Thou me on!
Keep Thou my feet, I do not ask to see
The distant scene; one step enough for me.
_As the_ SHEPHERDS _begin on the second stanza of the hymn, the
curtains rise disclosing the same scene as before._ SIMEON, TIMOTHY
_and_ ISAAC _discovered seated in a group at rear center, singing._
THOMAS _stands by his father._
So long Thy pow'r hath blest me, sure it still
Will lead me on
O'er moor and fen, o'er crag and torrent, till
The night is gone,
And with the morn those angel faces smile
Which I have loved long since, and lost a-while.
SIMEON.
Methought I heard a whir of wings on high.
TIMOTHY.
I see naught save the snow and starry sky.
ISAAC.
We've come a long and mighty step today,
From o'er the frosty hills and far away.
THOMAS (_pointing over the manger_).
Look, father, dost thou see that shining star
That seems to stand above the town so far?
'Tis like a wondrous blossom on a stem,
And see, it ever shines o'er Bethlehem!
TIMOTHY.
A brighter star, I'm sure I never saw--
And perfect form, without a speck or flaw.
SIMEON.
A stranger star! It never shone before,
It standeth still above that stable door.
_Enter_ ANNA _and_ RUTH _from rear left._ ANNA _carries a little
lamb._
ANNA (_joining the group_).
Look ye, I've found a little lamb new-born.
TIMOTHY.
Poor little beastie! Wrap him well and warm.
SIMEON.
An ill night to be born in, frost and snow,
Naught but cold skies above, cold earth below.
I marvel any little creature should be born
On such a night.
ANNA.
I found it all forlorn,
Crying beside its mother in the storm.
SIMEON (_comes down a little to right front_).
Hark, I thought I heard a sound of mighty wings!
Listen! Is it the winter sky that sings?
ISAAC (_with the group at rear center_).
Nay, gran'ther, I heard naught. You're old and gray
And weary with the miles you've walked today.
SIMEON.
At noon I met a man who tarried in the shade,
He led a mule, and riding it a maid--
A maiden with a face I'll ne'er forget,
A wondrous face, I seem to see it yet
Lit with an inward shining, as if God
Had set a lighted lamp within her soul.
Many have passed all day, but none like these,
And no face have I ever seen like hers.
TIMOTHY.
Belike the man and maid were strangers here,
And come to Bethlehem at the king's command.
RUTH (_comes down to_ SIMEON _and takes his hand_).
Methinks I met that very man and maid--
A maiden with such wondrous dove-like eyes,
I saw them near this place, all tired and worn,
Trudging about the town, seeking an inn.
SIMEON.
And did they find one?
RUTH.
Nay, not so!
For every inn was crowded to its doors.
Hard by Deborah's inn there is a little barn,
All full of cattle, oxen, cooing doves--
I showed it to them, and they went therein.
THOMAS (_standing at rear L. with_ ANNA).
Mother, that star! That wondrous, wondrous light,
(_Points up._)
It turns the night to day, it shines so bright
I am afraid! It cannot be that any star,
Only a star, can give so great a light.
It frightens me.
ANNA.
All things are strange tonight.
The very sheep are restless in their fold,
They watch the star and do not mind the cold.
SIMEON (_puts hand to right ear, bends toward right and listens_).
Again I heard a singing in the sky!
TIMOTHY.
You heard the tinkling bell of some stray sheep,
The night grows late, come let us all to sleep.
SIMEON.
Yea, all ye lie down and take your rest,
I'll keep the watch alone, this night is blest.
(_The others recline at the rear._)
ANNA (_comes to_ SIMEON).
Here, take the little sheep and keep it warm.
(_Lies down._)
SIMEON.
Poor little new-born beast, I'll guard from harm.
Again I marvel that you should be born
On such a night, poor little lamb forlorn.
(SIMEON _walks toward the manger with the sheep in his arms. The
others sleep._)
The Lord is my shepherd: I shall not want.
He maketh me to lie down in green pastures: he leadeth me beside the
still waters.
He restoreth my soul: he leadeth me in the paths of righteousness for
his name's sake.
Yea, though I walk through the valley of the shadow of death, I will
fear no evil: for thou art with me; thy rod and thy staff they comfort
me.
Thou preparest a table before me in the presence of mine enemies: thou
anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and
I will dwell in the house of the Lord for ever.
(_Soft Music._)
Hark! There's music in the wind! And that strange light
There in the east, it brightens all the night!
I seem to hear again the whir of wings,
Awake, awake! It is an angel sings!
(_He arouses the others. They listen wonderingly, standing or
reclining._)
VOICE (_an unseen soprano chants softly_).
Glory to God in the highest!
Fear not!
For behold I bring you glad tidings
Of great joy.
For unto you is born this day
In the city of David, a Saviour
Which is Christ, the Lord.
And this shall be the sign unto you:
Ye shall find the heavenly Babe
Wrapped in swaddling clothes,
Lying in a manger.
Glory to God in the highest,
And on earth peace,
Good will toward men!
TIMOTHY.
'Twas a fine voice, even as ever I heard.
ANNA.
The hills, as with lightning, shone at his word.
SIMEON.
He spoke of a Babe here in Bethlehem.
That betokens yon star!
Full glad would I be,
Might I kneel on my knee,
Some word to say to that Child.
TIMOTHY.
See! In the east there breaks the day.
ANNA.
Let us tarry no longer; away, then, away!
(ANNA _goes out at rear, behind the stable, with_ TIMOTHY, RUTH _and_
THOMAS.)
ISAAC.
Come, gran'ther, let us go and see this thing!
SIMEON.
But first get gifts to take the new-born King!
Glory to God in the highest,
And on earth peace,
Good will toward men.
(_They follow the others out at rear._)
_The curtains fall._
SCENE III: _Hymn by the congregation:_
HARK! THE HERALD ANGELS SING.
Hark! The herald angels sing,
"Glory to the new-born King!
Peace on earth, and mercy mild,
God and sinners reconciled."
Joyful, all ye nations, rise,
Join the triumph of the skies;
With th' angelic host proclaim,
"Christ is born in Bethlehem."
Christ, by highest Heaven adored;
Christ, the everlasting Lord;
Late in time behold Him come,
Offspring of the favored one.
Veiled in flesh, the Godhead see;
Hail th' incarnate Deity:
Pleased, as man with men to dwell,
Jesus, our Immanuel.
Hail! The Heav'n-born Prince of Peace!
Hail! The Son of Righteousness!
Light and life to all He brings,
Risen with healing in His wings.
Mild He lays His glory by,
Born that man no more may die:
Born to raise the sons of earth,
Born to give them second birth.
_Enter_ PROLOGUE _before the closed curtains._
PROLOGUE.
Now when Jesus was born in Bethlehem of Judea in the days of Herod the
king, behold, there came wise men from the east to Jerusalem, saying,
Where is he that is born King of the Jews? For we have seen his star
in the east, and are come to worship him.
When Herod the king had heard these things, he was troubled, and all
Jerusalem with him. And when he had gathered all the chief priests and
scribes of the people together, he demanded of them where Christ
should be born.
And they said unto him, In Bethlehem of Judea: for thus it is written
by the prophet, And thou Bethlehem, in the land of Juda, art not the
least among the princes of Juda: for out of thee shall come a
Governor, that shall rule my people Israel.
Then Herod, when he had privily called the wise men, inquired of them
diligently what time the star appeared.
And he sent them to Bethlehem, and said, Go and search diligently for
the young child; and when ye have found him, bring me word again, that
I may come and worship him also.
When they had heard the king, they departed; and, lo, the star, which
they saw in the east, went before them, till it came and stood over
where the young child was.
When they saw the star, they rejoiced with exceeding great joy.
And when they were come into the house, they saw the young child with
Mary his mother, and fell down, and worshipped him: and when they had
opened their treasures, they presented unto him gifts; gold, and
frankincense, and myrrh.
_The White Christmas._
As the three wise men rode on that first Christmas night to find the
manger-cradled Babe of Bethlehem, they bore gifts on their
saddle-bows. Gifts of gold, frankincense and myrrh. And so the spirit
of Christmas giving crept into the world's heart. We bring our gifts
to the children. Rich children, poor children! The children of the
high and the children of the humble! Poor little sick children--and
the ragged children of the slums of our cities. Let us remember them
all.
So go ye, all of ye, into the highways and byways, and seek out the
poor and the distressed, the humble and the afflicted, seek out the
ragged children and the outcasts and the aged ones, and in the name of
Him who was born on Christmas day, carry some sunshine into their
hearts! Give unto the poor and the afflicted, and your hearts shall
glow with that inward peace that passeth all understanding.
Then--and then only--will you be able to sing with all the company of
Heaven, Glory to God in the highest, peace on earth, good will toward
men! And this will be your pure white Christmas. (_Exit_ PROLOGUE _at
L._)
_Soft chimes are heard. The curtains are drawn, disclosing the same
scene as before._ DEBORAH _sits before her inn, deep in thought._
DEBORAH (_reading a scroll_).
This is the ancient prophecy. Therefore the Lord himself shall give
you a sign; behold, a virgin shall conceive, and bear a son, and shall
call his name Immanuel.
Butter and honey shall he eat, that he may know to refuse the evil and
choose the good.
For before the child shall know to refuse the evil, and choose the
good, the land that thou abhorrest shall be forsaken of both her
kings.
_Enter_ GASPAR _from behind the inn. He comes down center._
GASPAR.
I pray thee, tell me, Lady Bethlehemite,
If any wonders you have seen this night?
DEBORAH (_rises_).
I've seen a wondrous silver shaft of light
Come from a star, and blinded is my sight.
GASPAR.
Tell me, for thou art native of this place,
What dost thou know about the King of Grace--
King of the Jews?
DEBORAH.
Aye, in Jerusalem
He dwells, and not in Bethlehem.
He sits upon his mighty judgment throne,
Cruel and stern, his heart a living stone.
GASPAR.
I mean a new-born King, of love and peace;
His is the star--His reign shall never cease.
DEBORAH.
All things tonight seem passing strange to me,
I have just read an ancient prophecy
That this, our Bethlehem, King David's town,
Shall be the birthplace, e'er of great renown,
Of one called Councillor of King David's line
Whose coming is foretold in words divine.
And now you come with words of mystery!
(_Muses._)
Why should thy questions, which are dark to me,
Cause me to think of Him?
GASPAR.
The star! The star!
No more it moves about the heavens afar,
It standeth still. O, hostess, kneel and pray,
For Jesus Christ, the Lord, is born today!
(_Hurries out right._)
DEBORAH.
His words are fraught with mystery; I'll within
And seek protection in my humble inn.
(_Exits right front._)
_After a short pause_, MELCHOIR, GASPAR _and_ BALTASAR _enter from
rear right._
MELCHOIR.
Three kings came riding from far away,
Melchoir, Gaspar and Baltasar;
Three wise men out of the east were they,
And they traveled by night and they slept by day,
For their guide was a beautiful, wonderful star.
BALTASAR.
The star was so beautiful, large and clear,
That all other stars of the sky
Became a white mist in the atmosphere;
And by this they knew that the coming was near
Of the Prince foretold in prophecy.
GASPAR.
Of the child that is born, O Baltasar,
I begged a woman to tell us the news;
I said in the east we had seen His star,
And had ridden fast and had ridden far
To find and worship the King of the Jews.
--_Adapted from Longfellow._
MELCHOIR.
Brothers, our quest is ended; see the star
Is standing still over this lowly hut.
BALTASAR.
Methinks it is a stable. Knock and see!
GASPAR (_knocks on the door of the manger_).
What ho, within!
JOSEPH _enters from the L. rear._
JOSEPH.
Sirs, whom seek ye?
MELCHOIR.
We have journeyed from afar
Led by the shining of yon splendid star.
We are Gaspar, Melchoir and Baltasar.
BALTASAR.
We seek a new-born King,
Gold, frankincense to him we bring.
And many a kingly offering.
JOSEPH _draws back the curtain and reveals the interior of the
manger._ MARY _is seen bending over the crib. The_ SHEPHERDS _are
kneeling in the background. Very soft music heard in the distance,
with faintly chiming bells at intervals._
GASPAR.
Behold, the child is clothed in light!
MELCHOIR.
Our journey ends, passed is the night.
BALTASAR.
Now let us make no more delay,
But worship Him right worthily.
(_They enter the manger and kneel._)
SIMEON.
Hail, hail, dear child
Of a maiden meek and mild.
See, he merries!
See, he smiles, my sweeting,
I give thee greeting!
Have a bob of cherries.
(_Places a spray of cherries on the crib._)
TIMOTHY.
Hail, little One we've sought,
See, a bird I've brought,
See its feathers gay.
Hail, little One adored,
Hail, blessed King and Lord,
Star of the day!
(_Places a bird on the crib._)
ISAAC.
Hail, little One, so dear,
My heart is full of cheer,
A little ball I bring,
Reach forth thy fingers gay,
And take the ball and play,
My blessed King.
(_Places a ball on the crib._)
_Enter all others from the Inn. They kneel outside the manger._
ALL (_sing, with concealed choir_).
CHRISTMAS CAROL.
(_See page 169_)
Christ was born on Christmas day,
Wreathe the holly, twine the bay,
Light and life and joy is He--
The Babe, the Son,
The Holy One
Of Mary.
He is born to set us free;
He is born our Lord to be;
Carol, Christians, joyfully;
The God, the Lord,
By all adored
Forever.
Let the bright red berries glow,
Everywhere in goodly show,
Life and light and joy is He,
The Babe, the Son,
The Holy One
Of Mary.
Christian men, rejoice and sing;
'Tis the birthday of our King,
Carol, Christians, joyfully;
The God, the Lord,
By all adored
Forever.
THE THREE KINGS.
Hail, King of Kings!
GASPAR.
I bring Thee a crown, O King of Kings,
And here a scepter full of gems,
For Thou shalt rule the hearts of men.
(_Places crown and scepter on crib._)
MELCHOIR.
For Thee I bring sweet frankincense!
(_He swings a smoking censor._)
BALTASAR.
And I bring myrrh to offer Thee!
(_Places casket on the crib._)
GASPAR.
The greatest gift is yet ungiven,
The gift that cometh straight from Heaven.
O, Heavenly King,
Heart's love we bring.
MELCHOIR.
Not gold nor gems from land or sea
Is worth the love we offer Thee.
BALTASAR.
And lowly folk who have no gold,
Nor gift to offer that is meet,
May bring the dearest thing of all--
A loving heart and service sweet.
(_All join in singing "Joy to the World."_)
_Curtain falls._
THE WHITE CHRISTMAS.
WHAT IT MEANS.
How to make a pleasant, _helpful_ Christmas for the Sunday School is
an annual problem. A tree with gifts, Santa Claus coming down the
chimney, a treat of candy and nuts--these and many other schemes have
been tried with a greater or less degree of success. But the criticism
is often made that the true significance of the celebration of the
birth of Christ is lost in the mere idea of bartering Christmas
presents. "She didn't give me anything last year, so I'm not going to
give her anything this year."
One wise superintendent determined to teach his Sunday School pupils
the precious lesson of the beauty of giving. He called his teachers
together a few weeks before Christmas and proposed to eliminate
entirely the idea of "getting something," and in its stead to try to
teach something of the true spirit of Christmas, the blessedness of
giving.
The children were told that while at home they would receive all the
usual presents, of course they would not get anything whatever from
the Sunday School. The story of Jesus and how He gave His life, and
how He liked best the gifts that cost us something, love, thought,
foresight, charity, money--was told to the children and they were
asked to save their pennies, instead of spending them for candy and
nuts, to brighten the Christmas Day for God's poor and unfortunate.
It was put to a vote and every little hand was raised, although it may
be confessed that a few went up a little reluctantly.
Teachers and young ladies met a few evenings later and made little
stockings out of cheap cambric, with a cord put into the top of each
in such a manner that it could be drawn together so the pennies would
not be lost out. The stockings were about five inches long, and of
various bright colors, and there were enough for every child. These
were given out two weeks before Christmas.
On Christmas Eve, near the close of the regular program, a large tree
was disclosed, but without a single present on it. The Minister made a
short talk on the joys of giving to the poor and the children marched
up, singing a Christmas carol, and attached their little stocking-bags
to the tree.
Six little boys and girls passed among the congregation with larger
stockings, collecting donations for the tree. These stockings had
their tops neatly sewed around little circles of wire to keep them
open.
The program consisted of Christmas hymns and carols, interspersed with
recitations--all breathing the spirit of the White Christmas.
REMARKS ON THE PRODUCTION.
SCENERY.
Hang the rear and the sides of the stage with dark blue curtains,
spangled with small silver bits of tinfoil, to represent very tiny
stars. If the blue curtains are not available, use white sheets.
Cover the floor with white sheets. Have two or three small evergreen
trees at rear, covered with white calcimine and diamond powder. Soak
long rags, shaped like icicles, in a strong solution of alum, and then
let them crystallize, then attach them to the trees.
[Illustration]
Down right, near the audience, is a doorway, supposed to be the
entrance to the inn. This may be simply an opening between two wooden
columns, with a step or two leading in. A lantern hangs over the door.
A small bench stands by the inn.
Down left, near the audience, is the manger, a building extending out
from left about seven feet. It has a back and one side of scenery or
dark draperies and a thatched roof, covered with twigs or evergreen
branches. There may be a door leading into the manger from the stage,
but this is not necessary, as the characters can go out behind the
manger. A front curtain, of dark goods, conceals the interior of the
manger from the audience until it is withdrawn by Joseph.
The interior of the manger is covered with hay. Rude boxes and farm
implements all around. A large upturned chair with wooden legs may
simulate the crib, if it is concealed by enough straw. An electric
light bulb is concealed in this straw and shines on the face of Mary,
bending over the crib.
If desired, the manger scene may be presented in the choir loft, the
manger hidden by curtains until revealed by Joseph. In this case have
the evergreen trees at the left of the stage and arrange the manger
scene at the rear and elevated above the other scene. This will prove
most feasible in churches where the choir loft is immediately behind
and above the platform.
LIGHTS.
Dim all the lights in the audience. Have a powerful searchlight,
engine headlight or two powerful auto lights shining on the stage from
a concealed elevation at the left. Shade these lights with a blue
isinglass shield, thus casting a blue light over the entire stage. Use
a strong yellow light on the manger scene, the rest of the stage being
in darkness.
PROPERTIES.
If it is possible have bits of white confetti or finely cut paper fall
from above during the shepherds' scene in Act II.
The bases of the trees should be covered with cotton.
Three rough crooks for the shepherds.
Chimes to ring off the stage. A dinner gong or set of chimes will
answer.
For the lamb use a white muff, being careful to shield it from the
direct gaze of the audience.
A spray of cherries.
A small bird of blue feathers.
A ball.
A crown and scepter made of gilded wood.
A censor made of metallic butter dish suspended by chains.
A fancy jewel case, supposed to contain myrrh.
Bench in front of inn.
Rude box in front of manger.
COSTUMES.
MARY--A sweet-faced blonde. Long tunic of light blue, falling straight
from neck to the ankles. White stockings. Sandals. Hair in two long
braids either side of face. White veil draped around head and
shoulders, bound about the brow with circlet. Dark red mantle,
fastened to left shoulder and draped around body. This mantle may
trail on the ground. The tunic may be made of cotton crepon, the
mantle of dyed muslin.
JOSEPH--A virile, bearded man of about fifty. Sandals. Long black
cassock, easily obtained from an Episcopal choir. Striped couch cover
may serve as mantle. This should be draped about head and body. Long
staff.
SIMEON--An old man with white hair and beard. Tunic of potato sacking
falling in straight folds from neck to ankles. Large gray shawl serves
as mantle, draped on head and body. Long crook. Sandals.
TIMOTHY--Man of forty. Costume similar to Isaac's. Striped mantle.
ISAAC--Man of twenty. Shorter tunic similar to Simeon's. Fur rug
draped over left shoulder. Dark red drapery on head. Sandals. Brown
stripes criss-crossed on legs. Crook.
ANNA--Long tunic of brown. Take a square white sheet and stripe it
with bands of dark blue. This serves as a mantle, draped over head and
body. Hair hanging. A woman of thirty-five. Sandals. If desired, a
blue veil may be draped around the head and neck and the mantle draped
over the body.
THOMAS--A boy of seven. Sandals. Brown strips criss-crossed on legs
from sandals to hips. Short white tunic cut like a boy's nightgown,
but coming only to knees. Dark blue mantle. Small crook.
RUTH--A girl of eleven. Blue tunic hanging in straight folds from neck
to three or four inches above ankles. Border of figured goods, to
simulate oriental embroidery, around bottom of robe and down the
front. This should be about two inches wide. Sandals. White stockings.
Hair hanging. White veil draped around head and shoulders. Later she
enters with striped mantle.
DEBORAH--A dignified matron of about forty-five. Sandals. Long kimono
of solid color. Sash of yellow. Hair in two long braids on either side
of face. Yellow drapery over head and shoulders. Rich striped mantle
draped over the costume.
RACHEL--Sandals. White tunic trimmed with red figured cloth to
simulate oriental embroidery. Red sash. Wreath of red roses on head.
Mantle made of a square white sheet with stripes of red sewed on it.
Bracelets, armlets and anklets of silver paper.
PRISCILLA--Sandals. Light green tunic. Dark green mantle. Gold paper
armlets, etc.
MELCHOIR--Tall, dark man with dark mustache. Long black cassock may be
borrowed from an Episcopal Church. Over this is a red or yellow
kimono. Sandals. Turban on head. This turban may be made from a calico
covered crown of an old derby, with red and white striped rim. He
wears many rich ornaments. Curtain chains around neck and on arms.
This costume may sometimes be borrowed from a lodge of Shriners,
Knights Templar, Royal Arch Masons or Odd Fellows.
GASPAR--Similar to Melchoir. He is a young king aged about twenty-two.
Wear white drapery on head and over it a golden (paper) crown. May
wear sword. Sandals.
BALTASAR--Old king with white hair. Long rich robe or kimono over a
cassock. Red sash. Red head drapery. Golden crown. Sandals.
ANGELS--Invisible to the audience.
PROLOGUE--Stately lady in trailing Grecian robe of white. Hair
powdered. This character should be played by a lady with distinct
dramatic ability.
NOTE.--If it is desired to simplify these costumes, kimonos, cassocks
and cottas from Episcopal choirs, draperies of sheets and couch
covers, and sandals made of a sole bound to foot with brown cloth
cords, will answer admirably in the dim blue light.
Nightgowns, dressing gowns, fur rugs, fur muffs opened, fur stoles,
opera capes, spangled tunics, window cords and chains, etc., will make
valuable substitutes for the oriental garments.
ANITA'S SECRET OR CHRISTMAS IN THE STEERAGE
[Illustration:
SANTA CLAUS JACK FROST ANITA HULDA
SERGIUS MEENY BIDDY MARY PADDY MIKE
TOMASSO DUTCH TWINS NEELDA AH GOO
YAKOB HANS MIEZE SANO SAN]
ANITA'S SECRET OR CHRISTMAS IN THE STEERAGE
A CHRISTMAS PLAY IN ONE ACT FOR SANTA CLAUS AND SIXTEEN CHILDREN.
CHARACTERS.
SANTA CLAUS _Adult_
JOLLY JACK FROST _Little Boy_
ANITA, _a Little Italian Immigrant_ _Aged Eight or Nine_
HULDA, _from Holland_ _Aged Ten_
SERGIUS, _from Russia_ _Aged Nine_
MEENY, _from Germany_ _Aged Seven_
BIDDY MARY, _from Ireland_ _Aged about Eight_
PADDY MIKE, _from Ireland_ _Aged about Seven_
KLINKER } _Little Dutch Twins_
SCHWILLIE WILLIE WINKUM} _Aged Four or Five_
NEELDA, _from Spain_ _Aged Five_
AH GOO, _from China_ _Little Boy_
YAKOB, _from Denmark_ _Aged Six_
HANS, _from Norway_ _Aged Four_
MIEZE, _from Germany_ _Aged Six_
SANO SAN, _from Japan_ _Little Girl_
* * * * *
TIME OF PLAYING--_About One Hour and Fifteen Minutes._
COSTUMES, ETC.
_For notes on costuming, scenery and properties, see "Remarks on the
Production of the Play" at the end of the play._
ARGUMENT.
It is the night before Christmas and the scene is on a big ocean-going
vessel many miles out at sea. Down in the lower part of the ship, in
the steerage, is a group of poor little immigrant children who are
leaving the trials and troubles of the old world behind them and are
looking forward to the golden promises held out by our own "land of
the free and the home of the brave." But the hearts of the little
immigrants are sad. It is the night before Christmas, and how could
Santa Claus ever hope to reach them away out in the middle of the
ocean? Even the sleigh and the magical reindeers could never be
expected to make such a trip.
Anita, a little Italian girl, alone has faith in the coming of the
good Saint. She is wandering around the ship when all of a sudden,
much to her surprise, she hears a mysterious noise in a great big
barrel, and who should jump out but little Jack Frost himself. Jack
assures her that Santa Claus really is coming to visit the ship, and
more than that, he is going to make an especial trip in an air ship!
And this is little Anita's secret. The children all fall asleep, but
Anita keeps watch for the mysterious aeroplane that will bring joy to
every little heart in the steerage, and, sure enough, just a little
before midnight Anita and Jack Frost look through a telescope and see
the lights of the approaching air ship.
Soon Santa Claus himself is on board, and such a time as he and Anita
and jolly Jack Frost have in arranging a wonderful Christmas surprise
for the children. As an especial favor the good Saint decides to
awaken the children himself very early on Christmas morning. The clock
strikes twelve and it is Christmas Day. The bells of merry Christmas
are heard chiming in the distance, and Santa Claus and jolly Jack
Frost hold a Christmas morning revel with the little immigrant
children away down in the steerage of the big vessel.
* * * * *
SCENE: _The steerage of a large ocean-going vessel. Entrances R. and
L. Boxes and barrels down L. Box down R. Large barrel up L.C., with_
JOLLY JACK FROST _concealed therein._ HULDA _is seated on a small
stool down R., taking care of_ KLINKER _and_ SCHWILLIE WILLIE WINKUM,
_who are standing near her._ MEENY _is seated down L. on a box; she is
knitting a woolen stocking._ SERGIUS, PADDY MIKE, TOMASSO, YAKOB _and_
AH GOO _are playing leapfrog at C. of stage._ HANS, MIEZE, NEELDA
_and_ SANO SAN _stand at rear._ BIDDY MARY _is seated near_ HULDA;
_she is peeling potatoes. All sing._
OPENING SONG.
[Music illustration:
1. The ship is sail-ing ver-y fast,
We can't go out to play;
But Christmas Day is com-ing soon,
It is-n't far a-way.
2. We're sail-ing to A-mer-i-ca,
So far a-cross the sea,
We're hap-py lit-tle im-mi-grants,
Our hearts are light and free.
3. We're hap-py lit-tle for-eign-ers,
From far a-cross the way,
But soon we will be cit-i-zens
Of dear old U.S.A.
Then clap, clap, clap to-geth-er,
Clap, clap, a-way;
The steer-age is a hap-py place--
Tomorrow's Christmas Day.]
(_On the words "clap, clap, clap together," the children hold left
hand horizontally in front of their chests, palm upward, raising the
right hand and bringing it down on the left with a sharp clap._
_Sing the first verse seated around stage. On the first four lines of
the second verse nod heads and smile at audience. On the line "We're
happy little immigrants," each one points to chest, nods head and
smiles broadly._
_For the third verse all rise and stand in couples in small groups all
around stage. On the first two lines of the third verse each one faces
his partner slightly, nods at him and shakes index finger of right
hand at partner. On "dear, old U.S.A." all make a deep bow to
audience. After third verse is completed, all form a circle and skip
around in time to the music, repeating the third verse. On "clap,
clap, clap together," they stand still and clap hands as before. When
the song is ended all resume former positions, as at the rise of the
curtain, but the boys do not play leapfrog._)
TOMASSO (_seated on floor at C._). Tomorrow comes the great, grand
festival of Christmas, is it not, Paddy Mike?
PADDY MIKE (_seated near him, nods his head_). Sure and it is. This is
the holy Christmas Eve.
MEENY (_seated down L., knitting stocking_). The night of the day
behind Christmas is always Christmas Eve, ain't it? (_Nods head._)
Sure it is.
SCHWILLIE. Und tomorrow we gets lots of Christmas presents always, me
und Klinker; don't we, Klinker?
KLINKER. Sure we do. Leedle horses and pictures und candy und other
things also; don't we, Schwillie Willie Winkum?
HULDA. That was when we were at home in Holland. It's different,
maybe, out here in this great big boat. Ven we get by the city of New
York next week then maybe we'll get some presents already.
KLINKER. But good Saint Nicholas always comes the night before
Christmas; don't he, Schwillie Willie Winkum?
SCHWILLIE. Sure. Won't he come tonight, Hulda?
HULDA. How could he get way out here on the ocean already? Do you
think he is a fish? We ain't living at home in Holland no more. We're
way out on the Atlantic Ocean in a great big ship.
MEENY. Ja, und I wish I was back at home already. So much have I been
seasick, mit der ship going oop und down, oop und down! Ach, it's
awful. (SERGIUS, TOMASSO, YAKOB, PADDY MIKE _and_ AH GOO _play
jack-stones._)
KLINKER. But Saint Nicholas ought to come tonight, Hulda. I been a
awfully good boy, isn't I, Schwillie Willie Winkum?
SCHWILLIE. Sure you is. Und I've been a awfully good boy, too. Isn't
I, Klinker?
KLINKER. Sure. We've been awfully good boys.
HULDA. Maybe even if Saint Nicholas don't come tonight, you can see
the great, big whale tomorrow. If he's a good whale he'll surely let
the leedle Dutch twins see him on Christmas Day.
MEENY. Oh, I vant to see der whale. I've looked und I've looked und
I've looked, but I ain't even so much as seen his leedle tail yet
already. Und it makes me seasick to look so much, too.
BIDDY MARY. Are ye sure it was a whale ye saw that day, Sergius boy?
SERGIUS. Of course I'm sure. It was awful big. The biggest fish I ever
saw. Even in Russia we do not have such big fish as whales. Paddy Mike
saw it, too.
PADDY MIKE. Sure and I did. And me two eyes nearly fell out of me head
with lookin' at it, it was that wonderful. He shot a big stream of
water right up out of his head, he did, and then he dived down in the
ocean again, and we didn't see him any more at all, at all. (MIEZE
_and_ SANO SAN _turn backs to audience and look over the railing into
the water._)
HULDA (_to the twins_). There! Now if you get to see the great big
whale, that's almost as good as having old Saint Nicholas come, ain't
it?
SCHWILLIE. Whales can't bring you no Christmas presents, can they,
Klinker?
KLINKER. Und whales you can see any time. I'd rather have Saint
Nicholas, wouldn't I, Schwillie Willie Winkum?
SERGIUS. Who is this Saint Nicholas they are looking for, Hulda?
HULDA (_astonished_). Why, don't you know who he is yet? He's the best
old man that ever was. Und he comes the night before Christmas und
visits all the little children in Holland.
MEENY (_proudly_). Und in Germany, too. (SERGIUS _goes to_ HULDA.)
KLINKER. Und if they're good they get candy und oranges und toys und
things, don't they, Schwillie Willie Winkum?
SCHWILLIE. Und if they're bad, they get a good big birch stick. But I
ain't been bad. I've been awfully good, isn't I, Klinker?
KLINKER. Sure. Und me also.
HULDA (_to_ SERGIUS). On Christmas Eve in Holland all the children
march around the streets, following one who carries a big silver star.
And the people who meet us give us money and gifts to help the poor.
Oh, Christmas time is just grand in Holland!
KLINKER. Und we set out our leedle wooden shoes und old Saint Nicholas
fills 'em with candy.
SCHWILLIE. Und we put a leedle bit of hay in our shoes for his good
old horsie, Sleipner. Dot makes him happy.
MEENY. In Germany we call him Santa Claus, und he comes riding in a
sleigh drawn through the sky mit reindeers. Und we have Christmas
trees all lighted mit candles und things, und full of toys und paper
stars und angels und apples. But Santa Claus could never get out here
in der middle of der ocean. If he did maybe he'd get seasick already,
und all der reindeers would get drownded in der water.
SERGIUS (_standing R.C._). In Russia there is an old woman named
Babouska who visits all the children on the night before Christmas.
She carries a big basket full of good things.
TOMASSO (_seated on floor at C._). In sunny Italy the children all go
to midnight church on Christmas Eve, and when we make ourselves awake
on Christmas morning, our shoes are all full of candy and chestnuts
and figs and oranges. But of course on a big ship like-a this we'll
not get-a nothing at all.
KLINKER (_crying_). But I want some presents already.
SCHWILLIE (_crying_). Und me also. I want some presents, too.
KLINKER. Und Saint Nicholas can't come. Oh, oh! He can't get out on
the big ocean.
SCHWILLIE. Maybe he could float out on a piece of ice yet. Could he,
Hulda?
HULDA. No. I don't think he's much of a floater.
MEENY. If he did it would make him awful seasick.
KLINKER. I wish we was landed in New York yet, so I do.
SCHWILLIE. Where is Anita? She'll know.
HULDA. Yes, Anita will know whether he is coming or not. She knows
almost everything.
PADDY MIKE (_standing at rear L._). Here comes Anita now, and sure
she's having a grand time, so she is.
ALL (_rising and going to rear, looking off L._). Here she comes.
Hurrah for Anita. (_Music: The same as for the Opening Song._)
TOMASSO (_calling_). Anita, Anita, come here quick. We want you.
ANITA (_outside L._). I'm coming. Wait a minute. I'm coming.
_Music swells louder._ ANITA _dances in from L., all sing as she
dances around, waving her tambourine._
ALL (_singing to tune of the "Opening Song"_).
We're sailing to America,
Away across the sea,
We're happy little immigrants,
Our hearts are light and free.
Then clap, clap, clap together,
(_All skip around._)
Clap, clap away;
The steerage is a happy place--
Tomorrow's Christmas Day.
ANITA (_comes forward to C. surrounded by the others_). Oh, I've just
had the grandest time. It was so superb, magnificent, sublime!
(_Extends arms in ecstasy._) I have-a been at the leetla window
watching the great, grand, magnificent ocean. It was all so blue and
so green and so purple--and the sinking sun is all shining on the
great-a, beeg waves, like-a sparkling diamonds. (_Use elaborate
gestures at all times._) And me, the poor, leetla Italian girl, gets
to see all this great-a, grand-a ocean. It is superb, magnificent,
sublime! Ah, I am so happy, I could sing and dance and kees everybody
on the great-a, grand-a earth!
MEENY (_at L._). Vot makes you so happy, Anita? Maybe I'd be happy yet
also, if I didn't get seasick once in a while.
ANITA. What makes me so happy, Meeny? It's the sun and the waves, and
the sunlight shining like diamonds on the great-a, grand-a ocean. Are
you not also happy, Biddy Mary?
BIDDY MARY (_standing by_ ANITA). I am not. Sure, I niver do be having
time to be seeing diamonds on the great big waves. I have to be hard
at work, so I do, peeling the praties for our Christmas breakfast.
ANITA. I watched the great-a red sun as he began to sink, sink, sink
way down in the ocean. And the beeg-a waves got more beeg and more
beeg and on top of them I saw long white lace fringe. The green silk
waves were all-a trimmed with white lace fringe. And sometimes I think
I see the leetla mermaid fairies dancing in the foam. Leetla green and
white mermaids with the long long-a hair.
TOMASSO (_at R._). You make-a me seek, Anita. There is-a no such
things as fairies.
ANITA. But I love to _think_ there is. It is a great, grand-a pleasure
just to think there is. Is it not, Meeny?
MEENY (_stolidly_). Oh, sure.
ANITA. And that is why we should all be so verra, verra happy. We can
think such-a lovely things. The poor leetla children at-a home, pouf!
They cannot think such things, because they have never seen such a
great, beeg-a ship, or such a great, beeg-a ocean--
SERGIUS. Or a whale.
PADDY MIKE. Or a sailor man.
HULDA. Or a nice little steerage bed built just like a shelf in the
wall.
TOMASSO. Or the great beeg-a engine that makes the ship go.
MEENY. Or the tons and tons of coal vay down deep by the cellar.
SERGIUS (_mocking her_). Way down deep by the cellar! Whoever heard of
a cellar on board of a ship? You mean--down in the hatch.
MEENY. Hatch? Vot is dot hatch? Dis ain't a chicken, it's a boat.
(_All laugh._)
KLINKER (_takes_ SCHWILLIE _by the hand and goes to_ ANITA). Anita, we
want to ask you a question.
ANITA. Well, and what is the question of the leetla Dutch twins?
SCHWILLIE. Tonight is the night before Christmas.
KLINKER. Und we want to know if the good Saint Nicholas is coming
tonight.
ANITA. I don't know. You see it would be a great beeg-a, long-a trip
way out here on the ocean.
KLINKER (_half crying_). But I want him to come. I've been a awful
good boy, isn't I, Schwillie Willie Winkum?
SCHWILLIE. Sure, you is. Und me also, ain't I, Klinker?
ANITA. If you have both been verra, verra good I think that maybe the
good Saint will come. (_Looks around._) Have you all been verra, verra
good?
OTHERS. Yes, all of us.
HANS. We're always very, very good at Christmas time.
AH GOO. Me velly, _velly_ good.
ANITA (_points off R._). See, way up there on the upper deck, are the
rich, grand-a ladies and gentlemen coming out from the great, beeg-a
dining-room. If you go and stand under the hole maybe they'll throw
you some oranges or candy. They're awful nice peoples on the upper
deck.
MEENY. Let's all go right away quick. Maybe we'll get some oranges und
candy.
KLINKER. Oh, how I do love oranges und candy, don't I, Schwillie
Willie Winkum?
SCHWILLIE. Sure, und me also, don't I, Klinker?
SERGIUS. Let us all go together. (_All come forward and sing to tune
of the Opening Song._)
We're happy little immigrants,
We'll sing our happy song,
Our hearts are light, our faces bright--
The good ship speeds along.
Then clap, clap, clap together,
Clap, clap away;
The steerage is a happy place--
Tomorrow's Christmas Day.
(_All the children except_ ANITA _go out at R., repeating the chorus
of their song._)
ANITA. Surely the good-a Saint Nicholas will come tonight, because
there are so many, many verra good children on board this-a ship.
(_Counting on fingers._) There's Hulda from Holland and her two leetla
brothers, the Dutch twins, Klinker and Schwillie Willie Winkum. They
must have a great-a beeg-a Christmas present. And there's Sergius from
Russia, and Meeny and Paddy Mike and Biddy Mary, and Neelda from
Spain, and Yakob and Hans and Ah Goo and Mieze and leetla Sano San
from afar away Japan. They must all have the great-a, grand-a
presents. Maybe I could write old Santa Claus a leetla letter and tell
how good the poor children way down in the steerage have been. And
there's my cousin Tomasso from Italy. Oh, Santa Claus must bring him a
new violin. Then he can make-a the beautiful music on the golden
streets of New York. If there is anybody at all in the whole beeg
world who should have a nice-a, beeg-a Christmas, it is the verra poor
leetla children whose mammas and papas haven't got very much money.
But sometimes the good Santa Claus forgets all about the verra poor
leetla children--and that's the mostest saddest thing of all, for they
are the verra ones he should remember. When I get to be a great-a,
beeg, grand-a, reech lady in the golden streets of New York, ah! then
I will buy presents and presents and presents, and I will-a give them
to all the verra poor leetla children in the world. I wonder why it is
that the verra good Santa Claus sometimes forgets the poor leetla
children on-a Christmas Day. He never forgets the reech leetla
children, only those who are verra, verra poor. And that is a sad
misfortune. If I had-a nice-a Christmas present, with many candies and
figs and oranges, I could never rest until I had given something nice
to all the poor leetla children in the city--for that is what makes
the mostest happy Christmas of all.
_Enter_ SERGIUS _from R. quietly. He comes down behind_ ANITA _and
places his hands over her eyes._
SERGIUS. Guess who it is.
ANITA. Sergius!
SERGIUS (_disappointed_). Why, I thought that you would think it was a
goblin.
ANITA. Goblin? What is a goblin, Sergius?
SERGIUS. It's a little, wee bit of a man with a long beard. And they
go around having a good time at night. They are always very active on
the night before Christmas. (_Looks cautiously around._) I shouldn't
be at all surprised if we should see some tonight.
ANITA (_frightened_). Oh, Sergius, will they harm us?
SERGIUS. Not very much. They just like to have a little fun, that's
all. We have lots of them in Russia. And I believe there are some down
here in the steerage.
ANITA (_grasps his arm_). Oh, Sergius! Where are they?
SERGIUS. Well, last night I could not sleep, so I got up and came in
here, and just as I was passing by that barrel (_points to barrel up
L.C. where_ JACK FROST _is concealed_), I thought I heard a noise. It
was like some one rapping on the barrel. Like this. (_Raps on another
barrel._) I thought it was a goblin and I never stopped running until
I was safe in my bunk with the bedclothes around my head.
ANITA. Pooh! I'm not afraid. No leetla goblin man can make-a me
afraid.
SERGIUS. They do wonderful things on Christmas Eve. But come; let us
go to the bottom of the stairs. The ladies and gentlemen are looking
down and Tomasso is playing his violin. Soon they will throw apples
and oranges down to us, and perhaps money. Come and see.
ANITA. No, I'd rather wait here.
SERGIUS (_crossing to door at R._). All right, but don't let the
goblin man catch you. (_Exits at R._)
ANITA. The goblin man! Poof! There is no such thing as a goblin man.
In-a Italy we do not have such goblin mans. He said he heard something
rap, rap on the inside of the barrel. Poof! Sergius must have been
having one beeg, grand-a dream. Never in all my life did I ever hear
anything go rap, rap on the inside of a barrel. (_Stands close to_
JACK FROST'S _barrel._) And if I did, I'd think it was a leetla,
weeny-teeny mouse. But a leetla, weeny-teeny mouse never could go rap,
rap on the inside of a barrel, try as hard as he could. It must have
been a dream.
JACK FROST (_raps sharply on the inside of the barrel_).
ANITA. Oh, what was that? I thought I heard something. (_Goes toward
barrel cautiously._) Maybe it is the leetla, teeny-weeny baby mouse.
(Rises on tiptoes to peer into the barrel.) I'll just peek in and see.
(_Just as she looks into the barrel_, JACK FROST _pops up his head
almost in her very face._)
JACK FROST. Hello!
ANITA (_starting back, very much frightened_). Oh!
JACK FROST. Did you say oh, or hello?
ANITA. I just said, oh.
JACK FROST. Well, then, hello. (_Climbs out of the barrel._)
ANITA. Hello.
JACK FROST (_goes to her_). You aren't frightened, are you?
ANITA (_at R._). Well, I'm a leetla frightened, but not verra much.
JACK FROST. Why? I won't hurt you.
ANITA. You came up so sudden. I never expected to find a boy in that
barrel. And you are such a queer looking boy.
JACK FROST. Boy? I'm not a boy.
ANITA. You're not? You look like a boy. You're not a girl, are you?
JACK FROST (_indignantly_). Well, I should say not! I'm just a kind of
a sort of a kind of an idea, that's all. I'm your imagination.
ANITA. I hope you're not a goblin.
JACK FROST. Oh, no. I'm not a goblin. They're old and have long
beards. I'm not old at all. (_Twirls around on toes._) See, I'm even
younger than you are. (_Makes low bow._) I'm a pixie.
ANITA. And what is a pixie?
JACK FROST. I told you before, it's just your imagination.
ANITA. You look like a boy. What is your name?
JACK FROST. My name is Claus.
ANITA. Claus! Why, what a funny leetla name. I never heard a name like
that in Italy. Claus what?
JACK FROST. Santa Claus. Haven't you ever heard of Santa Claus?
ANITA. Oh, yes; many, many times. But you _can't_ be Santa Claus.
JACK FROST (_indignantly_). I'd like to know why I can't! It's my
name, isn't it?
ANITA. But you are not the real, real truly Santa Claus. He is an old,
old man. A leetla fat old man with white-a hair just like-a the snow,
and a long, white-a beard.
JACK FROST. Ho, you must be thinking of my daddy.
ANITA. Your daddy? Is Santa Claus your daddy?
JACK FROST. Sure, he is. I'm Jack Frost Santa Claus, Jr. Most folks
call me Jolly Jack Frost. The little fat man with the white beard is
my father.
ANITA (_astonished_). Why, I didn't know Santa Claus had any leetla
boys.
JACK FROST. Sure, he has. Who do you think takes care of the reindeer,
and who waters the doll-tree and picks the dolls?
ANITA. Picks the dolls? Do the dolls grow on trees?
JACK FROST. Yes, indeed, right next door to the taffy cottage, down
Chocolate Lane. I take care of the marble bushes and the popgun trees.
You just ought to see our wonderful gardens.
ANITA. Oh, I'd love to see them.
JACK FROST. We've got a Teddy-bear garden, and a tool garden, and a
furniture garden, and a game garden, and a candy garden, though most
of the candy comes from mines.
ANITA. The mines?
JACK FROST. Sure. We dig out just the kind we want. We have caramel
mines, and vanilla mines and mines full of chocolate almonds, and
rivers of fig paste and strawberry ice cream soda. They flow right
through the picture-book garden.
ANITA. Oh, it must be the most wonderful place in the whole world.
JACK FROST. And I help take care of it. I have fourteen little
brothers, and we're all twins.
ANITA. And have you a mother, too? Has Santa Claus a nice-a, fine-a
wife?
JACK FROST (_laughs_). Of course he's got a wife. Haven't you ever
heard of my mother. Her name is Mary.
ANITA. Mary? Mary what?
JACK FROST. Why, Merry Mary Christmas, of course. I thought everyone
knew that.
ANITA. And does she go round the world with Santa Claus on the night
before Christmas?
JACK FROST. Oh, no, she's too busy for that. She stays at home and
takes care of the gardens.
ANITA. But what are you doing here on the ship? I should think you'd
be with your father.
JACK FROST. Ah, that is a secret. You mustn't tell anyone.
ANITA. How can I tell anyone when I don't know myself.
JACK FROST. Well, maybe I'll tell you.
ANITA. Oh, if you only would. I'd just love to have a great-a, beeg,
grand-a secret.
JACK FROST. You can keep a secret, can't you?
ANITA. Of course I can. Girls can always keep secrets.
JACK FROST. Some girls can't. But I believe you really can. Your
name's Anita, isn't it?
ANITA. Yes. But how did you know?
JACK FROST. Oh, we know everything. How old are you?
ANITA. If you tell me how you knew my name, I'll tell you how old I
am.
JACK FROST. Well, I just guessed it.
ANITA. Then why don't you guess how old I am?
JACK FROST. Cute, ain't you?
ANITA. Not so verra cute. I'm going on nine.
JACK FROST. Then you're old enough to keep the secret. Now, first you
must promise you won't tell until tomorrow morning.
ANITA. Cross my heart. (_She does so._)
JACK FROST (_crosses to her_). Listen, then; here's the secret. (_He
whispers in her ear._)
ANITA (_after a pause, while he is whispering_). He is? _He is?_ Oh!!
JACK FROST (_nods his head wisely_). Yes, he is.
ANITA. Honest?
JACK FROST. Honest injun!
ANITA. With his pack and presents and a Christmas tree and everything?
JACK FROST (_nods head emphatically_). Yes, ma'am, every single thing.
ANITA. Tonight?
JACK FROST. Just before the clock strikes twelve, when all the little
children in the steerage are asleep.
ANITA. But how will he get out here in the middle of the ocean?
JACK FROST. Fly.
ANITA. Fly? But he hasn't any wings. (JACK _nods._) He has? (JACK
_nods._) Really and truly wings?
JACK FROST (_nods_). Really and truly wings.
ANITA. I never knew Santa Claus had wings before.
JACK FROST. He only bought them this year.
ANITA. Bought them? (JACK _nods._) Then they didn't grow on him?
JACK FROST (_laughs_). Of course not. He's coming in an air ship.
ANITA. Why, I never knew Santa Claus had an air ship.
JACK FROST. He's got the very latest twentieth century model. He only
uses the reindeer once in a while now. He can go much faster on an air
ship. (_Sits down._) Oh, I'm tired.
ANITA. I didn't know pixies ever got tired.
JACK FROST. You ought to see the work I've done today.
ANITA. Here on the boat?
JACK FROST. Yes, ma'am, right here on the boat.
ANITA. Oh, show me.
JACK FROST. I will. But it's part of the secret. (_Goes to rear L._)
Come here and I'll show you what I've been doing.
ANITA (_goes to him_). It isn't anything scary, is it?
JACK FROST. Of course not. (_Lets her peep through the curtain that
conceals the Christmas tree from the audience._) There; what do you
think of that?
ANITA. Oh, oh! oh!! It's too great and grand and wonderful for words.
Oh, what a wonderful, wonderful secret! I'm so glad you've told me. It
is so much nicer to know all about it beforehand. I wish I could tell
Tomasso.
JACK FROST. Well, you can't. It's a secret and you mustn't tell
anybody.
ANITA. But are you really, truly sure he's coming?
JACK FROST. Of course he is. That is our secret.
ANITA. Oh, it's the grandest secret I ever had in all-a my life. I
will not tell a soul that he is-a coming. It will be a Christmas
surprise, and when I get to the beeg city of New York in America, I'll
always remember this great-a beeg, nice-a secret about old Santa Claus
and his nice leetla boy, Jack Frost.
JACK FROST. What are you going to do when you get to America?
ANITA. I am going to dance. My uncle, Pedro Spanilli, he haba de
grind-organ. Until last-a month he had-a de nice-a monkey, named Mr.
Jocko, but last-a month Mr. Jocko he die, and my uncle, Pedro
Spanilli, he send for me to take-a his place.
JACK FROST. Take the monkey's place?
ANITA. Yes, sir. I'm going to go round with my uncle and hold out my
tambourine, so! (_Poses and holds out tambourine._) And then I will-a
collect the pennies, just like-a Mr. Jocko used to do.
JACK FROST (_mocking her_). I suppose you are going to wear a leetla
red cap and jump up and down this way (_imitates a monkey_), and say,
"Give-a de monk de cent!"
ANITA (_laughing_). Oh, no. I'm going to sing the leetla song, and
dance the leetla dance, so! (_Hums and dances, or a song may be
introduced at this point by_ ANITA.) Then, when I'm finished, I go to
the kind leetla boy, Jack Frost, and hold out my tambourine, so!
(_Does so._) And maybe he drops a nickel in my tambourine. Eh? Does
he?
JACK FROST (_sighs, then drops a nickel in tambourine_). Yes, I guess
he does. And you just wait till tomorrow morning, Anita, and I'll give
you the finest Christmas present on the Atlantic Ocean.
ANITA. And you must not forget the leetla Dutch twins, and my cousin
Tomasso, and Hulda and Meeny and Sergius and Ah Goo and Sano San and
Needla and Biddy Mary and Paddy Mike and all the rest.
JACK FROST. Whew! That's a big order. But we won't forget a single
soul on Christmas Day. And now I've got to go and put the finishing
touches on--you know what! (_Goes behind curtains that conceal the
Christmas tree._)
ANITA (_looks around_). Why, he's gone.
JACK FROST (_sticking his head out of the curtains_). The sun has set,
it's out of sight, so little Jack Frost will say good-night!
(_Disappears back of curtains._)
ANITA. Good-night, Jolly Jack Frost, good-night. Oh, it's the most
wonderful secret in all the world. And won't the leetla children be
glad to know that old Santa Claus has not forgotten them. He said that
Santa Claus was coming tonight in the air ship, and it's got to be
true, it's just got to be true.
_Enter_ TOMASSO _from R., carrying violin._
TOMASSO. Anita, if you don't hurry you'll not get any supper at all.
It's most eight o'clock.
ANITA. Oh, I don't care for supper, Tomasso. I could-a not eat. I'm
too much excited to eat.
TOMASSO. What make-a you so excited, Anita?
ANITA. Why, tonight--(pauses as she remembers her promise) Oh, that I
cannot tell; it's a secret.
TOMASSO. What is the secret?
ANITA. If I told-a you, Tomasso, then it would no longer be a secret.
TOMASSO. You should-a not have the secrets from me, Anita. I am your
cousin, also--I am the head of the family.
ANITA. But I made the promise not to tell.
TOMASSO. Who you make-a the promise to?
ANITA. I promised Jack--(_hesitates_) I mean, I make-a de promise to
someone.
TOMASSO. To Jack! Who is this-a Jack, Anita?
ANITA. That is part of the secret. Listen, Tomasso, tomorrow morning
you shall know everything. Early in the morning shall I tell-a you my
secret. That will be my Christmas present to you.
TOMASSO. All right. I'll wait. Oh, see, Anita, the moon is coming up.
(_Points to L._) Just like-a big, round-a silver ball.
ANITA. Let us stay here and watch the moon, Tomasso.
TOMASSO. You'd better go and get your supper. Those leetla Dutch twins
are eating everything on the table. I think they'd eat the table
itself if it was-a not nailed to the deck. Hurry, Anita!
ANITA. I go. (_Crosses to door at R., then turns toward him_). It's a
awful good-a secret, Tomasso. (_Laughs and runs out at R._)
TOMASSO (_looks off L._). Ah, the great, grand-a lady moon. She looks
at me, I look at her. Maybe she'll like a leetla serenade.
(_Simple violin solo by_ TOMASSO, _accompanied by hidden organ or
piano. After he has been playing sometime, the other children come
softly in from the R. and group around the stage. Note: If possible,
get a boy for_ TOMASSO'S _part who can play the violin; if not,
introduce a song at this point. "Santa Lucia," found in most school
collections, would prove effective either as a vocal solo or as a
violin solo._)
BIDDY MARY. Sure, that's beautiful. It takes me back again to dear
ould Ireland where the River Shannon flows.
HULDA. What do you do in Ireland the night before Christmas, Biddy
Mary?
MEENY. Do you have a Christmas tree like we do in Germany?
BIDDY MARY. We do not. We don't have any tree at all, at all.
PADDY MIKE. And we don't get many presents. But it's a fine time we
have for all that. Instead of getting presents, we have the fun of
giving presents--and that's the finest thing in all the world, so it
is, to make the other fellow happy. Sure, I just love to give
presents.
KLINKER. You can give me some if you want to.
SCHWILLIE. Und me also some.
BIDDY MARY. But where would we be getting presents out here in the
middle of the ocean? In dear ould Ireland sure it's a fine time we're
after having on Christmas Day.
PADDY MIKE. It is that. With the fiddles playing and the dancers
dancing and the fine suppers upon the table.
SERGIUS. In Russia we always set a table in front of the window and
put a fine linen cloth on it. (_Produces white lace-edged cloth._)
Here is the cloth, but we have no window.
HULDA. Here, use this box as a table. (_Indicates a large box at rear
C._) Now, let us put the cloth on, so! (HULDA _and_ SERGIUS _put cloth
on the box._)
BIDDY MARY. The night before Christmas we always put a big candle, all
gay with ribbons, in the window to welcome the Christ child.
PADDY MIKE. Here is the candle. (_Places it on box at rear C._) Now
I'll light it. (_Lights candle._)
TOMASSO. We do that also in Italy. And we put a leetla picture of the
Christ child on the table. (_Puts colored picture of Madonna and Child
back of the candle._)
BIDDY MARY. On Christmas Day it's the fine old tales we're after
hearing in Ireland, all about the wonderful star that shone so bright
that it turned night into day, and led the Wise Men all the way to
where a little Babe in the manger lay.
PADDY MIKE. And all the angels sang above of peace on earth, good will
and love.
BIDDY MARY.
The shepherds wandering on the hill,
Beheld the star and followed till
They saw the Child and heard the song,
The angels sang the whole night long.
SERGIUS. May the spirit of Christmas enter every heart tonight, making
all the world one big, happy family, no rich, no poor, no high, no
low, all brothers and sisters, all children of the Lord on high!
MEENY. Maybe good old Santa Claus will come after all. Vell, if he
does I want to be ready for him. (_Produces two very large red
stockings, made for the occasion._) Come, Yakob and Hans and Mieze,
let us hang up our stockings here under the burning candle. (_They
hang up the four pair of stockings._)
NEELDA (_places a wreath of holly on the table_). Christ was born on
the Christmas Day, wreathe the holly, twine the bay! Light and Life
and Joy is He, the Babe, the Son, the Holy One of Mary!
TOMASSO. Meeny and Yakob and Hans and leetla Mieze have hung up their
stockings for the good-a Saint Nicholas, but in Italy we set out our
shoes, so! And we always get them full of presents. (_Places small
pair of wooden shoes on table._)
MEENY. I like stockings much better than shoes already, because the
stockings can stretch yet, und if they stretch real, real wide out
maybe we can get a baby piano or a automobile in our stockings. Jah,
stockings is mooch better als shoes.
HULDA. Here is my beautiful star. (_Produces tinsel star._) That will
remind us of the Star of Bethlehem that led the three Wise Men across
the hills and plains of Judea unto the little manger where,
surrounded by cattle and oxen, amid the straw, the Lord of Heaven was
born on Christmas Eve.
SCHWILLIE. Und all the angels sang, "Peace on earth, good will to
men," didn't they, Klinker?
KLINKER. Und all the shepherds heard them, and they followed the star
and came to the manger to see the little Baby.
MEENY. Let us all sit down here in front of the candle and the star,
and see if old Santa Claus has forgotten us already. It's almost time
for him to be coming. (_All sit down._)
ALL (_sing_).
THE TIME IS NEAR.
[Music illustration:
1. The time is near, the time is near,
San-ta Claus will soon be here!
All the world is sweet-ly sleep-ing,
An-gels now their watch are keep-ing,
And the moon shines clear,
And the moon shines clear.
2. Be-fore the dawn, be-fore the dawn,
Saint Nick will have come and gone!
Now with pa-tience we'll a-wait him,
Hop-ing noth-ing may be-late him,
On his jour-ney long,
On his jour-ney long.]
HULDA. Oh, I do hope Santa Claus will come and visit us tonight. But
of course he cannot go every place. Some children have to be left out.
KLINKER. Yes, that's so; but I hope it ain't us. Don't you, Schwillie
Willie Winkum?
SCHWILLIE. Sure, I do. I wish old Santa would hurry up and come,
'cause the old Sandman is here already. I'm getting awful sleepy.
KLINKER. Me--I'm getting awful sleepy, too. (_Stretches and yawns._)
TOMASSO. I wonder what has become of Anita? She said she had a
wonderful secret that was-a verra, verra grand.
MEENY. A secret, Tomasso? (_Goes to him._)
TOMASSO (_standing at C._). Yes, a great, beeg, grand-a secret.
BIDDY MARY (_goes to him and takes his L. arm_). Oh, what is it,
Tomasso?
MEENY (_taking his R. arm_). Yes, Tomasso, tell us vot it is already.
BIDDY MARY (_turning_ TOMASSO _around to face her_). Sure, if there's
anything on earth I _do_ love, it's a secret.
HULDA (_and the other girls, surrounding_ TOMASSO). Yes, Tomasso, tell
us the secret; we'll never tell anyone.
MEENY (_pulling him around to face her_). Sure we won't. Nice Tomasso,
tell us vot it is yet.
TOMASSO (_hesitates_). Well, I----
BIDDY MARY (_pulling him around to face her_). Now, you tell _me_,
Tomasso. I never tell any secrets at all, at all.
TOMASSO. Well, I----
MEENY (_pulls him around again_). If you're going to tell it, I want
to hear every word. I never want to miss noddings no times.
BIDDY MARY (_pulls him back_). Neither do I.
HULDA. Neither do I.
MEENY. Neither do any of us.
KLINKER. I don't want to miss nothing neither.
SCHWILLIE. No, und I don't neither.
ALL. Now, what is the secret, Tomasso?
TOMASSO (_loudly_). It is not my secret. It is Anita's secret.
ALL. Well, what is Anita's secret.
TOMASSO. She wouldn't tell me.
ALL (_turn away very much disappointed_). Oh!
TOMASSO. She's promised to tell us all in the morning. She said that
would be her Christmas present to us--to tell us the secret. (_All sit
or recline around the stage. Lower the lights._)
SERGIUS. It seems so strange to spend Christmas Eve away out here in
the middle of the ocean.
KLINKER (_almost asleep_). Wake me up, Hulda, just as soon as Santa
Claus comes.
BIDDY MARY (_at R._). Sure I think the Sandman has been after spillin'
sand in all of our eyes. I'm that sleepy I can't say a word at all, at
all.
SANO SAN. They're putting out all the lights. Here, Sergius, hang my
little lantern in front of the candle.
AH GOO. Allee samee hang mine. (SANO SAN _and_ AH GOO _each give their
lanterns to_ SERGIUS, _who lights them and hangs them on the table.
Note: Nails must be put in the table at R. and L. corners facing front
for these lanterns._)
SERGIUS. I'm going to stretch out here and take a little nap.
(_Reclines on floor._) Be sure and wake me up, Hulda, just as soon as
you hear the bells on his reindeer.
TOMASSO (_yawns_). I wonder what has become of Anita?
HULDA (_stretches_). I believe I'm getting sleepy, too.
OTHERS. So are all of us.
BIDDY MARY. We're all noddin', nid, nid noddin', sure I think it's
time we were all of us fast asleep.
ALL (_sing sleepily_).
"WE'RE ALL NODDIN'."
[Music illustration:
1. We are all nod-din', nid, nid nod-din',
We are all nod-din', and drop-ping off to sleep.
So see San-ta Claus we've all done our best,
[Transcriber's Note: probably should be "To see"]
But we're aw-ful-ly sleep-y, so we'll take a rest.
2. We are all nod-din', nid, nid nod-din',
We are all nod-din', and drop-ping off to sleep.
It's aw-ful-ly late, we'll no lon-ger de-lay,
But ride with the Sand-man, a-way and a-way.]
(ALL _are sound asleep. Stage is dark._)
KLINKER (_talking in his sleep_). Noddin', nid, nid noddin'.
SCHWILLIE (talking in his sleep). Dropping off to sleep, ain't we,
Klinker?
_Soft, mysterious music._ ANITA _dances in from R. She dances around
the stage, keeping time to the music and bending over the little
sleepers._
ANITA. Asleep! Every last one of them is verra sound asleep. Meeny and
Biddy Mary, and Sergius and Tomasso and the leetla Dutch twins and
all! (_Goes to curtain at rear._) Jack Frost! Jolly Jack Frost! Come-a
quick, come-a quick! They're all asleep.
JACK FROST (_sticks his head out of the curtains_). Hello, what is it?
ANITA. It is Anita. The leetla children are all here and sound asleep.
JACK FROST (_coming down to her_). And so was I. They sang a song
about noddin', nid, nid noddin', and I just went to sleep myself. I
dreamed I was hunting a polar bear way up by the North Pole.
(_Yawns._) I'm still awfully sleepy.
ANITA. I didn't know that you ever went to sleep.
JACK FROST. You bet I do. That's the one thing I've got against my
daddy's Christmas trip every year. It wakes us all up right in the
middle of the night.
ANITA. The middle of the night? What _do_ you mean?
JACK FROST. Middle of the north pole night. If it wasn't for Christmas
we could go to bed about half past October and sleep until a quarter
of May, but ma thinks we ought to help pa and then wait up until he
comes home. My, I'm sleepy! Aren't you?
ANITA. Oh, no, no! I'm verra too much excited to sleep. It's all about
my secret. Are you really sure he is coming?
JACK FROST. Of course he is, and it's almost time he was here now.
It's nearly Christmas Day. Look way up there in the sky. You don't see
anything that looks like an air ship, do you?
ANITA (_looking up and off at R._). No, I cannot see a single thing.
JACK FROST (_sees table at rear_). Oh, look here! The children have
lighted a candle for him. That's just fine. It always pleases him. And
see; here's a picture and a wreath of holly and the star of Bethlehem.
And stockings and shoes all in a row.
ANITA (_looking up and off R._). I can't see a thing.
JACK FROST. Here's a telescope. Look through that. (_Takes home-made
telescope from his barrel._) Now do you see anything?
ANITA. Oh, no; now I cannot even see the stars or the moon.
JACK FROST. Of course you can't. You are looking through the wrong
end. Turn it around.
ANITA (_looks up and off R. through telescope_). Oh, now I can see the
stars. And, oh, look! I see a leetla, teeny-weeny thing way, way
off--far up in the sky. Look, Jack Frost, is that the air ship?
(_Fast music, played softly._)
JACK FROST (_looks through the telescope_). Yes, I believe it is.
ANITA (_dances wildly about the stage_). Oh, he's coming, he's
coming. I'm going to get to see Santa Claus! Is it not wonderful? I'm
going to see him. Let me look. (_Takes telescope._) Oh, it's getting
bigger and _bigger_ and BIGGER!
_Sleigh bells heard outside at R., far away in the distance._
JACK FROST (_capering around_). Hurray! daddy's coming! daddy's
coming!
ANITA. Now I can hear the bells. Oh, it's coming closer and _closer_
and CLOSER. Look out, it's going to hit the boat! (_Small toy air ship
flies across the stage at rear, with tiny lights twinkling in it.
Stretch a wire across rear of stage and high up, for the toy to run
on._)
JACK FROST. He flew right by us.
ANITA. Maybe he didn't see the boat. Oh, now he isn't coming at all.
JACK FROST (_looking out at L._). Yes, he is. He's landed right over
there. Here he comes; here he comes! (_Music and bells louder and
louder._)
ANITA (_runs to L._). Here we are, Santa Claus. This is the place.
Come in. Merry Christmas, Santa Claus, merry Christmas!
_Loud fast music. Enter_ SANTA CLAUS _from L._
SANTA CLAUS. Hello, there--where are you? It's so dark I can't see a
single thing.
JACK FROST. Hello, daddy; merry Christmas.
SANTA CLAUS (_shaking hands with him_). Hello yourself. Merry
Christmas to you, too. Are you all ready for me?
JACK FROST. Yes, it's all ready. The magical tree is just waiting for
your touch to turn into a real Christmas tree.
ANITA. Oh, we're going to have a real Christmas tree.
SANTA CLAUS. Hello, who's this young person?
JACK FROST. This is Anita.
SANTA CLAUS. And why isn't she sound asleep like the rest of the
children?
JACK FROST. She's such a good little girl that I told her she could
stay up with me and wait until you came.
SANTA CLAUS (_laughs_). Oh, ho; so you've made a hit with my boy, Jack
Frost, have you? Well, if that's the case, I guess you can stay.
ANITA. But all of the children would like to see you, Santa Claus.
See, they've prepared the candle and the wreath of holly and the star
of Bethlehem all for you. There's Sergius and Tomasso and Hulda and
Meeny and Hans and Yakob and Neelda and Ah Goo and Sano San and Mieze
and the leetla Dutch twins, Klinker and Schwillie Willie Winkum.
They've all been awfully good children. And Biddy Mary and Paddy Mike
they brought the candle. They're good, too.
SANTA CLAUS. Hurry, Jack, and fill up the shoes and stockings.
JACK FROST (_filling them from the sack_). Yes, daddy, I'm hurrying.
SANTA CLAUS. It's just two minutes till Christmas morning. I've had a
hard night's work and I think I'll just take a little vacation here in
the steerage.
ANITA. Oh, Santa Claus, may I wake up all the leetla children and let
them see you?
SANTA CLAUS. Yes, just as soon as you hear the chimes announcing the
birth of Christmas Day.
ANITA. And don't you have any other place to go this year?
SANTA CLAUS. I hope not. Here I am in the middle of the ocean and my
air ship is just about played out. Jack, dump everything out of the
sack and we'll give the little immigrants the jolliest kind of a
Christmas. I'm not going to lug all of those toys and candy and things
back to the North Pole again.
JACK FROST (_empties sack on floor_). Here they are, daddy.
SANTA CLAUS. Now, where's the tree?
JACK FROST (_goes to rear of the stage and removes the curtains that
have been concealing the dazzling Christmas tree._). There she is.
Isn't she a beauty?
ANITA. Oh, it's the greatest, most grand-a tree in all the world.
(_Faint chimes are heard in the distance._)
JACK FROST. There are the chimes. It is Christmas Day. Merry
Christmas, daddy; merry Christmas, Anita. Christmas Day is here.
ANITA (_dancing around_). Merry Christmas, Jack Frost! Merry
Christmas, Santa Claus! Merry Christmas, everybody! Merry Christmas to
all the world. Wake up, Hulda! Wake up! (_Shakes her._)
JACK FROST. Wake up, Paddy Mike and Sergius! Wake up! Merry Christmas!
SANTA CLAUS. Wake up, Meeny and Biddy. It's Christmas morning. And you
two little shavers, Klinker and Schwillie Willie Winkum, wake up and
give Santa Claus a good, old hug!
(_The children all awaken. Rub eyes, stretch, etc._)
HULDA. Oh, he's come, he's come, he's come! (_Runs and hugs_ SANTA
CLAUS.)
SCHWILLIE. Me, too. (_Hugs him._) I said he'd come, didn't I, Klinker?
(_Lights all on full._)
KLINKER (_hugging_ SANTA CLAUS). Sure you did. And me, too, didn't I,
Schwillie Willie Winkum?
MEENY. Oh, see the tree! The beautiful, beautiful Christmas tree.
TOMASSO. And my leetla shoes are full of candy and toys.
PADDY MIKE. Now, let's be all after giving three cheers for old Santa
Claus. (_The cheers are given._)
ANITA (_bringing_ JACK FROST _forward_). And this is the leetla Jolly
Jack Frost.
PADDY MIKE. Then three cheers for the leetla Jolly Jack Frost. (_The
cheers are given._)
ANITA (_at C. with_ JACK FROST). This was my Christmas secret. Santa
Claus and the air ship and the Christmas tree and jolly Jack Frost and
everything. This was the secret.
PADDY MIKE. Now all of yeez give three cheers for Anita's secret.
(_The cheers are given. Folk dance may be introduced. All sing
Christmas carol as the curtain falls._)
CURTAIN.
REMARKS ON THE PRODUCTION OF THE PLAY.
THE SCENERY.
The stage should be set to represent the steerage of a large
ocean-going vessel. A good elaborate set may be arranged with very
little expense by following the diagram. The back drop should be of
light blue with a few cumulus clouds in white. The water line should
be about one-fourth from the bottom, and from this line downward the
scene should be darker blue, with white waves.
The background may be made from canvas or paper, as desired. A good
effect has been produced by covering frames with tissue paper of the
desired shades, the clouds and the water lines being cut from white
paper and pasted on.
A railing runs across rear of stage. This railing is made of wood,
with a tennis net serving for the wiring. Round life-savers are cut
from paper, painted and attached to the railing. The ventilator and
hatchways may be made from brown bristol board.
A large Christmas tree, lighted and decorated, stands at rear L. This
is concealed by curtains.
A square box or table stands at rear C. Several barrels and boxes are
at left front, and a box is at right front. A large barrel stands at
left of center near the rear.
[Illustration]
PROPERTIES.
Woolen stocking and knitting needles for Meeny.
Potatoes, knife, bowl for Biddy Mary.
Jack-stones for Sergius.
Tambourine for Anita.
Nickel (coin) for Jack Frost.
Violin for Tomasso.
White, lace-edged table cloth for Sergius.
Large candle decorated with red ribbons for Paddy Mike.
Bright picture of Virgin and Child for Tomasso.
Two large red stockings for Meeny.
Extra stockings for Yakob, Hans and Mieze.
Wreath of holly for Neelda.
Small wooden shoes for Tomasso.
Tinsel star for Hulda.
Telescope for Jack Frost. Made from a pasteboard roll covered with
black cloth.
Toy air ship on a wire, to sail across stage at rear.
Pack of toys for Santa Claus.
Sleigh bells for Santa.
Chimes heard outside.
COSTUMES AND SUGGESTIONS.
SANTA CLAUS--High boots. Red or brown coat or mackinaw, trimmed with
fur (or cotton, dotted to imitate ermine fur). Cap to match coat.
String of bells around neck. Pack of toys. White hair, mustache and
long, white beard. Rosy cheeks. Do not wear a false-face, as this
often frightens little children and makes the character seem unreal.
When there are little children in the cast, their belief in Santa
Claus must not be disturbed and the adult portraying the character
need not attend the general rehearsals. The high boots may be shaped
from black oil-cloth and drawn on over black shoes. Use a pillow or
two to give an ample girth.
JOLLY JACK FROST (aged 8 or 9)--A jolly, little chubby-faced boy who
can memorize and deliver a long part. White stockings and shoes.
Canton flannel suit of white, trimmed with long points cut from cloth,
to represent icicles. Long-pointed cap of white, coming down around
back of head and forming a long-pointed collar in front. The top point
should be wired into position. Face and hands are powdered very white.
Put small dabs of mucilage on the costume and sprinkle here and there
with diamond dust powder. Trim the costume with bits of cotton to
represent snow.
ANITA (aged 8 or 9)--Dark hair and complexion. Black slippers with red
rosettes or bows on them. White stockings. Green skirt. Small dark red
apron, edged with white, black and green. Black spencer waist laced in
front showing the white underwaist. Puffed sleeves falling to elbows.
Green and red bows on elbows. Red silk handkerchief laid loosely over
the shoulders. Gold beads around neck. Large earrings may be attached
with court plaster. The headdress is a white oblong cloth, about six
inches wide and about eighteen inches long. This cloth is gayly
decorated with bands of red, green and black ribbons and the part on
the head is padded with a small square of pasteboard. Tambourine
decorated with red, black and green ribbons. A yellow silk
handkerchief may replace the Sicilian headdress above described.
HULDA (aged 10)--A blonde girl with hair in two long braids. Wooden
shoes, white stockings. Several very full underskirts. Long skirt of
dark blue, made very full around the bottom. This skirt is patched
with squares of dark red and striped goods. Large blue gingham apron
edged with stripes of dark red. White waist. Blue bodice of same
material as skirt. Small white cap fitting close to head in back, but
turned back in front with points over each ear. Face round and rosy.
If the wooden shoes are not easily obtained, fair substitutes may be
made by covering an old pair of shoes with cream colored oil-cloth.
SERGIUS (aged 9)--Black oil-cloth leggings to knees. Dark trousers.
Long Russian blouse of dark green coming nearly to knees and belted in
at waist with black oil-cloth belt. Blouse edged with dark fur. Dark
green cap trimmed with dark fur.
MEENY (aged 7)--Full white waist. Black bodice laced with red. Rather
short red skirt, with black stripes sewed around bottom. White lace
apron edged with red and black. White mob cap, puffed high in front.
Red and black strings on cap which are tied under her chin. She
carries a gray woolen sock, half finished, and knitting needles.
Wooden shoes if possible.
BIDDY MARY--Old shoes and ragged stockings. Old-fashioned dress,
rather short, of plaid gingham. Worn gingham apron. Little square
shawl of red and black checked goods, crossed on breast.
Old-fashioned, little black bonnet tied under her chin. She carries a
pan of potatoes and a knife. Her age is about 8.
PADDY MIKE--Small boy of 7, dressed in a man's suit, cut down in a
clumsy manner. Green vest. Black swallow-tail coat. Little plug hat,
made by covering a pasteboard form with black cloth. Shoes, old and
worn, and many, many sizes too large for him.
TOMASSO--Black slippers, white stockings. Red and yellow ribbons wound
around legs. Black knee breeches and zouave jacket. Striped sport
shirt. Red and yellow bows at knees and on shoulders. Red handkerchief
knotted loosely at throat. Black felt hat, turned up side, gayly
decorated with red and yellow ribbons. On his second entrance he
carries a violin. A dark complexioned boy aged about 9.
THE DUTCH TWINS (aged 4 or 5)--Hair in Buster Brown style. Very full
blue trousers extending from under the arms to ankles. These are made
of blue denim and patched with large vari-colored patches. Wooden
shoes. Striped shirts. Dutch caps made of dark cloth, with a peak in
front and a crown about six inches high. The twins should be dressed
exactly alike and look as much alike as possible. Get chubby little
fellows and thoroughly rehearse them in their part; in fact they must
go over it so much that it must come as second nature to them on the
night of the performance. Much of the humor in the play depends on the
little Dutch twins. When they walk let them take long striding steps.
Use frequent gestures, nods, etc., in their dialogue, but be sure and
have every movement exactly the same at each rehearsal. These parts
are not difficult if the little actors are well trained, and their
success on the night of the performance will amply repay the trouble
spent in their proper coaching.
NEELDA--A little brunette girl, aged 4 or 5. Yellow sateen skirt and
zouave jacket, trimmed with coarse black lace. Broad red sash tied on
the side. White baby waist. Black lace mantilla over head, and hair
dressed high with a high comb. Red rose over left ear.
AH GOO--A chubby little Chinese boy of 5. White stockings, black
slippers, white pajamas, slanting eyebrows, small round white cap and
long pig-tail made of black yarn. Carries Chinese kite.
YAKOB--Chubby boy of 6, dressed similar to twins, but in contrasting
colors. Wears yarn stocking cap. Wooden shoes.
HANS--Tall, thin boy of 9. Dressed similar to the twins, but in brown.
Tall black cap similar to those worn by the twins.
MIEZE--Little girl of 3 or 4, dressed similar to Hulda, but in dark
red and red and white checked gingham.
SANO SAN--Little Japanese girl in kimono and sash. Eyebrows slanting.
Hair dressed high. Chrysanthemums over ears. Carries a paper parasol
or fan.
The Christmas tree is for the whole school and is concealed during the
first part of the play by curtains. If there is to be no tree, all
reference to it may be omitted without injury to the continuity of the
play.
Other songs may be substituted for the songs here given, but these
have proved very successful in several performances of Anita's
Secret.
CHRISTMAS WITH THE MULLIGAN'S
[Illustration:
PATSY MATSY PETER PAN MRS O'TOOLE
MRS MULLIGAN TEDDY MAGEE PATSY & MATSY (3rd Act)
MICKY MACHREE BRIDGET HONORA MARY ANN
MELISSA CLARISSA NORA EUDORA]
CHRISTMAS WITH THE MULLIGAN'S
A FUNNY CHRISTMAS PLAY IN THREE SHORT ACTS.
CHARACTERS.
THE WIDOW MULLIGAN _With a Heart Overflowing with Sunshine_
PATSY _Aged Twelve_
MATSY _Aged Eleven_
TEDDY MAGEE _Aged Seven_
NORA EUDORA _Aged Fourteen_
MICKY MACHREE _Aged Five_
BRIDGET HONORA _Aged Ten_
SWEET MARY ANN _Aged Eight_
MELISSA _Aged Six_
CLARISSA _Aged Six_
WEE PETER PAN _Aged Four_
MRS. O'TOOLE, _A Neighbor_ _With a Heart Overflowing with Kindness_
* * * * *
TIME OF PLAYING--_About One Hour._
* * * * *
_How they lived and what they wore will be told under the "Notes to
the Manager" at the end of the play._
ARGUMENT.
Sure, there isn't much argument at all, at all. It's all happiness and
merriment and love, and where there is happiness and merriment and
love there isn't any time for argument. The Widow Mulligan is a
cheerful washerwoman who lives in Mulligan Alley in Shantytown,
surrounded by her ten little Mulligans, to say nothing of the goat,
Shamus O'Brien. A good-hearted neighbor, Mrs. O'Toole, has a lively
time with the goat, but she forgives all his misdeeds as it is
Christmas Eve and the little Mulligans are starting out for a grand
Christmas entertainment. When they return they entertain their mother
and Mrs. O'Toole, and, incidentally, the audience.
But let's have done with the argument and let the fun begin.
* * * * *
ACT I.
SCENE: _The Mulligan's front room. Entrances at right and left. Window
at rear. At rise of curtain_ MRS. MULLIGAN _is discovered at C.,
washing clothes in a tub._ BRIDGET HONORA _and_ MATSY _are hanging wet
clothes on a line, which runs across the rear of the stage._
MRS. MULLIGAN (_singing to a made-up tune as she washes_).
Oh, give me a nice little home,
And plenty of suds in me tub,
And I will be happy all day,
With me rubby-dub, rubby-dub, dub.
The queen on her golden throne,
Will envy me here at me tub,
For no one's as jolly as I,
With me rubby-dub, rubby-dub, dub.
Sure, what would I do at a dance?
Or what would I do at a club?
But here in me kitchen I'm queen
With me rubby-dub, rubby-dub, dub.
Oh, give me a nice little home,
And plenty of suds in me tub,
And I will be happy all day,
With me rubby-dub, rubby-dub, dub!
MATSY. Maw, don't you think it's most time fer us to be going?
MRS. MULLIGAN. Time to be going, is it? Well, I should hope not. Sure,
half of the children are not dry yet, and the other half are not
dressed. Bridget Honora, darlin', look in the other room and see how
they're coming on. (_Exit_ BRIDGET _at R._)
MATSY. I think we ought to be there early, so as we can get a good
seat on the front row. I don't want to miss nothing. (_Hangs up a
boy's union suit._)
MRS. MULLIGAN. True for you, Matsy, and I don't want yeez to be
missing anything either. It ain't like as if yeez go to a fine
Christmas entertainment ivery night of yer lives. (_Washes._)
MATSY. It's the first one any of us ever went to at all, at all. Do
yeez think they be after having moving pictures?
MRS. MULLIGAN. Of course not. Not in a Sunday School, Matsy. But
belike they'll have a fine, grand Christmas tree with singin' and
spaches and fine costumes and prisints for every one. (_Calls off
R._) Bridget Honora!
BRIDGET (_off R._). Yes, maw?
MRS. MULLIGAN. Come here.
_Enter_ BRIDGET _from R._
BRIDGET. Melissa and Micky Machree have been scrubbed until they
shine. They're sitting in the window drying in the sun. Mary Ann is
cleaning Peter Pan in the lard bucket, and Patsy is washing Teddy
Magee in the rain-barrel. Nora is curling Clarissa's hair with the
poker, and somebody's untied the goat.
MRS. MULLIGAN. Untied the goat, is it? Matsy Mulligan, put on yer hat
at once and see what's become of Shamus O'Brien. He's a good goat, is
Shamus, but he's like the late Mr. Mulligan, he has a rovin'
disposition and a tremenjous appetite. Hurry now, Matsy.
MATSY (_whining_). Aw, now, maw, I can't go and hunt the goat. I'm all
dressed up for the entertainment. If I go after the goat, sure it's
all mussed up I'll be.
MRS. MULLIGAN. Yis, if I swat you one wid this wet cloth, it's worse
than mussed up you'll be. Hurry after the goat. Niver a step does any
Mulligan take from this house tonight until Shamus O'Brien is safe in
the kitchen, wid his horns tied to the wash boiler.
MATSY. Sure, I dunno where to look fer him.
MRS. MULLIGAN. Go over to Mrs. O'Toole's cabbage garden; like as not
ye'll find him there. Sure, Shamus has a fine appetite for cabbages.
MATSY. Don't let 'em start afore I get back. I don't want to miss
nothin'. (_Takes cap and exits L._)
MRS. MULLIGAN. Now, Bridget Honora, lave off hanging up the clothes
and go in and see if Melissa and Micky Machree are dry yet. And if
they are call me in and I'll attend to their costumes.
BRIDGET. Maw, Mary Ann's having an awful time. She's growed so that
her skirt and her waist has parted company, and what she'll be after
doing I don't know at all, at all.
MRS. MULLIGAN. Is there anything she can use as a sash?
BRIDGET. No'm. Nora and Clarissa have used up all the sashes.
MRS. MULLIGAN (_takes fringed bureau cover from wash-basket_). Look
here, now, Bridget Honora, see what I've found in the wash. It's a
tidy to go on top of a dresser, but I'm thinking it's just the thing
to fill the gap between the skirt and the waist of Mary Ann.
BRIDGET. Yes, maw. (_Exit R._)
_Enter_ PATSY _from R. He runs in and is very much excited._
PATSY. Oh, maw, maw, come quick! Hurry, or he'll be drowned.
MRS. MULLIGAN. What is it, Patsy? Spake quick.
PATSY. It's Teddy Magee. I was givin' him a wash in the rain-barrel,
when all of a sudden, bad luck to him, he slipped through me fingers
and fell head-first down in the barrel. (_Cries._) Oh, it's drownded
dead he'll be. Oh, oh! (_Cries._)
MRS. MULLIGAN. Oh, me baby, me baby! (_Rushes out at R._)
_Enter_ NORA _and_ CLARISSA _from L._
NORA. Now sit right down there, Clarissa, and don't be moving a hair,
because you're all fixed and ready for the entertainment.
CLARISSA. And how do I look, Nora?
NORA. Ye look like a Christmas angel, so you do. Your hair curled just
lovely and your striped stockings will be the admiration and envy of
the entire Sunday School.
PATSY. Oh, Nora Eudora, come on quick. Teddy Magee fell in the
rain-barrel and it's drownded dead he is intirely. (_Cries._)
NORA. In the rain-barrel? How did he get in the rain-barrel?
PATSY. Sure, I was washing him, I was. And he was that slippery with
the soap that he slid through me fingers and down to the bottom of the
barrel.
NORA. Oh, the poor little Teddy Magee. (_Runs out R., followed by_
PATSY _and_ CLARISSA.)
_Enter_ MARY ANN _and_ PETER PAN _from L._
MARY ANN. And how de yeez like me new sash, Peter Pan?
PETER PAN. Scwumptious.
MARY ANN. It's a tidy cover off'n a bureau, and I don't want to wear
it at all, at all. Folks'll be after thinking I'm a bureau. Don't it
look funny, Peter Pan?
PETER PAN. Scwumptious.
MARY ANN. I'm not going to wear it, so I'm not.
_Enter_ BRIDGET _from L._
BRIDGET. Mary Ann Mulligan, and what are yeez trying to do with your
nice new sash?
MARY ANN. I ain't going to wear no tidy cover. Folks'll be after
thinking I'm a bureau.
BRIDGET. Sure they'll think worse than that if yeez take it off.
That's what comes of yer growing so fast. Yer skirt is fer six years
old, and yer waist is fer six years old, and so you have to wear the
sash to help out the other two years. Sashes are awful stylish,
anyhow. It's pretty, too, ain't it, Peter Pan?
PETER PAN. Scwumptious.
_Enter_ MRS. MULLIGAN _from R., followed by_ PASTY _and_ NORA.
MRS. MULLIGAN. It's lucky for him that there wasn't any more water in
the rain-barrel, or he would have been drownded dead sure. Patsy, yeez
had no business to let him drop. Nora, you go out and finish him.
Where's Clarissa?
_Enter_ CLARISSA _from R._
CLARISSA. Here I am, maw.
MRS. MULLIGAN (_looks her over carefully_). Well, you're all ready.
That's one. Nora and Patsy and Matsy are all ready. That makes four.
Mary Ann, are you all fixed?
MARY ANN. Yes, mum, but I don't like me sash at all, at all. Folks
will all know it's a bureau tidy, it's got fringe and everything.
MRS. MULLIGAN. Oh, ho, me fine young lady. I suppose yeez want a
peek-a-boo dress all trimmed with mayonnaise ruffles down the bias, do
you? It's lucky for you I found that tidy in the wash, so it is. And
don't yeez eat too much or breathe hard or ye'll bust it, and then
where'll you be at?
BRIDGET. Maw, Mary Ann's chewing her apron.
MRS. MULLIGAN (_at the wash-tub_). Mary Ann Mulligan, take that apron
out'n your mouth. I niver saw such a girl to be always chewing
something. It's first yer dress and then yer apron or your petticoat,
whatever happens to be your topmost garment. Clothes were not made to
chew.
_Enter_ NORA _with_ TEDDY, MELISSA _and_ MICKY, _from L._
NORA. Here they are, maw, all ready for the party.
MRS. MULLIGAN. Are ye sure they're all clean?
NORA. I am that. They've been scrubbed until me two arms ache. And
Micky's had a bath in the rain-barrel.
MICKY. I have that, and I don't want another one, either.
MRS. MULLIGAN. All yeez sit down and let me look ye over.
NORA. Have ye finished the washing, maw?
MRS. MULLIGAN. For the prisint, yes. I have more important duties to
perform. Now, first and foremost, don't walk pigeon-toed. Bridget,
have ye got a clane handkerchief?
BRIDGET. Yis, mum.
MRS. MULLIGAN. Well, don't forget to use it if the necessity arises,
and you'd better set next to Peter Pan so's he can use it, too. He's
been kinder nosey all day, and I shouldn't wonder if he wasn't coming
down with a cold in his head. How do you feel, Peter Pan?
PETER PAN. Scwumptious.
MRS. MULLIGAN. Micky Machree Mulligan, and what are yeez looking
cross-eyed for? Do ye think it improves yer beauty?
MICKY. I thought there was a speck of dirt on me nose.
MRS. MULLIGAN. Well, there's not, and hold yer head up straight.
PATSY. Maw, ain't it most time to go?
MRS. MULLIGAN. It lacks two hours yet of the time, and Matsy ain't
come back with the goat. Whatever's become of Shamus O'Brien I'd like
to know. Which of yeez seen him last?
NORA. I saw him this mornin'. He was eatin' a tin tomato can down in
the alley.
MRS. MULLIGAN. The poor thing! Now I suppose I'll have a sick goat on
me hands on top of all me other troubles--and tomorrow's Christmas
Day.
BRIDGET. Maw, suppose they won't let us in the Sunday School at all,
at all. We don't belong to that Sunday School. What'll we do then?
MRS. MULLIGAN. Indade they'll not turn yeez away on Christmas Eve. I
chose that Sunday School for yeez to attend because it's the largest
and the most fashionable in town. Mrs. Beverly Brewster goes there,
and wherever Mrs. Beverly Brewster goes, sure yeez can count on it,
it's bound to be most fashionable and select.
MARY ANN. But we never went there before. They'll think it's awfully
nervy fer us to come buttin' in at their Christmas entertainment.
MRS. MULLIGAN. Niver once will they. They'll welcome yeez with open
arms and many Christmas prisints. And whatever yeez get be sure and
say, "Thank yeez kindly and much obliged." Can ye do that?
ALL. Oh, yes, mum.
MRS. MULLIGAN. Clarissa, look out'n the door and see if ye see
anything of Matsy and the goat.
CLARISSA. Yes, mum. (_Goes to door at L._)
MRS. MULLIGAN. Mary Ann Mulligan, quit fooling with yer sash. If I've
told yer once I've told yer a hundred times it's liable to bust and
yer skirt and yer waist ain't on speakin' terms.
CLARISSA (_at door_). Maw, here comes Mrs. O'Toole.
MRS. MULLIGAN. It's the goat. He's been filling himself up on the
O'Toole cabbages. My, my, that goat'll be the death of me yet.
_Enter_ MRS. O'TOOLE, _limping in from L._
MRS. O'TOOLE. Good evening, Mrs. Mulligan.
MRS. MULLIGAN. The same to ye, Mrs. O'Toole. Come in and set down.
MRS. O'TOOLE. I have no time to set down, and I have no inclination to
set down. And it's all on account of yer goat, Shamus O'Brien.
MRS. MULLIGAN. Me goat, is it?
MRS. O'TOOLE. It is the same, and it's an injured woman I am this
night.
MRS. MULLIGAN. My, my! I'll have to kill that old goat. He's entirely
too obstreperous. And did he chase you, Mrs. O'Toole?
MRS. O'TOOLE. Chase me? He did worse than chase me. He caught up with
me.
MRS. MULLIGAN. And where is he now?
MRS. O'TOOLE. Niver a know do I know where he is. I left your boy
Matsy chasing him down the alley with a rope.
MRS. MULLIGAN. Bridget, go in the far room and get a wee drop of tay
for Mrs. O'Toole.
MRS. O'TOOLE. I can't drink any tay. I'm that injured I can't drink at
all, at all.
MRS. MULLIGAN. A drop of tay will warm ye up. Hurry, Bridget.
BRIDGET. Yis, mum. (_Exits R._)
MRS. O'TOOLE. I was out in me cabbage garden picking a bit of cabbage
for me owld man's Christmas dinner. I was bending over looking at the
cabbage whin all of a sudden I felt meself flying through the air and
I landed in the watering trough, so I did. And it was full of water.
And I'm almost killed entirely--and it's all the fault of your goat,
Mrs. Mulligan.
MRS. MULLIGAN. There, now, Kathleen, darlin', sit down and take things
easy.
MRS. O'TOOLE. I'll not sit down, Mollie Mulligan. Sure I'm thinking
I'll be after spindin' the rist of me life standing up on me two fate.
MRS. MULLIGAN. So the goat struck ye, did he?
MRS. O'TOOLE. He did.
MRS. MULLIGAN. My, my, the trouble I've had all along of that Shamus
O'Brien. He's an awful goat, is Shamus O'Brien.
_Enter_ BRIDGET _with two cups of tea._
BRIDGET. Here's the tea, mum.
MRS. MULLIGAN. Thank ye kindly, Bridget. Here, Kathleen, take a cup of
tay and let it soothe your wounded feelings.
MRS. O'TOOLE. Sure, it's more than me feelings that is wounded, Mrs.
Mulligan. (_Drinks tea._)
CLARISSA. Maw, ain't it time we were starting for the entertainment?
MRS. MULLIGAN. My, my, I've been that excited about the misdeeds of
that rascal Shamus O'Brien that I had forgotten the Christmas
entertainment entirely.
MRS. O'TOOLE. Sure, your family looks as though they were going out in
society, Mollie Mulligan.
MRS. MULLIGAN. They are that. They're on their way to the fine church
entertainment at the Sunday School down the strate.
NORA (_at door L._). Maw, here comes Matsy with the goat. (_Looks out
of door._)
MRS. MULLIGAN (_goes to door and speaks off L._). Matsy Mulligan, tie
that goat in the back yard and tie all his four fate together. I'll
tach him a lesson, if it's the last thing I ever do. Patsy, go out and
help your brother tie up Shamus O'Brien. (_Exit_ PATSY _at L._)
MRS. O'TOOLE. Nora Eudora, darlin', have ye got a sofy pillow handy. I
think if I had a couple of sofy pillows I could set down and enjoy me
tay.
NORA. Yis, mum. Here's two of 'em. (_Arranges them in the chair._)
_Enter_ PATSY _and_ MATSY _from L._
MATSY. Come on, all of yeez, or we'll be late for the show. And I
don't want to miss nothin'.
MRS. MULLIGAN (_standing at R._). I think yeez are all ready now. Let
me see if there's anyone missing. (_Counting and pointing to each in
turn._)
There's Patsy and Matsy and Teddy Magee,
Nora Eudora and Micky Machree,
Bridget Honora and sweet Mary Ann,
Melissa, Clarissa and wee Peter Pan.
PATSY. We are all here, maw.
MRS. MULLIGAN. Now, yer all ready. Throw out yer heads. Forward,
march!
CHILDREN. Good-bye, maw.
MRS. MULLIGAN. Good-bye, and the Lord love yeez all. Have a good time.
Good-bye. (_The children march out at L._)
MRS. O'TOOLE. Ten of 'em. I don't see how ye ever manage to make both
ends meet, Mollie Mulligan, with ten big, healthy children--to say
nothing of the goat, Shamus O'Brien.
MRS. MULLIGAN (_in door waving hand to children_). Good-bye. Have a
good time. (_Yells._) Mary Ann, don't let yer sash bust in two!
(_Crosses to R. and sinks in chair._)
MRS. O'TOOLE. Ye have a fine family, Mrs. Mulligan. Ye have a fine
bunch of boys, and ye have a bunch of girls, and ye have a fine bunch
of babies; but ye have an awful goat.
MRS. MULLIGAN. Shamus O'Brien is the pest of me heart, Kathleen
O'Toole; so he is; but he's all that's left of me late husband's
property. Michael Mulligan thought the world of that goat, he did.
MRS. O'TOOLE. I'm a peaceful woman, Mollie Mulligan, and a calm,
neighborly woman; but I don't like goats.
MRS. MULLIGAN. I don't blame ye at all, at all, Kathleen. But poor
Shamus O'Brien was probably only nosing around fer a bit of Christmas
Eve dinner. I'll kape him tied in the future.
MRS. O'TOOLE. Sure and it is Christmas Eve, isn't it?
MRS. MULLIGAN. Indade it is, and for the sake of the holy eve, I think
ye'd best be after forgiving the poor goat and not harbor any ill
feeling agin him on Christmas Day.
MRS. O'TOOLE. Harbor ill feeling, is it? Faith, then I'll not, Mollie
Mulligan, and it's meself that'll be bringing over a big cabbage head
on the morning for Shamus O'Brien's Christmas dinner.
MRS. MULLIGAN (_rises_). I'll be after tidying up the house a bit.
It's little enough I've got for the children's Christmas tomorrow
morning; but at least I can have me house in order and a burning
candle shining in the windy. (_Lights candle and sets it on table in
front of the window._)
This light shall burn on Christmas Day,
For Him who in the manger lay,
And all are welcome at my door,
The high, the low, the rich, the poor,
And every heart shall sing again
Of peace on earth, good will to men.
MRS. O'TOOLE (_rises_). Your burning candle takes me back again to the
days of me childhood in County Clare. Well do I mind me last Christmas
Eve in ould Ireland, the little thatched cabin with its one window,
the stinging smoke of the peat fire, the lads and the colleens and the
ould piper--and the merry dances and songs, do ye remember, Mollie,
darling? (_Puts arms on hips, wags head from side to side and sings
briskly_:)
[Music illustration:
1. Did you ev-er go in-to an I-rish-man's shanty,
Where mon-ey was scarce but where wel-come was plen-ty?
A three-leg-ged stool and a ta-ble to match it,
But the door of the shan-ty is al-ways un-latched.
2. Our nate lit-tle house, it looks out on the street,
There's two beau-ti-ful rooms and a pig-sty com-plete.
Each girl has a dress and each boy has a coat,
There's tin hap-py chil-dren, six pigs and a goat.
3. Sure the Mul-li-gans al-ways are hap-py and bright,
They sing in the morn-ing, they sing in the night,
Now Pat-sy and Mat-sy are strong as can be,
But the bil-ly-goat's strong-er than ath-er, you see!
Tee-oo-dle, dum-doo-dle, dum-doo-dle, dum day!
Tee-oo-dle, dum-doo-dle, dum-doo-dle, dum day!
Tee-oo-dle, dum-doo-dle, dum-doo-dle, dum day!
Tee-oo-dle, dum-doo-dle, dum-doo-dle, dum day!]
MRS. O'TOOLE (_sings briskly_):
Did you ever go into an Irishman's shanty,
Where money was scarce but where welcome was plenty?
A three-legged stool and a table to match it,
But the door of the shanty is always unlatched.
Tee-oodle, dum-doodle, dum-doodle, dum day!
(_Repeat until end._)
MRS. MULLIGAN (_faces her, assumes same position, sings briskly_):
Our nate little house, it looks out on the street,
There's two beautiful rooms and a pig-sty complete.
Each girl has a dress and each boy has a coat,
There's tin happy children, six pigs and a goat.
Tee-oodle, dum-doodle, dum-doodle, dum day!
(_Repeat until end._)
MRS. O'TOOLE (_sings_):
Sure the Mulligans always are happy and bright,
They sing in the morning, they sing in the night,
Now Patsy and Matsy are strong as can be,
But the billy-goat's stronger than ather, you see!
Tee-oodle, dum-doodle, dum-doodle, dum day!
(_Repeat until end._)
MRS. O'TOOLE _hums the song faster and begins to jig, by kicking out
R. and L. foot alternately, on first three lines and twirling on
fourth line._
_At the beginning of the "Tee-oodle,"_ MRS. MULLIGAN _starts in and
does exactly as_ MRS. O'TOOLE _did on the first four lines, while_
MRS. O'TOOLE _skips around stage in a circle._
_On the second verse they march forward and back, arms on hips.
Forward again. Do-si-do (backs to back). March forward and back and
then each twirls alone._ MRS. O'TOOLE _knocks over the table._ MRS.
MULLIGAN, _not to be outdone, knocks over the tub. The music becomes
faster and faster._
_On third verse they jig alone, then forward and back, forward again
and swing each other madly. While they are dancing they shout out
occasionally, "Huroo for ould Ireland!" "That's me fine lady!" "Look
at me now!" etc._
CURTAIN.