Transcriber’s Notes:
Underscores “_” before and after a word or phrase indicate _italics_
in the original text.
Small capitals have been converted to SOLID capitals.
Illustrations have been moved so they do not break up paragraphs.
Typographical and punctuation errors have been silently corrected.
• ST. NICHOLAS •
BOOK OF PLAYS
• & OPERETTAS •
SECOND SERIES
[Illustration]
THE CENTURY CO.
NEW YORK LONDON
Copyright, 1916, by
THE CENTURY CO.
_Published September, 1916_
PRINTED IN U. S. A.
CONTENTS
PAGE
THE DREAM-TOY SHOP 3
By Jessie M. Baker.
CHRISTMAS BABES IN THE WOODS 10
By Corinne Rockwell Swain.
WHICH SHALL BE KING? 29
By Anna van Marter Jones.
THE CHRISTMAS CONSPIRACY 44
By Elizabeth Woodbridge.
HOW CHRISTMAS WAS SAVED 67
By Catharine Markham.
THE FIRST THANKSGIVING DAY 89
By Agnes Miller.
EVERYCHILD 101
By Content S. Nichols.
“EVERYGIRL” 111
By Rachel Lyman Field.
THE EGYPTIAN CAT 122
By Irene Woodbridge Clark.
THE SLEEPING BEAUTY 147
By Caroline Verhoeff.
LORD MALAPERT OF MOONSHINE CASTLE 164
By E. S. Brooks.
LITTLE FOLK IN GREEN 188
By Elizabeth Woodbridge.
A FRIEND IN NEED 207
By Maude Morrison Frank.
THE NEW RED RIDING-HOOD 224
By E. S. Brooks.
THE BABES IN THE WOOD 240
By Laura E. Richards.
CHARACTERS
LITTLE MAIDEN. TWO DOLLS.
SANTA CLAUS’ FAIRY. THE KITTY.
JACK-IN-THE-BOX. THE BUNNY.
TWO SOLDIER-BOYS. THE TEDDY-BEAR.
THE ST. NICHOLAS BOOK OF PLAYS AND OPERETTAS
THE DREAM-TOY SHOP
(_A Christmas Playlet for Little Girls and Boys_)
BY JESSIE M. BAKER
SCENE I
LITTLE MAIDEN’S ROOM ON CHRISTMAS EVE
[_In the bed at center the_ MAIDEN _lies asleep in her
little frilled night cap and gown. Her stocking is
hung on the bedpost. At the left on a small table a
tiny candle burns._
_At the right is a large arm-chair with a picture-book
and doll lying upon it._
_Enter the Christmas_ FAIRY _at right. She wears a
loose, white frock with crêpe paper wings and a
wreath of holly, and carries a little silver,
star-tipped wand._]
FAIRY.
Oh, I am Santa Claus’ Fairy!
I’m the Dreams-of-Christmas Fairy!
Where a little child lies sleeping
[_Tiptoes to bedside._]
I come softly, softly creeping
And I weave my magic, so!
[_Waves wand gently above little_ MAIDEN.]
Dream-dust, dream-dust on her eyes
Make this maiden sweet to rise,—
Through the gates of Dreamland go!
With my fairy spell to wake you
[MAIDEN _rises dreamily and is led slowly
toward the exit at left by the_ FAIRY.]
To the Dream-toy Shop I’ll take you,
Where the Dream-toys dance and play
On the eve of Christmas day!
[CURTAIN]
SCENE II
THE DREAM-TOY SHOP
[_On the counter at background are a number of large
toys, among them two little girls—one fair-haired,
one dark—dressed as_ DOLLS.
_At the left of the counter stand two_
SOLDIER-BOYS _with drums, paper caps,
and epaulets_.
_At the right is a large, square, red box._
_On the floor in front of the counter sits the
black_ KITTY. _He wears black tights,
a little black jacket from beneath which his long
tail curls, and a little black cap with pointed
ears._
_At right foreground sits the_ BUNNY.
_He is dressed in a white sleeping garment which
covers hands and feet, and a little flannelette
cap with long, upstanding ears which are wired and
colored pink on the inside._
_At left foreground on a little stool sits the_
TEDDY-BEAR _in furry coat and cap with
little ears of cotton wool_.
FAIRY _and_ MAIDEN _pause at right entrance._]
FAIRY.
Here within the Dreamland gate,
All the lovely Dream-toys wait.
Choose, and they shall come alive
Until the Dream-toy clock strikes five.
[_Leads little_ MAIDEN _into shop._]
MAIDEN.
Oh, what lovely, lovely toys!
I shall choose—the Soldier-boys!
FAIRY. [_Softly touching them with wand._]
Forward march, then, Soldier-boys,
But _please_ don’t make too much noise.
[Illustration]
[_Soldiers begin to march and drum stiffly at first
and softly, but soon faster and noisily._]
MAIDEN. [_Putting fingers in ears._]
Soldiers do make lots of noise!
Girls are quieter than boys.
Let the Dollies come alive.
[FAIRY _touches them with wand. They get stiffly
off counter._]
MAIDEN.
Oh, I don’t know which to choose!
This one has such pretty shoes!
This one has such curly hair—
This one is so sweet and fair!
[_The_ DOLLS _dance a minuet, the little_ MAIDEN
_clapping delightedly, the_ SOLDIERS _applauding
with drums. Little_ MAIDEN _spies the_ BUNNY,
_runs over to him, and pats him gently. The_
FAIRY _touches him with her wand and he hops back
and forth—while_ SOLDIERS, DOLLS _and_ MAIDEN
_applaud_.]
MAIDEN.
Oh, you darling, darling Bunny!
And aren’t your pinky, long ears funny?
But the Kitty, sleek and black,
Is even funnier than that!
[_The_ FAIRY _touches him with her wand. He begins to
turn about, displays his curly tail, and spits
at the little_ MAIDEN _when she slyly pulls it.
Little_ MAIDEN _strokes his back, and he sings a
meow solo to the tune of “Auld Lang Syne.” All
applaud._]
MAIDEN. [_Turning to_ TEDDY-BEAR.]
Why, here’s a little Teddy-bear!
I hardly saw you hiding there.
[FAIRY _touches him with wand. He stands up,
stretches himself, then sits on his little stool
and sings_:]
Oh, I’m the Baby Teddy-bear,
Oh, I’m the Baby Teddy-bear,
Oh, I’m the Baby Teddy-bear,
The littlest Bear in the Family!
[_All the_ TOYS _gather about as he sings. The little_
MAIDEN _takes him on her lap and begins to croon
in a motherly fashion. Suddenly a noise comes from
the direction of the red box._ MAIDEN, _rising and
taking_ TEDDY-BEAR _by the hand, begins to look
excitedly about_.]
MAIDEN.
But aren’t there any other toys?
I thought I heard a funny noise!
[_Again the noise is heard._ MAIDEN _runs over and
touches lid of box. It pops open, showing a funny_
JACK-IN-THE-BOX _holding a bag of candy under his arm_.]
[JACK-IN-THE-BOX _sings_.]
Oh, my name is Jack of the Candy-box.
In a Candy-box I live.
Just touch the cover and up it pops
And a kiss to you I’ll give!
To each little boy and each little girl,
Each child who passes by,
A candy kiss or a candy curl—
Candy-box Jack am I.
[_As he sings, all the toys form in a line behind the
little_ MAIDEN, _and as they pass_ CANDY-BOX JACK,
_he gives them each some candy from his bag_. TOYS
_return to places and little_ MAIDEN _stands at
center_.]
MAIDEN.
[_Stretching arms toward_ CANDY-BOX JACK.]
All the Toys are as fine as can be,
But Jack-in-the-Candy-box for me!
[Illustration]
[JACK _jumps out of the Candy-box and places his hands
on the shoulders of the little_ MAIDEN.]
[_All dance the Norwegian Folkdance “Up to the Moon in
a Rainbow,” using these words._]
[_All sing._]
Guess, guess, where I would like to be,
Like to be, like to be.
Up on the top of the Christmas tree,
Up on the Christmas tree!
Yes, yes, that would be
Great, great fun for me.
Yes, that would be great fun for me,
To be up on the Christmas tree!
[_As they finish there is the sound of a clock striking
five._ CANDY-BOX JACK _and all the_ TOYS _go back
to their former places and remain motionless_.
FAIRY _softly leads_ MAIDEN _out_. JACK _pops his
head out and throws a candy kiss after her. She
runs back to get it and waves good-by._]
[CURTAIN]
[Illustration]
CHRISTMAS BABES IN THE WOODS
BY CORINNE ROCKWELL SWAIN
CHARACTERS
DICK, a boy of nine or ten.
BETTY, his sister, a little younger.
QUEEN OF THE SNOW FAIRIES.
PEARL }
} Maids of Honor to the Queen.
CRYSTAL }
JACK FROST.
SANTA CLAUS.
SNOW FAIRIES AND HOLLY ELVES.
COSTUMES
BETTY and DICK may wear modern outdoor dress, with
bright caps and sweaters; or, if preferred,
something more old-fashioned and picturesque, such
as “Greenaway” or “Cranford” costume.
The QUEEN and her FAIRIES are in white, with silver
tinsel and crystal ornaments, and carry wands
with silver stars. They may wear either trailing
draperies, or short “Pierrette” dresses, with
silver ruffs, rosettes, and little pointed caps.
JACK FROST; “Pierrot” costume of white or pale blue,
with silver cap and ornaments.
The HOLLY ELVES; “Pierrot” or “Yama-Yama” suits
of green, with caps, ruffs, buttons and
slipper-rosettes of scarlet. They carry branches of
holly.
SCENE
The woods in winter. If scenery is not available, a
generous supply of white sheets and cotton batting
will make an effective setting, with a few small
evergreens, and bare boughs. A large Christmas tree
should be utilized as part of the scene; place it
to right of center, and trim lightly with silver
tinsel, “snow,” and glass icicles. Near the tree, a
couch or seat should be built up and covered with
white, to represent a little mound; upon this the
Queen sits, and later, the children recline. The
time is about sunset; a red light, if available,
will be effective early in the scene, while
toward the end it grows darker. A curtain is not
absolutely necessary, although of course more “like
a play.”
MUSIC
The airs mentioned may all be found in “Folk Songs and
Other Songs for Children”; Oliver Ditson Company.
[_The_ QUEEN _and_ FAIRIES _enter, dancing, to the air
of “Come, Lasses and Lads.” The_ HOLLY ELVES _dance
in from opposite side, and, with the_ FAIRIES,
_form a circle about the_ QUEEN, _singing_:]
Come fairies and elves, bestirring yourselves,
Take hands in a joyous ring!
With step so light, in our woodland white,
We’ll merrily dance and sing.
No sorrow or care we know;
Through forest and field we go—
Then trip it, trip it, trip it, trip it,
Over the sparkling snow;
Then trip it, trip it, trip it, trip it,
Over the sparkling snow!
[_The_ QUEEN _seats herself upon the mound as a throne,
while the rest group themselves about her_. CRYSTAL,
PEARL, _and several others step to left, looking off
intently, as though something attracted their notice_.]
QUEEN.
What see you, loyal subjects? Speak, I pray!
CRYSTAL. [_Returning and bowing before the_ QUEEN.]
Your Majesty, two mortals come this way!
PEARL.
Two children, trudging hither through the snow,
Toward our band, with lagging steps and slow.
QUEEN.
Two children? Coming here? ’Tis passing strange!
Few mortals through our lonely woodland range.
[_Rises._]
Away, my band! We’ll hide, until we see
Who these unwonted visitors may be!
[_They all hide, behind tree, in wings, etc. Enter,
from left_, BETTY _and_ DICK, _dragging evergreen
boughs. They move wearily, and pause near center,
to look about them._]
BETTY.
O, Dicky dear, when _are_ we going back?
It must be time to take the homeward track!
The snow’s too deep—the holly grows so high;
And I’m so tired—I almost want to cry!
Which is the path?
DICK. [_Looking about doubtfully._]
I guess it’s this one—no,
It’s that—they all look puzzling, in the snow!
BETTY. [_Dismayed._]
Dick, aren’t you sure? I thought you _always_ knew!
Oh, if we’re lost, whatever shall we do?
DICK. [_With boyish impatience._]
Now, little goosie, don’t you dare to cry!
Wait here—I’m sure to find it, if I try.
[_Walks about, searching._]
It’s somewhere near; I’ll find it in a hurry! [_Aside._]
I mustn’t let poor little Betty worry!
[BETTY _standing facing R., wiping her eyes, but
evidently trying to be brave. The_ QUEEN _peeps at
her from behind the Christmas tree, and she gives a
startled cry._]
BETTY.
Oh, Dicky, come!
DICK. [_Running to her._]
What for?
BETTY. [_Pouting._]
Behind that tree—
I’m sure I saw somebody wave at me!
DICK. [_Scornfully._]
A puff of wind, that blew the snow about,
Or maybe just a rabbit, jumping out!
BETTY.
I thought perhaps—it made me feel so queer—
’Twas some good fairy, come to help us here!
DICK. [_With superior wisdom._]
That’s silly! Don’t you know, you can’t depend
On fairies, ’cause they’re only just “pretend”?
BETTY. [_With conviction._]
_I_ b’lieve they’re real! [_Wearily._]
Oh, Dicky, can’t we sit
Upon this mound, and rest ourselves a bit? [_Sits down._]
DICK. [_He sits beside her, and she leans
her head against him._]
Only a moment; for we’ll need the light
To find our path; you see, it’s almost night.
BETTY. [_Drowsily._]
I wish that fairy’d come—the path to show—
DICK. [_Sleepy, but positive._]
Fairies are only—make-believe—you know—
[Illustration]
[_They nod and finally doze, sinking into a reclining
position upon the mound. The_ FAIRIES _and_ ELVES
_steal out cautiously, to soft music, and survey
the children with curiosity. Then, coming closer,
they surround the sleepers and sing; air, “Der
Rothe Sarafan.”_]
Softly, softly, snow sprites!
Steal softly, till we see
Who these wandering strangers are
That rest beneath our tree.
Gently, comrades, gently—
Now closer let us creep!
Silently they lie there—
[_Repeat last four lines._]
Sunset light is gleaming,
Night is drawing near;
Still they linger, dreaming,
In this forest drear!
Sunset light is gleaming,
Night is drawing near!
Stranger sight was never seen;
Two drowsy heads laid low,
Under bows of evergreen,
To slumber in the snow!
Softly, softly, snow sprites—
Steal softly till we see
Whose these mortal strangers are
That rest beneath our tree!
QUEEN. [_Bending over them anxiously._]
They’re fast asleep! Now, this will never do!
If what our wisest fairies say be true:
When mortals sleep too soundly in the snow,
The dreamland elves will never let them go.
CRYSTAL. [_Touches_ BETTY’S _cheek,
then draws her hand away hastily_.]
So soft and warm a thing I never felt!
I thought my finger-tips would surely melt!
QUEEN.
Too light our touch to make them ope their eyes;
But here’s Jack Frost! He’ll give us counsel wise.
JACK FROST. [_Entering briskly, and bowing
to_ QUEEN.]
Good evening, Sister Snow! Well, what’s the news?
QUEEN.
Dear Jack, I need advice—now don’t refuse!
Little account of mortal ways I keep;
But _is_ this just the way they ought to sleep?
[_Points to children._]
JACK.
Indeed it’s not! I’ll rouse the sleepy-heads,
And send them scurrying home to seek their beds!
QUEEN.
But you’ll not hurt them, Jacky dear?
JACK. Not I!
To wake them with my gentlest nips I’ll try.
[_Sings, as he circles around the children,
touching them lightly: Air, “Skye Boat Song.”_]
Children awake, I merrily sing!
Slumber away must fly;
Chill is my touch, and sharp is my sting—
Jolly Jack Frost am I!
Nips for your nose—tweaks for your toes,
Shivers you can’t mistake!
Rude I must seem, spoiling your dream;
Better by far to wake!
ALL.
Children awake, we merrily sing!
Slumber away must fly;
Fingers and toes he’ll warningly sting—
Jolly Jack Frost is nigh!
JACK.
Here while you sleep, vigil I’ll keep.
Lift up your drowsy heads!
Fading the day, hasten away
Home to your cozy beds!
ALL.
Children awake, we merrily sing!
Slumber away must fly;
Fingers and toes he’ll warningly sting—
Jolly Jack Frost is nigh!
[_The children begin to stir_; BETTY
_rubs her nose uneasily_.]
BETTY.
Ow! Dick, don’t pinch my nose!
DICK. I didn’t, true!
But some one nipped my ear—now was it you?
[_In awed whisper, as he looks about and sees_
FAIRIES.]
Oh, Betty, look! I say—who can they be?
BETTY.
They’re surely fairies, Dicky! Only see
That prettiest one—she must be queen, I guess!
[_Timidly, to_ QUEEN.]
Are you a fairy queen?
QUEEN. [_Graciously._] Dear children, yes;
These are my subjects [_Fairies curtsey_];
These the holly sprites;
And this Jack Frost—in teasing he delights!
[JACK _and_ ELVES _bow_.]
BETTY. [_With a little shiver._]
Mr. Jack Frost, we’ve often heard of _you_!
DICK.
You’re sharp—but still, we fellows like you, too,
When ice you give us, good and thick, for skating!
JACK. [_Laughing and bowing._]
I’m glad of that!
QUEEN. But tell us, dears—we’re waiting—
Why have you strayed amid these lonely scenes?
DICK. [_Shyly._]
Your Majesty, we came for Christmas greens,
But this is all we found [_holds up branch_].
BETTY. [_Plaintively._]
And holly—why,
We couldn’t reach a bit, it grew so high!
QUEEN.
Come, holly elves, and let them take their fill
Of your bright berries!
ELVES. [_Crowding about and offering branches._]
Yes, indeed we will!
BETTY and DICK. [_Taking some._]
Oh, thank you! Thank you!
DICK. But we mustn’t stay—
That is if we can only find our way;
I thought I knew; but snow makes such a change
In paths and trees, that everything looks strange!
BETTY. [_Sadly._]
And mother warned us not to stay too late!
It must be supper time—how _can_ I wait?
DICK.
Me too! I’m _starved_!
QUEEN. Poor dears!
[_To_ PEARL _and_ CRYSTAL.]
Quick, bring the best
Your skill commands, to please each hungry guest!
PEARL.
Some starry flakes, with diamond sauce?
CRYSTAL. I’ll make
A puffy snowball pudding—
PEARL. Frosted cake;
Two rainbow sundaes—
QUEEN. Perfect! Hurry, please!
[_Exeunt_ CRYSTAL _and_ PEARL.]
You’ve never dined on dainties such as these!
DICK. [_To_ BETTY.]
How good it sounds! Just think—real fairy food!
BETTY. [_With sisterly authority._]
Now mind your table manners—don’t be rude!
[PEARL _and_ CRYSTAL _return with dishes heaped with
snow dainties, which they offer to the children.
They taste eagerly, then look at each other in keen
disappointment._]
BETTY. [_Ready to cry._]
Why all the things are made of snow—and ice!
I thought a fairy feast would be so nice!
DICK. [_Summoning his politeness._]
Your Majesty, we thank you; but we find
Your food is such a very different kind
That I’m afraid we can’t—
QUEEN. [_Perplexed._] Now, that’s a pity!
JACK. [_Offering icicles._]
Fresh icicles? Just see, how crisp and pretty!
A HOLLY ELF. [_Holding out branch._]
Some berries red? The birdies think they’re fine!
[_The children shake their heads._]
QUEEN. [_Sadly._]
Our hungry guests find naught on which to dine!
DICK, BETTY, and CHORUS. [_Singing mournfully._]
Oh, dear, what can the matter be?
Oh, dear, what can the matter be?
Oh, dear, what can the matter be?
Can’t we find something to eat?
We hadn’t a doubt that such delicate dishes
Would prove most attractive, and truly delicious!
Alas, {we } discovered how vain were {our } wishes,
{they} {their}
Although {we } expected a treat!
{they}
Oh, dear, what can the matter be? etc.
BETTY.
It’s getting darker—what will Mother say?
She’ll worry so! Home seems _so_ far away!
DICK. [_Frankly discouraged._]
I don’t know where to go, nor what to do! [_Distant sleigh-bells._]
Hark! Hear the sleigh-bells! Now, I wonder who—
[_Springs up hopefully._]
QUEEN, FAIRIES and ELVES. [_Joyfully._]
It’s Santa! Santa Claus!
BETTY. [_Excitedly, to_ DICK.]
Oh, do you hear?
Perhaps we’ll see him, if he passes near!
JACK.
Of course you will! To-morrow’s Christmas Day;
On Christmas Eve he always comes this way,
For through this quiet wood he likes to ride,
To reach the villages on either side.
QUEEN.
Pray run and call him, Jack! He’ll surely know
These little folk, and tell them where to go.
[JACK _and_ ELVES _run off, Left. Shouts and a loud
“Whoa!” are heard outside, and then_ SANTA, _enters,
with a triumphant escort, and comes to front_.]
SANTA. [_Bowing to_ QUEEN, _while the
children peep out from behind her, in great excitement_.]
Greetings, Your Majesty! I understand
You called me; so I’ve come at your command!
[_Sees children._]
Two mortal children! Who are these, fair Queen?
Astray, on Christmas Eve? What can it mean?
QUEEN. [_Coaxingly._]
That’s just the reason why we sent for you;
So please advise us what we ought to do!
You see, these little ones have strayed so far,
They’ve lost their way, and don’t know where they are.
SANTA. [_Looks at them intently, walks around them,
and finally consults a pocket memorandum book._]
You’re Dick and Betty Martin? [_They nod shyly._]
Yes, that’s right:
They’re miles away from home—a pretty plight!
Good youngsters, too; I’ve got ’em on my list;
And just to think, my call they might have missed!
Suppose I let you have your presents now—
[_To children._]
QUEEN. [_Interrupting._]
But, Santa dear, that doesn’t fix it! How
Can they get home to-night?
JACK. For, don’t you see,
It’s late, and they’re as weary as can be?
CRYSTAL.
Their mother’s getting anxious too, they say—
QUEEN. [_With decision._]
You’ll simply _have_ to take them in your sleigh!
[_The children clutch one another in wonder and
suspense, while the others nod their heads at_
SANTA, _with determination_.]
SANTA. [_Starts with surprise, then strokes his
beard thoughtfully._]
I wish I might! But if the truth be told,
My sleigh is just as full as it will hold,
Of gifts for all the folk for miles around:
To duty false I’ve never yet been found.
And yet—[_looking at children_]
to leave them in this lonely wood—
I’d love to take them—
BETTY. [_Shyly taking his hand and looking up
at him adoringly._]
If you only could!
SANTA. [_Stroking her hair._]
You little pet!
DICK. [_Taking the other hand._]
Or, if you didn’t mind,
We might be able just to hitch behind!
SANTA. [_Patting his shoulder._]
A plucky chap! [_Considering._] I wonder if I can—
JACK. [_Who has been talking aside with the_ QUEEN.]
Just listen, Santa! We’ve the finest plan!
You’ve gifts for many in the village near?
SANTA. An overflowing bag; and so, I fear—
QUEEN.
Here’s our solution: Leave the bag with me,
And, elves and fairies all, we’ll gladly see
That every gift’s bestowed, this very night.
We’ll be your aids, and work with all our might.
JACK.
Each home we’ll find, nor miss a single one!
ALL. [_Taking hands and dancing about_ SANTA.]
Indeed we will! We promise! Oh, what fun!
QUEEN.
What say you, Santa?
SANTA. Many thanks, my dears!
I’ll take the youngsters home, and end their fears.
[_Warningly, to_ DICK _and_ BETTY.]
But promise none shall know how this befell,
Except your mother! Don’t you ever tell
Another soul!
DICK _and_ BETTY. We won’t! Oh, what a lark!
SANTA.
We must be starting soon; it’s growing dark:
I’ve lingered now for many a precious minute!
Come, Jack, let’s get the bag. [_Chuckling._]
“There’s millions in it!”
[_They drag in a large bag, from Left._]
Well, here it is; each gift’s addressed with care,
And here’s my list; you’ll find none missing there.
[_Hands roll of paper to_ QUEEN.]
QUEEN.
We’ll do our very best!
SANTA. You’ll find it fun;
I’m always sorry when the task is done!
[SANTA CLAUS _sings, all joining in chorus:
Air, “Funiculi, Funicula.”_]
SANTA.
Some love to see the children bright and jolly,
And so do I!
CHORUS.
And so do I!
SANTA.
When homes are gay with Christmas greens and holly,
Content is nigh.
CHORUS.
Content is nigh!
SANTA.
I love the sound of sweet and happy voices,
In carols gay.
CHORUS.
In carols gay.
SANTA.
Away with care, while every one rejoices
On Christmas Day!
CHORUS.
On Christmas Day!
[_Marching or dancing around_ SANTA CLAUS,
_clapping hands in time_.]
Santa! Santa! Hail to Santa Claus!
Santa! Santa! Hail to Santa Claus!
Here’s glad applause
For Santa Claus!
Our hearts he draws
To him because—
Just because he’s Santa Claus, our dear old Santa Claus!
SANTA.
Some say each child should have a Christmas stocking,
And so do I!
CHORUS.
And so do I!
SANTA.
While others seem to find the notion shocking,
And frown and sigh.
CHORUS.
And frown and sigh.
SANTA.
But I—I love to hear my sleigh-bells ringing
Good will to all!
CHORUS.
Good will to all!
SANTA.
To spend my time in joy and laughter bringing
To great and small!
CHORUS.
To great and small!
[_Clapping hands as before._]
Santa! Santa! Hail to Santa Claus!
[_Etc._]
SANTA. [_Briskly._]
Come, children—in my sleigh we’ll take our flight!
[_Bowing to all._]
Now, merry Christmas—and to all good night!
ALL.
Good night!
[SANTA _and the children go off L. and the sleigh-bells
jingle away into the distance_.]
QUEEN. Quick! Let’s to work, my subjects dear!
And share the joy of spreading Christmas cheer!
[_The gifts are taken from the bag by the_ QUEEN _and_
JACK FROST, _and distributed among the audience
by_ FAIRIES _and_ ELVES. _If this ending is not
desired, the “Hail to Santa Claus” chorus may be
repeated after_ SANTA’S _exit, to the accompaniment
of his bells, and the play closed in this manner_.]
[Illustration]
WHICH SHALL BE KING?
(_A Christmas Play in One Act_)
BY ANNA VAN MARTER JONES
SCENE
Any stage or platform large enough to hold all the
actors for final chorus and dance—with wings
screened from view where players may sit when not
on the stage. No curtain required, the only “stage
setting” being a large chair at back of stage and
twelve (or six) small chairs placed about the stage
leaving center free.
CHARACTERS OF THE PLAY
FATHER TIME, a tall boy in gown, with white
hair and beard; carries a scythe and an hour-glass.
HERALD, boy in page’s suit.
JURY, twelve or six boys and girls in school
clothes, having dolls, teddy-bears, books or
toys—as if meeting for play.
MASTER JANUARY, boy—suit of white—leggings,
trousers, sweater, and stocking cap—trimmed with
white cotton; carries a large, white-covered book
on which _Resolutions_ is printed in bold
relief.
LITTLE NEW YEAR, tiny child, also in white,
carrying sleigh-bells; one who can sing.
MISS FEBRUARY, girl—blue cap, white blouse,
red skirt, the last trimmed with silver hearts and
birds; carries a small flag and a large valentine.
BLUSTER MARCH, boy—wearing overcoat, mittens,
“pull-down” cap and tippet; carries a huge kite, a
large top, and a bag of marbles.
FOUR WINDS,[1] four smaller lads, who can
sing; costumes: gray gowns with large kimono-like
sleeves covering hands; and pointed hoods of same
material.
BABY APRIL, small girl—dress, lavender; a
“red ridinghood” cape of pale green; carries some
tiny white flowers.
THE PRINCESS MAY, tall girl—in pink gown,
with wreath of green vines and pink flowers;
carries wild flowers.
MAY’S ATTENDANTS,[2] six or twelve smaller
boys and girls—in white costumes, who dance about
her or do a simple Maypole dance.
SUMMER-HEARTED JUNE, girl, in white with
wreath of roses; carries large bunch of roses.
JOLLY JULY, boy, in Uncle Sam suit; carries
bunch of sky-rockets and toy pistol.
MISS LEISURE AUGUST, girl, in outing
costume—large hat, etc.; carries tennis racquet,
fishing rods, and golf sticks.
SCHOOL-DAY SEPTEMBER, boy, in school suit,
laden with huge strap full of school books.
GOLDEN OCTOBER, girl, in light brown dress
trimmed with autumn leaves; carries basket of red
apples.
LITTLE LEAVES,[3] six tiny girls in red and
yellow dresses.
HARVEST NOVEMBER, boy, in cook’s cap and
apron; carrying, on a tray, a turkey.
ASSISTANT COOKS, four boys similarly
dressed, each bearing on his tray a portion of
the Thanksgiving dinner described in his lines.
DEAR DECEMBER, a large boy, dressed as Santa
Claus and carrying a small Christmas tree.
MUSIC throughout the play may be produced by a
pianist, an orchestra, or a chorus of children. Any
suitable selections may be substituted for those
here suggested. The play moves on well with only
piano interludes.
[1] May be left out of cast without interfering with action.
[2] May be left out of cast without interfering with action.
[3] May be left out of cast without interfering with action.
THE PLAY
[_Enter, left wing, six or a dozen school children,
talking, laughing, hurrying in. They discover_
FATHER TIME _standing at right front of stage,
leaning on his scythe, and looking much disturbed_.]
CHILDREN. [_Cheerily._] Good evening, Father Time.
FATHER TIME. [_Very sadly._] Good evening, little
folks.
BOY. [_Aside._] The old man looks terribly blue
to-night, doesn’t he?
GIRL. Sh! Don’t let him hear you say that—Poor
old Father Time!
FATHER TIME. You may well say “Poor old Father
Time.”
CHILDREN. [_Together._] Why, have you had bad
luck, Father Time?
FIRST GIRL. Are you ill?
SECOND GIRL. Can’t we help you?
FATHER TIME. [_Shakes his head several times most
sorrowfully, then steps forward as if suddenly struck
with a fine idea._] Perhaps you can help me,—yes, I
do believe you children are the very ones who can.
CHILDREN. [_Eagerly._] Oh, tell us how!
[_They gather near him._]
FATHER TIME. Well, my dears, a sad state of affairs
exists in my family. I’m ashamed to tell you—but
my twelve children have been quarreling.
CHILDREN. Children quarreling! How shocking!
FATHER TIME. True, true, my friends. And the
worst of it is that they declare they will never leave
off wrangling until one of them has proven his right
to be king. But if one of the twelve can make good
his claim to sovereignty, the rest are ready to crown
him and will become his loyal subjects—so they say.
BOY. Well, Father Time, why don’t you decide
which is your best child, and appoint him king, and
so settle the whole matter?
FATHER TIME. Oh, a father cannot select his best
child. All the children in a family must be equal in
their parents’ eyes, you understand. But [_tapping
his forehead_] I think I see how this unfortunate dispute
can be ended. I’ll go talk to those months of
mine—I’ll ask them to submit to a trial by jury—and
if they will do that—
CHILDREN. [_With great glee._] We may be the
jury? Oh, goody!
FATHER TIME. Perhaps—maybe—But wait you
here—I’ll bring you their decision. [_Goes out
right wing._]
[_The_ CHILDREN _form ring and play
drop the handkerchief, but rush at_ FATHER
TIME _pell-mell when he returns_.]
CHILDREN. May we decide? Are we the judges,
Father Time?
FATHER TIME. Softly, softly—judges must be
grave and sober, you know. [CHILDREN _stand very
straight and look most solemn_.] Yes, the twelve
months agree to present their claims to you. They
say you will be fair, for they have heard that children
always speak the truth.
CHILDREN. Quite right—we always do speak the truth.
FATHER TIME. Now take you each a chair [CHILDREN
_obey_] and sit you here. [CHILDREN _seat themselves
in two rows at left front of stage facing toward
center partially_.] Be very careful how you look and
how you listen. Think hard before you give your
judgment—for what you decide will make one child
of mine a sovereign.
[FATHER TIME _seats himself at back of stage_.]
FATHER TIME. [_Calls._] Ho, Herald.
HERALD. [_Entering from left wing._] Yes, your
reverence—I come, your reverence.
FATHER TIME. Go, bid my children be ready in the
anteroom, and when they are assembled bring hither
each in turn.
HERALD. Yes, your reverence; I go, your reverence.
[_Goes out at right wing._]
[_Music and sleigh-bells heard. Short instrumental
selection or sleighing song._]
[_Enter_ HERALD _with_ MASTER JANUARY _and the_ LITTLE
NEW YEAR.]
HERALD. [_To_ JURY.] Honorable judges, this is
Master January.
[JANUARY _bows to_ JURY _and recites_.]
I’m the first month, as you see,
And there is a charm to me,
For all that’s old or bad I hide away;
And I bring this book so white
Where each one of you may write
Resolutions to be good from day to day.
And this little fellow here,
My delightful chum, New Year,
Just think of all the treasures he will bring.
I am sure you’ll vote for me,
For I know you will agree
That you choose me—when you hear him sing.
[LITTLE NEW YEAR _sings, “I am the little
New Year.”_ _Jenks’ Kindergarten Songs._]
JURY. A very good pair and a nice little song—
But we cannot say you—you may pass right along.
[_Exit_ JANUARY _and_ NEW YEAR _to left._]
[_Music_—_A Patriotic Air played or sung._]
[_Enter_ HERALD _and_ MISS FEBRUARY.]
HERALD. Allow me to present Miss February.
MISS FEBRUARY. [_Recites._]
Think well of the heroes you honor and bless.
I bring you their birthdays and so rather guess
That from pride in your country you’ll surely choose me.
For Lincoln and Washington both did you see.
But if to appreciate them you’re too small
Then surely St. Valentine’s day wins you all.
JURY. We love you and we honor you
But for a queen you will not do.
[_Exit_ FEBRUARY.]
[_Enter_ HERALD _and_ BLUSTER MARCH, _followed by the_
FOUR WINDS, _who wave their arms like fans as they
approach._]
HERALD. This is Bluster March.
BLUSTER MARCH. [_Recites._]
Ho, ho, ho! Can’t we blow,
These little winds and I!
We clear the earth for flowers’ birth
And frolic in the sky.
I bring the marbles, tops, and kites
In which the small boy so delights.
And better still, I always bring
The promise of approaching spring.
[WINDS _sing “The Winds.”_
_Modern Music Series, First Book._]
JURY. You are a jolly fellow true,
But not for kings such lads as you.
[_Exit_ MARCH _and the_ WINDS.]
[_Enter_ HERALD _coaxing little_ APRIL _to follow. She
hangs back and seems so shy that_ HERALD _has to
push her gently toward the_ JURY.]
HERALD. This is Baby April.
BABY APRIL. [_Wipes her eyes, and says_:]
I’m ’most too small to go about
Without some grown-up guides.
I can’t help crying—I must pout—
But I can smile besides.
And when my little form is seen
The dreary world awakes all green.
JURY. O, April, you’re too timid quite
To rule the year—trot out of sight.
[_Exit_ APRIL.]
[_Music._ _May song sung or May dance played._]
[_Enter_ HERALD, PRINCESS MAY
_and_ DANCERS.]
HERALD. Honorable judges, allow me to present
the Princess May and her train.
[_All bow. The dancers place the crown on_ MAY’S _head
and form for the dance which immediately follows.
At its close_ MAY _recites._]
Hear the birds a-singing,
See the leaping rill,
How they greet my coming
Over vale and hill.
In my hands are blossoms,
On my face a smile,
And my days of sunshine
Sadness will beguile.
JURY. You surely are a lovely lass—
But not a queen—so you must pass.
[_Exit_ MAY _and train._]
[_Music._]
[_Enter_ HERALD _and_ JUNE.]
HERALD. Honorable judges, Miss Summer-hearted
June.
JUNE. [_Recites._]
Oh, take me for your queen,
For surely ne’er was seen
A fairer, sweeter, dearer month than I.
I bring the balmy weather
When roses crowd together,
And blueness makes the beauty of the sky.
But when my moon so tender
Sheds over all its splendor
It seems that heaven itself is drawing nigh.
JURY. You’re dear and fair and sweet
But not for queenship meet.
[_Exit_ JUNE.]
[_Music. “Yankee Doodle.” Drumming and noise
of fire-crackers._]
[JULY _rushes on to stage unannounced, shoots his
cap pistol and says to_ JURY:]
You know me, boys—and girls, you do,
The month of the year I am sure for you—
With crackers and cannon and squibs and rockets,
And pistols and caps in small boys’ pockets—
With fireworks and music and jolly noise,
I’m the favorite month with girls and boys.
Now am I not, Eh?
JURY. [_With hands over their ears._]
We love you once in a long year
But more than that would tire, we fear.
[_Exit_ JULY.]
[_Music—Waltz or Boat Song._]
[_Enter_ HERALD _and_ AUGUST.]
HERALD. Honorable judges, permit me to introduce
to you Miss Leisure August.
AUGUST. [_Recites._]
Picnics by the lakeside,
Fishing in the bay,
Hammocks on the porches,
Idleness all day.
Golfing on the meadows,
Bathing in the sea,
Surely for a monarch
You’d be glad of me.
JURY. [_With great disapproval._]
Ninety in the shade—
Never you, fair maid!
[_Exit_ AUGUST.]
[_Music. “School Days.”_]
[_Enter_ HERALD _and_ SEPTEMBER.]
HERALD. The Jury knows School-day September.
SEPTEMBER. [_Recites._]
You know me well for I’m the day
When school begins and stops your play;
When packing up your books, you go
Where you must study—
JURY. [_Interrupting._] Oh, oh, oh!
We never could have you for king—
Why, that would be a dreadful thing!
[_Exit_ SEPTEMBER.]
[_Music. “October’s Bright Blue Weather.”
Modern Music Reader, Book II._]
[_Enter_ HERALD _and_ OCTOBER.]
HERALD. Honorable judges, Golden October.
OCTOBER. [_Recites._]
I’m the month of wonderful color—to me
Belongs the beauty of changing tree.
Nuts drop for my friends on the countryside,
And over the landscape far and wide
I spread the loveliest purple haze
To soften the sun on my warmest days.
While over the meadows, growing brown,
The beautiful leaves come fluttering down.
[_Enter little_ LEAVES, _dancing to front of stage where
they sing “Come Little Leaves.” Kindergarten Song._]
JURY. We can’t choose you, October gay,
For long enough you never stay.
[_Music. Song—“Come, ye thankful people.”
Any Hymnal._]
[_Enter_ HERALD, _followed by chief cook_
NOVEMBER _and his assistants._]
HERALD. Harvest November.
NOVEMBER. Come along, my helpers true,
Show the jury what we do.
Here’s a dinner for you all—
Turkey here for large and small.
FIRST ASSISTANT. Celery and squash for you—
SECOND ASSISTANT. Cranberries and jelly, too.
THIRD ASSISTANT. Pumpkin pies and mince, as well.
FOURTH ASSISTANT. Raisins rich and nuts to shell.
NOVEMBER. While a song of thanks we sing—
[_They sing—Repeating the first stanza of
“Come, ye thankful people.”_]
Will you choose me for your king?
JURY. We love you well but not the best,
So you must go and join the rest.
[_Exit_ NOVEMBER _and the cooks_.]
[_Bells are heard and a Christmas carol outside._]
[_The_ JURY _exhibit great excitement and
show by pantomime that they know what is coming now_.]
[_Enter_ HERALD _followed by_ DEAR DECEMBER.]
[_The_ JURY _rise in haste and clapping hands rush to
meet_ DECEMBER, _shouting_:]
Here is the king!
[_They surround him joyfully._]
FIRST GIRL. You bring us Christmas day!
BOY. With wonderful Christmas stories!
GIRL. And the bells—
GIRL. And the stockings—
BOY. And Christmas trees—and Santa Claus—
BOY. And love to us all with peace and good will.
ALL. Oh, dear December, your praise we sing,
We know all choose you for their king.
[_They sing an appropriate Christmas song._]
FATHER TIME. [_Coming forward._] Have you
chosen the king?
CHILDREN. Yes, yes, Father Time, December is the
king.
FATHER TIME. And you have chosen well, for this
is the month of love, and love is always king. Herald!
HERALD. Yes, your reverence, I am here, your
reverence.
FATHER TIME. Go bid my other children come and
greet their rightful king.
[HERALD _goes out_.]
[_The others return and passing before_ DECEMBER
_salute him with low bows and curtsies, forming
two circles about him. When all have come they
dance about_ DECEMBER, _singing—“Hail, Old Father
Christmas.” Modern Music Series, First Book._]
[_At the final phrase of the chorus all wave a good-by
to the audience._]
[Illustration]
_The Christmas Conspiracy_
A Christmas Play For Boys and Girls
By Elizabeth Woodbridge
CHARACTERS
REAL CHILDREN, Harry, Nell, Bobby, Dot.
MOTHER GOOSE CHILDREN, Jack, Jill, Miss Muffet, Boy Blue,
Simple Simon, Jack Horner, Bo-Peep,
Mistress Mary Quite Contrary.
MOTHER GOOSE.
SANTA CLAUS.
SCENE
A dimly lighted sitting-room, showing a fireplace and
at least one window. Leaning against the wall
beside the fire place, a huge book of nursery
rimes, with a picture of Mother Goose on the cover.
TIME
The night before Christmas.
ACT I
[_Enter_ HARRY _and_ NELL, _with stockings to hang up_.]
HARRY. Come on! Let’s hang ’em here!
NELL. Where are Bobby and Dot?
HARRY. Hi, Bobby! Hi there, Dot! Come along! We’re going to hang up our
stockings now. [_They go back to entrance and draw in with them two
smaller children, the smaller the better, and help them hang up tiny
stockings, then lead them out and return themselves—all this in dumb
show, or the children may say a few words, whatever is most natural.
It is better for them not to learn set speeches for this part of the
business. After rearranging the stockings_, HARRY _and_ NELL _sit down
by the fire_.]
HARRY. What do you s’pose he’ll bring us?
NELL. I don’t know. Oh, dear! I wish it was morning!
HARRY. I want a new sled. Mine’s all broken.
NELL. I want a new doll’s crib. My littlest dolly hasn’t anywhere to
sleep except a bureau drawer.
HARRY. Mother said you needed a new pair of eyes—ones that won’t cry so
easily.
NELL. She said _you_ needed a new pair of hands—the kind that won’t
slap and pinch people.
HARRY. [_Reaching out and drawing the Mother Goose book over to him,
and pointing to the cover._] I think Mother Goose needs a new cap. Hers
has never looked like much since we spilt molasses candy on it.
NELL. Oh, if Santa Claus ever brought the Mother
Goose people anything—they all need things. [_She draws closer to_
HARRY, _and they open the book between them_.] Miss Muffet’s footstool
has holes through it, look! Mother says I poked those with the scissors
when I was little.
[Illustration]
HARRY. [_Turning a page._] And Boy Blue needs a new horn. He must be
tired of that tin one.
NELL. [_Turning another page._] And poor Bo-Peep! She’s had that same
ribbon on her crook ever since I was a baby!
HARRY. [_Turning again._] And Jack and Jill have been banging that pail
around down that hill for years and years. It must leak like everything.
NELL. I don’t believe Santa Claus ever thought of them. If he did, he
would bring them things, I know he would.
HARRY. How can he think of them when they don’t hang up any stockings!
NELL. Poor things!
[_A voice from outside calls, “Children!”_]
HARRY _and_ NELL. [_Getting up._] There’s Mother! [_They drop the book
and get as far as the door, when_ NELL _catches_ HARRY’S _arm and turns
back_.]
NELL. Let’s take the Mother Goose people with us. They’ll feel so badly
to see Santa Claus stuffing our stockings when he doesn’t give them
anything—and most of them are children, too. [_She picks up the book,
and_ HARRY _takes it. Both go out. Silence. Finally_ JACK _and_ JILL
_appear in the doorway, looking in. After a careful survey of the room,
they tiptoe in cautiously, go to the fireplace and look up it, feel of
the stockings, go to the window or windows and peer out. All this time
they hold between them an old tin pail._]
JACK. [_In a loud whisper._] He hasn’t come yet.
JILL. I suppose he might come ’most any minute.
JACK. We do need a new pail, sure enough. Look at this one! We couldn’t
carry a cupful of water in it, even if we didn’t tumble down.
JILL. And we don’t usually tumble down, of course. It was just that
once.
BOY BLUE. [_In the doorway, loud whisper._] Hello, Jack! Hello, Jill!
Anybody else here?
JACK and JILL. Hello, Boy Blue! Come in!
JACK. We were just talking about Santa Claus.
BOY BLUE. [_Entering._] Oh, you heard what the children said. So did I.
JILL. And we do need a new pail.
JACK. [_Holding out pail._] Look!
BOY BLUE. Yes, I suppose you do. But look at my horn! It’s all battered
up climbing stone walls after those tiresome cows.
JILL. Of course!
BOY BLUE. And once I dropped it down the well. I was helping Johnny
Stout get that pussy-cat out that Tommy Green put in.
JACK and JILL. Horrid boy, that Tommy Green!
BOY BLUE. And it really hasn’t tooted very well since then.
[MISS MUFFET, _a very little girl, appears at door.
She holds a little stool or hassock under one arm,
and in the other hand a string, from which hangs a
large, black spider._]
JILL. Why, here’s Little Miss Muffet, too! [JILL _goes over to door,
takes her hand, and leads her in._] I do believe she thinks she needs a
new tuffet. Is that it, Miss Muffet?
MISS MUFFET. Yes. Look at it! And I need a new spider, too.
JACK. [_Examining the spider._] Why, that looks to me like a perfectly
good spider. What’s the matter with your spider, Miss Muffet?
MISS MUFFET. He’s black. I’m tired of a black spider. I want a yellow
one—a big, yellow one.
BOY BLUE. Well, I never knew Miss Muffet cared what kind of a spider it
was.
[SIMPLE SIMON _appears at door, hesitates._]
[Illustration]
JACK. Oh, there’s Simple Simon! Come in, Sim, my boy! We’re all talking
about what we want. What do you want?
SIMPLE SIMON. [_Entering slowly and speaking with a drawl, or perhaps
a stammer._] I’ve always wanted lots of things—especially pie. But I
never had any pennies.
BOY BLUE. [_Briskly._] Then what you want is pies,—or else
pennies,—which would you rather?
SIMPLE SIMON. Pies.
JACK HORNER. [_Entering in time to hear the last two speeches._] Here!
Take mine! I picked out all the plums years ago. [SIMPLE SIMON _takes
the pie, and retires to back of stage to eat it_.]
BOY BLUE. Hello, Jack Horner! What do _you_ need?
JACK HORNER. [_Turning to the others._] What I need is a new pie.
MISTRESS MARY QUITE CONTRARY. [_Entering._] And what _I_ need is a new
watering-pot. [_Pettishly._] Look at this old thing!
BO-PEEP. [_Entering._] There’s Mistress Mary, _quite_ as contrary
as usual! But, now really, children, no joking, _I_ do need a fresh
ribbon. You all heard what Harry and Nell said. They noticed it. I
suppose everybody has.
JILL. [_Patronizing but friendly._] Yes, Bo-Peep, we all noticed, only
we’ve been too polite to speak about it. [_Confidentially, with an air
of wisdom._] Have you ever tried dampening it and pressing it?
BO-PEEP. Yes, Mother Goose does that for me every little while.
JILL. But it _is_ badly faded, isn’t it?
BO-PEEP. Of course it is! How could it help being? I’ve been chasing
those sheep for _years_, out in the hot sun, and hooking their
legs—like—like this!
[_She reverses her crook and begins hooking it around
the children’s ankles. They hop and run to escape
her. Screams and laughter._]
MOTHER GOOSE. [_Entering, waving her stick at them._] Children!
children! What _are_ you doing? You’ll wake the house! And Santa Claus
may pop in any minute and catch you! And _then_ what!
ALL. Catch us? What fun!
JACK. Perhaps we’d catch him! We’d make him give us a new pail,
wouldn’t we, Jill?
BO-PEEP. And me a new ribbon.
BOY BLUE. And me a new horn.
MISTRESS MARY. And me a new watering-pot.
JACK HORNER. And me a new pie.
SIMPLE SIMON. I’d like some pie, too.
JACK. And Miss Muffet, here, wants a new tuffet.
MISS MUFFET. _And_ a new spider—a yellow one.
MOTHER GOOSE. What children you are! Poor old Santa Claus! Hasn’t he
enough to do now, without your teasing him for things?
JACK. But he never gives us anything.
ALL. Harry and Nell said so, too.
JILL. And they said he surely would if he only thought.
JACK. [_Facing the rest, and striking an attitude._] Let’s _make_ him
think!
ALL. How? how?
JACK. All hide here, and wait till he comes, and then jump out at him,
and capture him.
ALL. Oh, what fun! Let’s! [_They turn to_ MOTHER GOOSE.] May we? may we?
MOTHER GOOSE. If you promise you won’t hurt him.
ALL. Oh, we won’t; we won’t.
[_They prance with glee, then take hands and circle around_
MOTHER GOOSE, _singing_:]
[Illustration]
Oh, we’ve planned the greatest lark you ever heard!
’Twould be dreadful if it wasn’t so absurd.
From our lairs behind the chairs,
On old Santa, unawares,
We’ll just spring, and jump, and pounce, without a word.
He doesn’t know we’re waiting here to-night.
We’ll surprise him, so he’ll never dare to fight.
From our lairs behind the chairs,
We will take him unawares,
And we’re sure he’ll have an awful, awful fright.
[Music]
[_After the song, they stop and listen. A sound of
distant sleigh-bells is heard. The children scatter
and hide behind the furniture or in dark corners._
MOTHER GOOSE _retires to entrance door and stands
in its shadow_.]
[_The bells sound louder, then cease. The window is
opened slowly._ SANTA CLAUS _enters, sets in his
pack, goes out again and brings in a big sled,
closes window and comes forward to fire, rubbing
his hands_.]
SANTA CLAUS. Such houses! A fellow has to prowl and prowl around a
house like a thief to find a place to get in. Look at that chimney!
They’ll expect me to come in on the telephone-wire next. Well—here are
the stockings—one—two—three—four.
[_At a signal from_ JACK, _the children creep out and
spring upon_ SANTA CLAUS _from behind. They pull
him down, hold his hands and legs, and pull him to
a big chair in the middle of the room. Meanwhile_
SANTA CLAUS _calls, “Help! help! murder!”_ JACK _at
length stops his mouth by winding a handkerchief
about his head. This_ JACK _does leaning over him
from behind_.]
JACK. Now, Santa Claus, it’s no use to wiggle and scream. You’re
caught. Will you be good and quiet? If you will, hold up both hands,
and waggle the fingers. [SANTA CLAUS _does so_.] All right. [JACK
_takes off handkerchief and comes around toward front_.] Now, listen.
We don’t mean any harm—
SANTA CLAUS. Oh, you don’t, you young scamps!
JACK. [_With dignity._] We’re not scamps, and we promised Mother Goose
here not to hurt you, and we haven’t.
[MOTHER GOOSE _comes forward a little_.]
SANTA CLAUS. You’ve hurt my feelings, terribly.
JACK. Not half so much as you’ve hurt ours.
SANTA CLAUS. What? What’s this?
ALL. You never gave us a present.
JILL. Never in all our lives.
BO-PEEP. And we feel badly.
BOY BLUE. Terribly.
ALL. _Terribly._
MISS MUFFET. [_Coming up to his knee._] And I want a new tuffet, and a
new spider—a yellow one.
JACK. Jill and I want a new pail. Look at this one!
BO-PEEP. And I need—I really need—a new ribbon for my crook.
BOY BLUE. And I need a new horn.
MISTRESS MARY. And I need a new watering-pot for my garden.
JACK HORNER. And I’m just _starving_ for a new pie. There weren’t any
plums left in mine, and I gave it to Simple Simon here.
SIMPLE SIMON. I’ve been wanting pie for a long time. But I never had
any pennies.
SANTA CLAUS. [_Looking about at them, half amused, half vexed._] Why,
you midgets! you little ruffians! Do you mean to say you’re holding
me up for presents! Me! Santa Claus! The children’s friend! Held up
here by force, in the dark—by a set of—of highway robbers! Aren’t you
ashamed?
ALL. [_Gathering around and pointing fingers at him, very
impressively._] Aren’t _you_ ashamed?
MISS MUFFET. I want a new spider—a yellow one.
SANTA CLAUS. You do, you little minx, you little Muffety minx! Come
here! Do I look as if I kept yellow spiders in that bag?
MISS MUFFET. I want a new spider.
SANTA CLAUS. Listen to her! A yellow spider!
MISS MUFFET. And a new tuffet.
SANTA CLAUS. And a new tuffet! dear! dear!
JACK. [_Severely._] You promised to be good.
SANTA CLAUS. Mother Goose, what do you think of the way you’ve brought
up these children?
MOTHER GOOSE. Well, Santa Claus, I can’t help it. Children take things
pretty much into their own hands nowadays.
SANTA CLAUS. So you won’t stand by me! [_To_ MISS MUFFET.] And you
stand there waiting for your new spider!
MISS MUFFET. And my tuffet.
SANTA CLAUS. And your tuffet.—Jack, bring me my bag.
ALL. Hurrah! He’s going to! he’s going to!
[JACK, _with the other boys, brings over the pack and
sets it down before_ SANTA CLAUS, _who opens it
and begins to feel about in it. He pulls out a new
little stool or hassock._]
SANTA CLAUS. Here, Miss Muffet! Here’s your new tuffet. Sit down and
see if it fits you. [MISS MUFFET _sits down between his knees, facing
audience._ SANTA _takes out large yellow spider on string, and dangles
it down over her head, lowering it slowly until she catches sight of
it. She screams, and runs to the far corner of the room._]
SANTA CLAUS. Why, Miss Muffet! I thought you said you _wanted_ a yellow
spider!
MISS MUFFET. [_Coming slowly back._] I was used to a black one.
[_Takes new spider by the string, gingerly, and sits down on new tuffet
at Santa’s feet._]
[Illustration]
SANTA CLAUS. Here, Jack, here’s a new pail. And be more careful with it
this time. Don’t bang it around downhill so. [JACK _takes it, starts to
carry it over to_ JILL, _stumbles, and falls flat, flinging pail all
across room_.]
SANTA CLAUS. There you go again! What’s the use of giving you a new
pail? Jill, take care of it for him! [_Takes out fresh ribbon._] Here,
Bo-Peep, here’s your ribbon. [BO-PEEP _takes it, curtseys, and goes
back beside_ JILL, _who helps her take off the old ribbon and tie on
the new one_.]
SANTA CLAUS. Here, Mistress Mary, here’s a new watering-pot for you.
Now let me see you smile. [MISTRESS MARY _smiles and curtseys_.] Here,
Jack Horner. [_Giving him a pie._] There are lots of plums in this. But
you mustn’t pick them all out first. You must take it just as it comes.
Didn’t your mother ever tell you that?
MOTHER GOOSE. Of course I’ve _told_ him.
SANTA CLAUS. Here, Simon, my boy. Here’s a pie all to yourself. And
here are some pennies to buy more. Don’t let the pie-man cheat you. You
_have_ had a rather hungry time, haven’t you?
SIMPLE SIMON. Yes, sir; thank you, sir.
SANTA CLAUS. Here you, Boy Blue! Here’s a new horn. See how it sounds.
[BOY BLUE _toots horn, marches around_ SANTA. _Children
all fall in and march around him once or twice.
Then horn stops, and they sing the same song as
earlier, only with changes of tense_:]
Oh, we planned the greatest lark you ever heard,
It was dreadful, but oh, wasn’t it absurd?
From our lairs behind the chairs,
On old Santa, unawares,
We just sprang, and pounced, and jumped, without a word.
He didn’t know we waited here to-night,
We surprised him, so he didn’t dare to fight.
From our lairs behind the chairs,
We all took him unawares,
And we’re sure he had an awful, awful fright.
SANTA CLAUS. Here, you rascals, help me fill these stockings! Make
yourselves useful! [_They fill stockings. Sled and doll’s bedstead are
set up beside the fireplace._] Now, run! Scamper! It’s almost morning.
Get back into your book, or you’ll get caught. Run! Off with you!
[_They all run out._]
SANTA CLAUS. [_After a moment’s pause._] Mother Goose didn’t _ask_ for
a new cap, but I think she needs one. That molasses candy does make
it look rather queer. [_Goes through door, returns with Mother Goose
book. The picture of Mother Goose on the cover now has a bright red
peaked cap instead of a brown one._ SANTA CLAUS _sets book up beside
fireplace, and turns to the audience_.]
SANTA CLAUS. Merry Christmas to all, and to all a good night.
[_Exit. Sound of sleigh-bells, becoming fainter, then
silence, or_ CURTAIN.]
ACT II
[_Early morning. Enter_ HARRY _and_ NELL.]
HARRY. There’s my sled. [_Darts across room toward the sled. Nell runs
after, snatches his arm, and pulls him back a little, pointing to the
Mother Goose book with her other hand._]
NELL. Oh, Harry, wait a minute! Look!
HARRY. Look what?
NELL. It’s red!
HARRY. What’s red?
NELL. The cap. Don’t you see? Mother Goose’s cap.
HARRY. That’s soo! Let’s see about the others!
[Illustration]
[_They sit down side by side with the book before them.
As they talk they turn the pages._]
NELL. Look! Boy Blue has a new horn! It used to be tin.
HARRY. And Miss Muffet’s tuffet hasn’t any holes in it!
NELL. And, sure as I live, her spider is yellow! It used to be black.
And see! Jack and Jill have a new pail—there’s only one dent in it!
HARRY. And just look at Bo-Peep, will you! She has a pink ribbon
instead of a blue one!
NELL. And Jack Horner’s pie hasn’t any thumb-holes in it! And Simple
Simon has a pie, too! Santa Claus must have heard what we said about
their needing things!
HARRY. I wonder if he heard me say you needed a new pair of eyes.
NELL. [_Looking at him, eyes very wide and excited._] Do they look new?
HARRY. Yes, awfully shiny. I might pinch you, and see if they cry.
NELL. Don’t you dare! Anyway, maybe your hands are new, and if they
are, they won’t pinch people, of course.
HARRY. [_Looking at them._] They don’t feel a bit like pinching now,
really.
NELL. Let’s tell Mother, and show her the book. [_They run out with
book. Return without it, run over to fireplace and take down their
stockings. Holding these, they take hands, and coming toward the
front, sing, to same music as before. As they sing, the Mother Goose
children steal in behind them and join softly in the song_:]
Oh, it’s Christmas Day, and we’re made over new,
Nell, and Hal, and Mother Goose’s children, too.
We won’t slap, we won’t snap,
And we’ll never, never scrap.
It sounds as if we’re dreaming, but it’s true.
Old Santa Claus must certainly be wise,
For he knew we needed brand-new hands and eyes.
While we slept, in he stepped,
To our bedsides softly crept,
And he made us over just for a surprise.
Oh, we wish that we could tell him our delight,
Over all the things that happened in the night—
Tokens new for me and you,
Mother Goose’s children, too!
He’s remembered everybody most polite.
Oh, Santa Claus has been a perfect dear,
And we’d like to tell him so right in his ear.
Jack,—and you,—and Boy Blue,—
And the rest,—all know it’s true,
And we’d hug him if we had him with us here.
[_When the song is over the Mother Goose children
run out quickly._ NELL _looks around, as though
listening or looking for something. Looks puzzled._]
NELL. I thought I heard somebody.
HARRY. No, you didn’t. Let’s look at our stockings!
NELL. All right. Only let’s get Bobby and Dot first. Maybe they’re made
new, too!
HARRY. You couldn’t tell if they were. They’re almost new just as they
are, you see.
HARRY and NELL. [_Go to door, call._] Oh, Bobby! Oh, Dot! Come along!
Come and see your stockings!
[_They go out and lead in_ BOBBY _and_ DOT. _Grand
scramble for stockings. Exit with stockings, or_
CURTAIN.]
GENERAL REMARKS ABOUT PRACTICAL DETAILS
The play may be given without a curtain, but if one is available, it
may be used at the beginning and end. In the middle, it is better not
to use it, as the quiet, empty room is much more impressive than any
curtain could be.
The two littlest “real children” may be two or three years old, as they
can be piloted through their parts by Harry and Nell. The part of Miss
Muffet can be taken by a child of five or six years. Harry and Nell and
the other children may range from nine to fourteen years. Santa Claus
and Mother Goose may be taken by a big boy and girl, or by “grown-ups.”
COSTUMES
For the two smallest children, long nightgowns; Harry, striped pajamas;
Nell, a long white nightgown and over it a gaily colored wrapper. The
Mother Goose children to be dressed as nearly like their pictures as
possible. In general, the Kate Greenaway style should be followed. The
boys wear tunics of cheese cloth, over their own loose knickerbockers,
the tunics loosely belted in. Broad white Puritan collars and cuffs may
be cut out of stiff white muslin. Their edges need not be finished, as
they hold very well.
Miss Muffet, pink and white, exactly like the pictures; Bo-Peep, a
shepherdess costume of figured blue-and-pink cretonne over a blue
skirt, and big white hat. Jill, a real Kate Greenaway girl, in blue and
white; Mistress Mary, also Kate Greenaway, in yellow and white. Mother
Goose, a black waist, with big white fichu, black overskirt over red
underskirt, high-peaked hat, made by rolling stiff brown paper into a
cone, cutting it even around the bottom, and fastening it to an old hat
crown which has a narrow rim of black velvet. The joining is covered by
a narrow band of gilt paper pasted on.
The Mother Goose book should be made for the occasion, out of
Bristol-board or corrugated packing board, with pages made of brown
wrapping-paper, and the cover picture of Mother Goose pasted upon the
outside. The change in the color of the hat is easily effected in
this way: the hat in the cover picture is painted red in the first
place. Then a bit of brown paper cut the same shape as the peak is
lightly pasted on over it. After the book is taken off the stage by the
children, this bit of paper is pulled off, so that when Santa Claus
brings the book in again, the hat is red. The inside pages of the book,
of course, are never seen at all by the audience.
Real toys are put into the stockings, so that the joy of the “real
children” in pulling the things out, especially of the two-and
three-year-olds, is entirely genuine and spontaneous.
If it were desired to use fewer characters, one or two of the Mother
Goose children can easily be cut out. If more characters are wanted,
they can be added, such as Old King Cole, needing a new bowl; Tom, Tom,
the Piper’s Son, needing a new pipe; the Queen of Hearts, needing a new
batch of tarts, etc.
[Illustration]
HOW CHRISTMAS WAS SAVED OR THE SORROWS OF SANTA CLAUS
(_A Christmas Play_)
BY CATHARINE MARKHAM
PLACE The home of Santa Claus near the North Pole.
TIME The week before Christmas.
CHARACTERS
SANTA CLAUS.
MOTHER GOOSE.
JENNIE WREN, sewing girl.
JACK FROST, man of all work.
DAME RUMOR.
MOTHER SHIPTON.
WILLIAM TELL.
LO, the Poor Indian.
ROBINSON CRUSOE.
FRIDAY.
CAPTAIN KIDD.
ROBIN HOOD.
MAN IN THE MOON.
THE CLERK OF THE WEATHER.
DICK WHITTINGTON.
POCAHONTAS.
ACT I
[MOTHER GOOSE _and_ JENNY WREN _at left, busily sewing.
Tables and shelves piled high with toys. White skins
on floor. Sparkling chandeliers, candles, etc._]
JACK FROST. [_Dressed in white with spangles, pointed cap, pointed
shoes, and wand. Enters at right with rush and whoop, scattering snow
and breaking icicles._] Hello, Mother Goose. Hello, Jennie Wren. Oh,
but I’ve had a hard time chasing up his reindeer for Santa Claus! I’ve
got them herded into a mossy field over in the corner of Iceland, and I
hope they will stay awhile now.
[Illustration: Jennie Wren]
MOTHER GOOSE. [_Sweeping up the litter made by_ JACK.] Dear me, Jack,
what is the need of coming in in such a bluster and mussing the house
this way?
JACK. Excuse me, Mother Goose. I just keep forgetting. My, but it is
hot here! It almost gives me chilblains. Actually, the thermometer is
only five degrees below zero in this room. I should think you’d melt,
Jennie. [_Opens a window, tweaks_ JENNIE’S _ear. Starts to skate across
the room and falls down._]
JENNIE. [_With a start._] Why, Jack, how did you come to fall?
JACK. Oh, _not_-with-standing, Jennie. [_Turns a handspring._]
JENNIE. Oh, Jack, what a bad pun! Now see if you can’t subside and not
make any more trouble for Mother Goose. You know it is only three more
days before Santa has to start off with his pack, and there are many
things for you to do to help him get ready.
JACK. Oh, excuse me, everybody. I wish I could learn calm, cool
manners. Maybe I could behave better if I wasn’t so hungry. Couldn’t
I have something to eat? I haven’t eaten a thing since breakfast but
three tallow candles, and I’m starving.
MOTHER GOOSE. Yes, you shall have a little snack right now, Jack, as
supper will not be ready for some time yet. You must attend the door
to-night, as the Auld Lang Syne Club holds its annual meeting here this
evening, you know. [_She hurries out._]
JACK. I wish Santa would let me run the wireless, instead of always
having me tend reindeer.
MOTHER GOOSE. [_Entering with tray._] Here, Jack, is a little luncheon
for you—a bowl of ice-cream, a piece of frosted cake, and some iced tea.
JACK. [_Seating himself._] Oh, Mother Goose, you are the best cook at
the Pole. Oh, how good and cold everything tastes. But where is Santa?
I thought he was too busy to leave home to-day.
MOTHER GOOSE. He went out a little while ago to see if there were any
messages at the Wireless Station. He thinks he has at last got the
wireless line in working order. It runs from the Pole now to every
school yard in the country, you know. He expects great fun in hearing
the children of the world planning for their Christmas trees and
stockings. There will be no more mistakes in presents now, for every
boy and girl will get just what Santa hears him or her wishing for.
JENNIE. [_Looking out._] Why, here comes dear old Santa now, and he
looks quite sad. I wonder if the wireless line is out of order after
all the trouble he has had trying to get connections made.
SANTA. [_Enters and flings himself in easy-chair._] Well, Mother Goose
and Jennie, you can put away your needles, and Jack, just turn the
reindeer loose again. There will be no Christmas gifts for anybody this
year, nor any other year.
ALL. No Christmas gifts! Never again any Christmas gifts!
SANTA. That’s what I said. Never again any Christmas gifts! Santa Claus
will never be seen away from the North Pole again!
MOTHER GOOSE. Why, Santa, you might as well say there will be no
more skating or coasting. Winter without Santa Claus and Christmas
is unbelievable. I can’t bear to think of your never again carrying
Christmas gifts to the children. How can you think of stopping that
custom?
SANTA CLAUS. I feel just as bad as you do about stopping my annual
visit and my gifts. Ever since I can remember I’ve been distributing
gifts to children at Christmas time; and until an hour ago I expected
to keep it up always, but now Santa Claus and his Christmas rounds are
at an end forever!
MOTHER GOOSE. But what has happened, Santa, to put this into your mind?
Have you had a fall on the ice and do you feel a little dazed?
JENNIE. This is one of your jokes, Santa.
JACK. Oh, come off, now, Santa. You almost gave _me_ a chill. Let’s get
a big box of those drums and whistles packed up for the sleigh.
[Illustration: Jack Frost]
SANTA CLAUS. No; I am in dead earnest. My head never was clearer. I’ll
tell you how it is. You will hardly believe me, but up at the Wireless
to-day, I got the shock of my life. I went up and sat on an iceberg
at the foot of the Pole to listen to what the children of different
playgrounds were saying about Christmas, and what gifts they expected,
and so on. I had my note-book ready to write what this one and that
one wanted. And—oh, I can hardly tell you—I heard children from three
different cities talking about Christmas and saying they did not
believe in Santa Claus.
ALL. Not believe in Santa Claus? Impossible! Preposterous! And that,
too, after all the gifts—dolls and Noah’s arks and bags of candy you
have scattered around the world!
JACK. Maybe they think I have been chasing reindeer to the end of the
rainbow for—nobody!
SANTA CLAUS. I knew you’d hardly believe it. I would not believe it
myself if I hadn’t heard the words just as plainly as I hear you all
talking now. One little girl in Boston was talking to quite a lot of
little comrades. “Pooh,” she said, “no well-informed person nowadays
believes in Santa Claus. Santa Claus is only a medieval myth”—
JENNIE. Medieval! What’s that? There’s nothing _evil_ about you, Santa.
You are just three hundred pounds of solid goodness.
SANTA CLAUS. Oh, Jennie, I thought they all loved me as you do; and
it is hard to find they don’t believe in me, after all my years of
Christmas visits.
MOTHER GOOSE. Go on, Santa dear. What else did you hear over that
horrid wireless line?
SANTA CLAUS. Well, some boys were talking in a school yard in Chicago,
and one of them said loudly: “You can’t fool me. There isn’t any
Santa Claus, and there never was. He is nothing but a picture in the
books, like Uncle Sam!” And he was a boy with a pair of mittens on his
hands that I’d given him last Christmas. He was that curly-haired boy
I think, Jennie, that you’ve been knitting mittens for ten years, each
year a size larger.
JENNIE. Oh, isn’t he ungrateful? And here I have another pair almost
finished for him this year, too. [_Holds up red mittens._]
JACK. I’ll give that fellow a nip yet. I’ll make him believe in _me_,
anyhow!
MOTHER GOOSE. Those certainly were cruel speeches, Santa. But let us
hear the worst. What else did they say?
SANTA CLAUS. Some little girls in Los Angeles were at the school gate
and I heard one saying, “Oh, Santa Claus will do for babies. But when
you are seven you ought to say he’s just make-believe, like the Sand
Man and such folks.”
MOTHER GOOSE. I don’t wonder you feel hurt, Santa, after all your
kindness to children. But you must remember that these were only three
out of all the school yards in the country. There must be hundreds of
other children who _do_ believe in you. Perhaps these just happened to
be the few who don’t believe in fairies, either. There are some such
strange children I have heard.
JENNIE. Oh, Peter Pan will convince those foolish children who don’t
believe in fairies.
MOTHER GOOSE. Never mind, Santa. I am sure there cannot be many
children of that unbelieving kind. But I wish you had never had your
wireless rigged up. It seems only to make you unhappy.
SANTA CLAUS. [_Sighing._] It _has_ made me unhappy. I never felt
so sad in all my life before. I shall order the wireless telegraph
discontinued to-morrow. I shall give up the wireless line and the
Christmas business altogether—Dear me, how lonesome I shall be for the
children!
MOTHER GOOSE. I shall not be sorry to have you give up the wireless
line, Santa. I can’t bear to think of your stopping this lovely custom
of gift-giving. You have made so many children happy, and so many
little believing hearts will miss you.
SANTA CLAUS. It does seem sad, Mother Goose. But I shall never have the
heart to set out again at Christmas time with the bells jingling, and
the reindeer galloping and the sleigh flashing over the snow. I shall
never again go crowding down the chimneys to cram stockings and load
the children’s trees. All that pleasure is over forever, and I used to
be so happy and so busy at Christmas!
JACK. But I should think you would be glad enough to give up that stunt
of scrooging down chimneys. Suppose you’d get stuck some night!
JENNIE. I’m sorry for the children who will expect you, Santa, but I am
glad you will not have to work so hard any more. You have given your
whole time to getting ready for Christmas, just to make other people
happy.
SANTA CLAUS. Oh, I’d gladly take all the danger and all the trouble of
that Christmas journey and all the work of getting ready for it, if I
were sure the children would care to have me come. But to be just an
intruder, it is too much. I shall never go Christmasing again. Never,
never, never!
JENNIE. Oh, Santa, don’t be so sure of that. Let’s think it over. If
you don’t go, what shall we do with all these toys and dolls in the
attic and cellar and on the shelves here?
SANTA CLAUS. Oh, have a rummage sale of them, Jennie.
JACK. But what use shall we have for the reindeer that I have been
watching all year?
SANTA CLAUS. Oh, give them to the Peary expedition when it gets to
the North Pole. Really, I’d be glad to go just as I always have if I
thought I was welcome; but you see how it is! I must not intrude where
I’m not wanted.
MOTHER GOOSE. Santa, don’t decide yet. The Auld Lang Syne Club, as you
know, is to meet here to-night. Let us put the case before those old
friends and hear what they advise. What do you say to that?
SANTA CLAUS. That is a good suggestion. These people of the Auld Lang
Syne Club have all had experience in the world. They will be able to
give me an expert opinion. I will do whatever they all seem to think
best.
ACT II
[_Same scene an hour later._ SANTA CLAUS, MOTHER GOOSE,
_and_ JENNIE WREN _stand in a row, center, shaking
hands with guests_. JACK FROST _at door shouts names
of guests as they appear R. at ring of door bell_.]
MOTHER GOOSE. I do love to have the Auld Lang Syne Club meet with us.
Santa, you must try to look a little pleasanter. Just as soon as the
guests are all here we will tell them our troubles and be guided by
their advice. So let us now cheer up and act as if nothing sad had
happened.
JENNIE. Your collar is a little crooked, Santa. Now let the smiles
come. There, you look better.
JACK. The Man in the Moon.
[_Enter_ THE MAN IN THE MOON, _lantern in hand,
yellow robe, and smiling face_.]
THE MAN IN THE MOON. Good evening, Santa and Mother Goose and Jennie.
I hope I am not too early. I always seem to come down too soon.
[_Stands next to_ JENNIE _L._]
[Illustration: THE MAN IN THE MOON]
[Illustration: William Tell]
SANTA. No, no. You are never too early to please us. We like to see
your shining face at any time.
JACK. William Tell of Switzerland.
WILLIAM TELL. [_Tyrolese costume, an apple in hand, bow and arrow under
arm._] Good evening, everybody, what pleasant weather! Thirteen degrees
below zero. It reminds me of our Alps at home. [_Stands next to_ THE
MAN IN THE MOON.]
JENNIE. How is your son, Mr. Tell? Is he just as brave as ever? Do you
ever shoot apples off his head nowadays?
WILLIAM TELL. Thank you, Jennie. Little Billy is well and happy. He is
always a fearless child. He is tending a herd of chamois on Mt. Blanc
this winter. Yes, we often practise a little sharpshooting.
JACK. [_Aside._] Now that chamois herding is a job I’d like to hold
down myself. [_Aloud._] The Clerk of the Weather.
THE CLERK OF THE WEATHER. [_Carrying thermometer, weathercock,
telescope, umbrella, weather bulletin._] Good evening, all. I am so
glad to be here. I had a great time getting my work arranged so I
could get off. I am afraid now [_looking at bulletin_] that there will
be floods or blizzards or something. There are so many hitches in a
business like mine. [_Stands next to_ TELL.]
JACK. Robinson Crusoe and Friday.
[ROBINSON CRUSOE _and_ FRIDAY _are dressed in furs_.
FRIDAY _leads toy goat_. JACK _blows on_ FRIDAY,
_who shivers_.]
ROBINSON CRUSOE. Good evening, Santa and Mother Goose. Allow me to
present Friday. No, thank you, we will retain our furs. This weather is
so different from the climate in the tropics, you know. [_Crosses and
stands by_ MOTHER GOOSE.]
THE CLERK OF THE WEATHER. [_Tartly._] Now, that’s just the way it goes.
It isn’t warm enough for you, Robinson, and here’s William Tell who
thinks it just right. It is hard to please everybody on weather. I get
almost distracted at the complaints all over the planet. It keeps me
changing things all the time.
JACK. Mother Shipton.
MOTHER SHIPTON. [_Very solemn and important._] Yes, here I am. I came
in one of those carriages without horses that they call automobiles.
Really they ought to be called Shiptonians in honor of me, for it
was I who gave the idea of them to the world. We prophets are seldom
believed, though, I suppose, we are lucky not to be stoned.
JACK. How about 1881, Mother Shipton? Why didn’t you hit that date a
little closer for the world to come to an end?
MOTHER SHIPTON. [_Stands next to_ CRUSOE _and_ FRIDAY.] That was simply
a misprint, young man. Just you wait long enough and you will see the
world come to an end yet. Wait till 2881 and see what happens!
[Illustration: Mother Shipton]
[Illustration: Rip Van Winkle]
JACK. Rip Van Winkle and Schneider.
RIP VAN WINKLE. [_Leading toy dog._] Goot efening, good efening. So I
bring mein little dog Schneider. I am so lonesome already ven I don’t
have along the schmall dog, ain’t it? Mein frau like not Schneider
never in the house. Have you some objectifications mit him, Mother
Goo-ze? [_Stands by_ MOTHER SHIPTON.]
MOTHER GOOSE. Not at all, Rip. He seems a very pleasant dog. You must
always bring him with you.
JACK. [_Aside._] I say, I’d like a game of ninepins on the ice with
Rip. [_Aloud._] Dick Whittington and the cat.
JENNIE. Oh, Mr. Whittington, good evening. I am so glad to see you and
the cat. I have so often heard of this wise old pussy of yours.
DICK WHITTINGTON. Oh, you don’t see me anywhere without that little
mascot of mine. Here, Tabby, don’t be afraid of Schneider. Schneider is
a good little dog. [_Dog chases cat._]
[Illustration: Captain Kidd and Robin Hood]
JACK. Captain Kidd and Robin Hood.
CAPTAIN KIDD. [_Dressed as a pirate with cutlass, earrings, etc._] Here
we all meet again on this pleasant occasion. It is seldom we old rovers
have this home feeling anywhere on the globe. We go cruising around
all the time visiting scenes of old. But you know, Mother Goose, we
always make a point of coming to the Auld Lang Syne Club to meet with
you, even if we have to come from Cape Horn or Cape of Good Hope.
ROBIN HOOD. [_In hunter’s green._] Yes, yes, Santa, we look forward
all the year to this quiet evening with you. I am happier here than I
am anywhere except with my merry men in Sherwood Forest. The Auld Lang
Syne meeting is worth a trip across the planet. [KIDD _goes R._ ROBIN
_goes L._]
JACK. Dame Rumor.
DAME RUMOR. [_Spectacles and ear trumpet, enters talking very fast._] I
am sorry to be so late, but I met so many people on the way and there
were so many things to tell and to hear that I thought I never should
get here. They say—[_Goes whispering to_ MOTHER SHIPTON.]
JACK. Pocahontas and Lo, the Poor Indian.
POCAHONTAS. [_Dressed, as is_ LO, _in Indian costume, beads, feathers,
etc._] Lo and I stopped to see the Falls of Minnehaha and that has made
us late, I am afraid. We always linger at that lovely place.
MOTHER GOOSE. No, no, Pocahontas. You are in good time. You must stay
all the longer for being a little tardy.
DAME RUMOR. Santa, why are you not laughing and joking as usual? I
never saw you so downcast.
MOTHER GOOSE. Really, Dame Rumor, Santa Claus is feeling quite sad this
evening. He will tell you all about what is weighing on his spirits,
and I hope the wisdom of this good company will help him to look at
matters more cheerfully.
[Illustration: Dame Rumor]
[Illustration: Man Friday]
SANTA CLAUS. Yes, friends, I am sorry to appear so sad on an occasion
that ought to be so happy—an occasion when we old friends meet after a
long separation.
RIP VAN WINKLE. Yes, yes, I haf never so much joyness any more as in
this house, Santa. Here only is the beoples that can remember mit me
the happy times long ago.
DAME RUMOR. They say you used to be grumbled at a good deal in those
happy days, Rip.
[Illustration: Robinson Crusoe]
JENNIE. Oh, now, Dame Rumor, let bygones be bygones. Please all listen
to what Santa Claus has to tell. I want very much to see what the Auld
Lang Syne Club will advise him to do. Go on, dear Santa.
SANTA CLAUS. Well, my friends, I thought I would try the experiment
this year of running a wireless line from the North Pole to most of the
school yards in the country in order to hear the children telling what
they would like to have for Christmas.
DAME RUMOR. Dear me, I’d like to have a wireless line connecting with
every _home_ in the country! It was a fine idea, Santa.
ROBINSON CRUSOE. I wish we had had one down on the island, Friday.
SANTA CLAUS. Well, I have just got the connections made, and to-day I
went to the Pole to spend the forenoon taking notes from school grounds
in various parts of the country. And, to my utter astonishment, I heard
children in each section of the nation all saying they did not believe
in Santa Claus!
ALL. [_Laughing._] Not believe in Santa Claus! How ridiculous!
DAME RUMOR. Oh, Santa Claus, you don’t take that seriously, do you?
Why, I have heard that gossip for years, and I have also heard people
saying that they did not believe the story of George Washington
chopping down the cherry-tree. And yet I used to know a lady who
knew a lady whose cousin’s brother-in-law had a piece of cherry-pie
made from cherries that grew on that tree before George ever had the
hatchet,—yes, indeed!
WILLIAM TELL. Santa, we are all in the same boat. Don’t let such
remarks trouble your mind. It’s the fate of every popular character
to be disbelieved. People have gone so far as to discredit me and the
story of the shooting of the apple off little William’s head. Think of
that!
DAME RUMOR. Yes, William, I have heard that apple shooting
contradicted, too, and wasn’t that charming song, “In the Shade of the
Old Apple Tree,” written in honor of a tree that sprang from some of
those seeds that you shot out of the apple on little William’s head
that day?
POCAHONTAS. Santa, you must not let such gibes hurt your feelings.
My own existence has been denied over and over, notwithstanding John
Smith’s testimony. One must simply live such things down.
LO, THE POOR INDIAN. [_Solemnly._] Pocahontas is right, Santa. Don’t
you know there is a theory among critics that I exist only in the
pages of Cooper’s Indian stories? Think of just being shut up in a book
all the time!
[Illustration: Pocahontas and Lo! the poor Indian]
JACK. Wouldn’t that make you gloomy?
ROBINSON CRUSOE. I can understand how Lo feels. For it is now claimed
by critics that a certain Alexander Selkirk instead of myself was the
hero of my adventures. Think of having the ground taken from under your
feet like that! Here is Friday and here is the goat, and yet they say
there is no Robinson Crusoe!
FRIDAY. If Robinson Crusoe didn’t discover me then I am not discovered
yet, and I never made those tracks.
RIP VAN WINKLE. Just alike mit me come all dese peoples. Some beople
say now I haf not hat that nap already, and we haf not seen that game
of ninepins in dose Kaatskils, ain’t it, Schneider.
CAPTAIN KIDD. Haven’t I been ruled out of existence, too. But wait till
they find my buried treasure, some day! Then they will know that those
piles of gold were never hidden without hands. Oh, my name was Captain
Kidd, as I sailed.... Ha ha!
ROBIN HOOD. Well, Santa, they have long had me down as a fabulous
character myself, and I suppose I’m out of it. But then just think
what they say of the great King Arthur! I understand that King Arthur
and all the Knights of the Round Table are now considered merely as
a romance, if you please. So you see we are all in good company, my
friends.
DICK WHITTINGTON. Yes, I also belong to the large class of the
unbelieved-in. But Tabby and I are not concerned about what others
think. We just deserve to have friends, and then it’s up to the people
to love us. Don’t you see?
JENNIE. Well, if anybody has ever earned love it is our faithful old
Santa Claus.
ALL. Yes, indeed it is. Everybody that knows him loves Santa Claus.
THE MAN IN THE MOON. Santa, when you have been laughed out of existence
as often as I have, you can well complain. Why, I have been called
everything from a piece of green cheese to an extinct volcano! But you
never see me moping over it. I just keep a shining face, clouds or no
clouds.
[Illustration: Dick Whittington]
[Illustration: The Clerk of The Weather]
THE CLERK OF THE WEATHER. Yes, I will vouch for that. The Man in the
Moon is always beamy. And, Santa, just note how I send the rain on
the just and unjust alike, although they all say there is no such
person as I, and call the weather itself just a me-teor-o-log-i-cal
phe-nom-e-non. No, Santa, do not mind a few chance remarks. Those
children will know more by and by.
DAME RUMOR. Santa, there are still hundreds and thousands who _do_
believe in you; for I have heard children all over the world, talking
of your loving-kindness. I myself always take pains to tell what you
have brought to this one and that one.
SANTA CLAUS. Dear friends, I have noted what you say and it really
cheers me very much to find that I am not alone in being disbelieved in.
MOTHER GOOSE. Then you will forgive the children whom you overheard,
Santa, and you will not desert the faithful ones who have always loved
you?
JENNIE. And you will not think of that sorrow again, and you _will_ go
down with the reindeer as usual and take those ten thousand dolls to
the ten thousand good little girls?
JACK. Oh, forget it, Santa, and take down those horns and drums for the
boys on that waiting list. Think of the fun those kiddies will have!
ALL. Oh, yes, Santa, the world cannot spare you. We love you, and the
children love you.
SANTA CLAUS. [_Smiling at_ MOTHER GOOSE _and the rest_.] Your words
give me new courage. Yes, I will go on as if nothing had happened. I
will never desert the dear children. They shall have their Christmas
gifts as long as there is a Santa Claus.
CURTAIN [_and distribution of gifts_].
[Illustration]
The First Thanksgiving Day
_A One Act Play for Schools_
_By Agnes Miller_
In order to make this play practicable for general use,
the scenery and stage-directions suggested have been
made as simple as possible. Regarding costumes, it may
be said the play can be effectively produced when the
children wear ordinary clothes, the Puritan costume
being suggested by white caps and deep collars and
cuffs for the women characters, and broad-brimmed hats
and wide collars for the men. These accessories can be
easily made of very inexpensive material, and copied
from any of the well-known Puritan pictures. The Indians
may either appear in the Indian costumes possessed by so
many boys, or, in case these are unavailable, they may
be draped in gay blankets and wear feather head-bands,
which may be easily imitated.
CAST
JOHN WINTHROP, Governor of the Massachusetts Bay Colony.
WILLIAM PIERCE, Captain of the ship _Lyon_.
THOMAS DUDLEY, Deputy-Governor of the colony.
JOHN WILSON, }
ROGER CLAP, } Colonists.
MRS. FREEMAN, }
MRS. GARRETT, }
PATIENCE FREEMAN, aged 8, daughter to Mrs. Freeman.
SAMUEL GARRETT, aged 10, son to Mrs. Garrett.
Chief of the Narragansett Indians.
Young Narragansett brave.
Man-servant to Governor Winthrop.
SCENE
A room in Governor Winthrop’s house in the
Massachusetts Bay Colony. The front door of the
house opens at center back of stage, and has small
windows on each side of it. A door on the left
opens into the next room. The room is very plainly
furnished, and is evidently used for transacting
business. On the right of the front door is a
settee, with a chest standing near it, and on the
left of the door is a chair. Near the front of the
stage, on the right, stands a flour barrel, and
beside it, a table with weighing-scales. On the
left side of the room there is a chair before a
desk covered with papers, etc. Several portraits
and old prints hang on the walls.
[_A knock is heard on the front door. Enter_ SERVANT,
_at the left, who crosses to front door, and opens
it, disclosing_ MRS. FREEMAN _and_ PATIENCE. MRS.
FREEMAN _has a basket on her arm_.]
MRS. FREEMAN. Is the Governor at home?
SERVANT. Yes, madam; he has just come in.
MRS. FREEMAN. Will you let him know that I am here?
SERVANT. Directly, madam. Please be seated. [_Motions them to settee,
and exit, left_; MRS. FREEMAN _and_ PATIENCE _sit down on the settee_.
PATIENCE _breathes on her hands, to warm them_.]
PATIENCE. [_Fretfully._] Mother, do you really think the Governor will
give us some more corn? I’m so tired of having nothing good to eat!
MRS. FREEMAN. Why, Patience, of course he will if he can spare us any;
but you must remember how many sick people there are in the colony, who
need it more than we do.
PATIENCE. Yes, Mother, but why can there not be enough for everybody?
MRS. FREEMAN. I hope that there may be before long, my dear. We must
try to think that our ship with provisions is coming in soon. ’Sh-h! I
hear the Governor coming! Now remember your manners! Rise and curtsey
as I have taught you.
[WINTHROP _enters at left; bows to_ MRS. FREEMAN.
_She and_ PATIENCE _curtsey_.]
WINTHROP. Good day, Mistress Freeman. I trust that you and all your
family are well.
MRS. FREEMAN. All well, Your Excellency, and thankful to be so in this
season of want and cold. All that we could complain of is that our
larder is getting low, so I came to see if I could buy a few pounds of
corn.
WINTHROP. [_Evidently worried, but trying to conceal the fact._] Why,
Mistress Freeman, it is about just that matter that I am awaiting
tidings. This morning I sent word to the chief of the Narragansetts
that we should like to trade with him for corn. I expect that Master
Dudley and Master Wilson, who took the message, will be back soon.
Can you not wait till their return? If our trade is good, we shall
doubtless have plenty of food for all.
[MRS. FREEMAN _and_ PATIENCE _sit down on settee_.
WINTHROP _sits on chair at left_.]
[Illustration]
MRS. FREEMAN. I suppose Your Excellency has, as yet, no word of the
good ship _Lyon_?
WINTHROP. Not yet. No doubt the date of her sailing was deferred.
MRS. FREEMAN. It would seem so, for Captain Pierce sailed last August
to fetch us provisions, and here it is now February.
WINTHROP. If we were all in health, the delay would not matter so much.
But when half our people are too sick to leave their beds, we long to
give them some of the comforts they left in England.
[_Knock on front door._ SERVANT _enters at left, and
opens door. Enter_ MRS. GARRETT, _who curtseys to
the company. Exit_ SERVANT.]
Ah! Mistress Garrett! I was lamenting to Mistress Freeman that we had
few English comforts for our sick, but I did not forget that we brought
the best nurse in England with us!
MRS. GARRETT. Your Excellency is very kind. I could only wish that I
might do more in all the homes where sickness has entered. I thought,
however, that you might like to hear that Master Humphrey and his wife
are much better of their fever. [_Sits at center._]
WINTHROP. I rejoice to hear such good news, and I trust that you can
give as good an account of your other patients.
MRS. GARRETT. I would that I could, Your Excellency, but what with this
biting cold and our poor victuals, it goes hard with them. Is there
still no hope of the _Lyon_?
WINTHROP. No immediate hope, madam, but I am expecting that we may be
able to buy corn from the Narragansetts.
[_Knock on the front door. Enter_ SERVANT _at left,
opens door to admit_ DUDLEY, WILSON, _the
Narragansett chief, and the young brave_. DUDLEY
_and_ WILSON _greet the company, and, with the
Indians, come forward to right center of stage_.
SERVANT _stands in background, at left of front
door_.]
[Illustration]
DUDLEY. [_To_ WINTHROP.] We have brought the chief back with us, Your
Excellency, as you directed, but he does not seem favorable to making
a trade. However, we can but try. [DUDLEY _and_ WILSON _then endeavor
to conduct the trade, in dumb show, as follows_: DUDLEY _beckons the
chief over to the flour barrel, and indicates to him by gesture that
it is empty. He and_ WILSON _then go to the chest, and take from it
several long and showy strings of beads, which they offer to the chief,
suggesting by their motions that the Indians may have the beads if they
will fill the barrel. The chief shakes his head. Both men urge him in
vain for some time._ WINTHROP _then takes a red blanket from the chest,
approaches the chief, and offers it in similar fashion. Finally,
after_ _all three men have persisted in their offers for some time,
both the chief and the young brave shake their heads decidedly, and by
pointing to their own mouths and showing their empty hands, indicate
that they themselves have not enough to eat. Upon this_ WINTHROP _lays
down the blanket upon the table, and_ DUDLEY _and_ WILSON _cease their
offers, in apparent despair. The Indians then file stolidly out of the
front door, which is opened for them by the_ SERVANT. _Exit_ SERVANT.]
[_A silence falls on the company. It is broken by_
PATIENCE, _who is frightened, and begins to cry_.]
PATIENCE. [_Clinging to her mother’s hand._] Mother!
MRS. FREEMAN. Yes, what is it, little daughter?
PATIENCE. If we had only stayed in England, we should have had plenty
to eat!
[MRS. FREEMAN _does not answer her, but puts her arm
around her, and turns to_ WINTHROP.]
MRS. FREEMAN. Is it not hard sometimes, Your Excellency, for all of us
to realize how much more precious liberty is than the comforts we gave
in exchange for it?
WINTHROP. You speak truly, Mistress Freeman. But we have crossed the
sea in safety; we have been kept from harm among the savages; we
have founded a colony where freedom is to be the birthright of every
citizen. I believe that we have a right to expect to receive our daily
bread. Whatever happens, we must not give up hope. I will proclaim a
day of prayer and fasting for to-morrow. We must not lose faith, for
all may yet be well.
[WILSON, _who has been standing by the table, crosses
to the barrel and glances into it_.]
WILSON. See, there is still some corn in the bottom of our last barrel.
May not this be a sign that we shall be fed until help comes, even
as we read in the Scriptures that the widow’s handful of meal lasted
till the famine was past? [_As the company nod approval to his words,
there is a knock on the front door._ SERVANT _enters at left, and opens
door to admit_ ROGER CLAP. CLAP _is wild-eyed and shivering, and looks
distractedly about until he sees_ WINTHROP. SERVANT _stands at left of
door_.]
CLAP. [_Impetuously crossing stage to_ WINTHROP.] Your Excellency, my
wife is dying, and my children have been without food for two days. Can
you give me nothing for them?
[WINTHROP _goes to barrel, and scoops out a small portion
of meal_.]
WINTHROP. [_Sadly._] This is the last of our corn. [_Looks at_ MRS.
FREEMAN.]
MRS. FREEMAN. [_Promptly._] Let Clap have it, by all means. What say
you, neighbors?
ALL. Yes, let him have it, to be sure!
[WINTHROP _puts meal in a dish, which he is about to
hand to_ CLAP, _when there is a knock on the door.
It opens before the_ SERVANT _can reach it, and_
SAMUEL GARRETT _rushes in._]
SAMUEL. [_To_ WINTHROP, _breathlessly._] Your Excellency, the _Lyon_
has come! [_The company are startled and surprised, and scarcely
believe him._]
WINTHROP. Boy, is this the truth? How do you know?
SAMUEL. Indeed, Your Excellency, it is nothing but the truth! I was
down on the shore, when I looked across the bay, and saw a great ship
entering the harbor. And as I ran up to bring you word, I heard a man
saying that Captain Pierce was even now being rowed ashore.
[_Before any one can speak, there is a loud knock on
the door, and as the_ SERVANT _hastily opens it_,
CAPTAIN PIERCE _appears on the threshold._ WINTHROP
_rushes to meet him, and seizes him by both hands._]
WINTHROP. Never was man, or ship, more welcome! William Pierce! Thank
Heaven!
[_The others crowd around_ PIERCE, _and greet him with
joyous and grateful exclamations._]
PIERCE. [_To_ WINTHROP.] Your Excellency, I have the honor to report
the safe arrival of the _Lyon_!
WINTHROP. An hour ago we had well-nigh given you up!
PIERCE. We have met with many unforeseen delays on our voyage.
WILSON. Did you meet with storms?
PIERCE. Many of them, one so severe that one of our sailors was washed
overboard. But our greatest delay was caused by our meeting a dismasted
bark, which we must needs tow back to Bristol. We could only imagine
what you must suffer in our absence. I, too, thank Heaven we have
arrived!
DUDLEY. Have you provisions aboard?
PIERCE. Yes, verily, a goodly store. We have wheat, peas, and oatmeal;
we have beef and pork and cheese and butter! [_Great relief and
thankfulness shown by the company._]
[_To_ WINTHROP.] If Your Excellency will ask a few men to volunteer to
go down to the _Lyon_ and help us unlade her, we shall have everybody
fed within the hour.
SAMUEL. [_Eagerly._] _I_ will volunteer!
[_All laugh._ PIERCE _pats him on the shoulder._]
PIERCE. You shall come down to the ship with me. There is plenty for
smart lads to do as well as men.
WINTHROP. Friends, I will now proclaim not a day of fasting and prayer,
but one of praise and thanksgiving for our deliverance. However
great the destiny that may await our colony, struggling here in the
wilderness, this day must never be forgotten!
[CURTAIN]
[Illustration]
[Illustration]
EVERYCHILD
BY CONTENT S. NICHOLS
(_A School Morality_)
How Everychild sought for a companion on her quest for Goodness and
Beauty, and having at length chosen, received also certain treasures.
CHARACTERS
EVERYCHILD.
JOY.
MATHEMATICS.
LATIN.
IDLENESS.
SERVICE.
GAIETY.
DISCIPLINE.
A Page (if necessary).
No stage setting except a chair.
[_Enter_ EVERYCHILD.]
EVERYCHILD. Were there not voices here? I came to see
If this could be my chosen company.
For I am growing now, and seek to come
Where Goodness, and where Beauty, have their home.
I am alone; but Everychild, they say,
May choose what friends she’ll have upon her way.
[_Thinks._]
I’ll call for Idleness, she is so soft!
She will not make me climb, nor scold me oft.
Idleness! Idleness! come!
[_Enter, slowly_, IDLENESS, _in soft robes,
with large fan and box of chocolates_.]
IDLENESS. [_Languidly._] Beautiful dreams
And chocolate creams
Are all I desire of the world as a boon.
No heat, and no strife;
The pleasantest life
Is to swing in a hammock the long afternoon.
[_Sinks into a chair._]
EVERYCHILD. But will you talk with me, and guard me well,
And guide where Beauty bright, and Goodness, dwell?
IDLENESS. No heat and no strife;
The pleasantest life
Is to swing in a hammock the long afternoon.
Beautiful dreams—
EVERYCHILD. But will you, Idleness,—
IDLENESS. Beautiful dreams
And chocolate creams
Are all I desire of the world—
EVERYCHILD. I cannot bear you! Lazy thing! away!
I will have friends that laugh, and run, and play!
[IDLENESS _goes languidly out,
fanning herself_.]
EVERYCHILD. I’ll call for Gaiety! She is so fleet.
Her bright wings fly beyond our mortal feet,
And she has passed all shores, and knows full well
Where radiant Goodness, and where Beauty, dwell.
Gaiety! Gaiety! come!
[GAIETY _runs and dances on, in light costume, with
wings. She flies to and fro across the stage,
while_ EVERYCHILD _runs after her, crying, “Take
me!” but is left behind_. GAIETY _slaps her and
runs off_.]
EVERYCHILD. [_Sobbing._] She slapped me just
because I could not fly,
And now she leaves me all alone to cry!
What shall I do? How shall I ever come
Where Beauty bright, and Goodness, have their home?
—I’ll call for Joy! She has bright hair of gold,
Sweet songs, and dancing footfalls, so I’m told.
Joy! O Joy! [_No answer._]
“Haste thee, Nymph, and bring with thee
Jest, and youthful Jollity;
Quips and cranks, and wanton wiles,
Nods and becks and wreathèd smiles,
Such as hang on Hebe’s cheek
And love to live in dimple sleek;
Sport, that wrinkled Care derides,
And Laughter, holding both his sides!”
Joy! Joy! come! [_No answer._]
She will not come. Alas!
[_Enter_ LATIN, _in dark gown, with blue veiling over
hair and shoulders, carrying heavy volumes._]
EVERYCHILD. Oh, who are you? you don’t look very nice.
LATIN. Stella, stellae, stellae, stellam, stella:
Amo, amas, amat, amamus, amatis, amant.
EVERYCHILD. But what’s your name! How old are you!
LATIN. My name is Latin. Ages old am I,
And many a state have I seen rise and die.
I reigned alone in Europe many a year;
Barbarians trembled when my voice drew near.
To Dante, Latin was his other tongue;
In Latin, Milton, as in English, sung;
And many a child have I trained up to see
How different Tweedle_dum_ from Tweedle_dee_!
EVERYCHILD. Oh, I don’t know! You look so old and blue.
And must I study those great books all through?
LATIN. Yes, that you must. But take my hand and come,
For I have treasures in my mountain home:
Right habits, carefulness, foundations firm
For every language that the moderns learn,
Choice words, the source of English sound and pure.
How say you? Can you follow, and endure?
EVERYCHILD. But can you play with me, and guard me well,
And guide where Beauty bright, and Goodness, dwell?
LATIN. Aye, that I can. I know their home on high—
[_As_ EVERYCHILD _puts her hand in_ LATIN’S _and
advances a step, enter_ MATHEMATICS, _also in
dark gown, with head covered, carrying slate or
compasses._]
LATIN. Hail, Sister!
MATHEMATICS. Hail!
EVERYCHILD. But who is this? And must she with us go?
Your family are all so dark and slow!
No, I don’t think I like you. What’s your name?
MATHEMATICS. In every tongue my symbols are the same.
2 × 1 are 2, 2 × 2 are 4, 2 × 3 are 6—
My name is Mathematics. Many a year
We’ll doubtless be acquainted—never fear.
EVERYCHILD. But you look stiff and stern.
Why don’t you sing,
And smile, and wear soft robes?
MATHEMATICS. A mighty king
I serve, and it is mine to teach and train.
A trinomial is a perfect square when two of its terms
are perfect squares and positive, and the third
term is twice the product of their square roots.
EVERYCHILD. [_Who has put her fingers to her ears
during the definition._]
No, I don’t like you! I won’t take your hand,
For you have nothing that I want.
[_Turns away._]
MATHEMATICS. Nay, stand!
Stand thou and listen! Royal gifts have I,
Gifts men have sold their mortal lives to buy.
’Tis I that build the house, that count the tide;
I lay the rails, I span the waters wide;
I teach how planets sail the ether high;
I guide the aëroplane that dares the sky;
I tunnel deep where mighty rivers roll;
I plant the stars and stripes upon the pole!
Lo, this is I!
EVERYCHILD. Oh, let me go with you! and can you tell
Where radiant Goodness, and where Beauty, dwell?
MATHEMATICS. Their servant am I. I can lead you—Stay!
[_As they begin to go off together, enter_
DISCIPLINE, _in black gown and cap, with
bunch of switches, arms folded, frowning._]
EVERYCHILD. Oh, I’m afraid—I think I’ll run away.
You naughty thing! How dare you! Go away!
DISCIPLINE. Control yourself.
EVERYCHILD. I won’t. I want to do just as I choose!
LATIN. [_After a pause._] Then you must leave us.
Ah—do not refuse
To follow Discipline, for he is good;
He tames the insolent, informs the rude.
He frowns, but he will let you run and grow
If but his precepts you incline to know.
DISCIPLINE. Let kittens play, but men must toil and soar;
Honor thyself, but honor others more.
No vulgar aim to monarchs do I bring;
Rule well thy mind, for in it thou art king!
LATIN. Through Discipline alone canst thou attain to be
Thyself, thy highest self, eternally.
EVERYCHILD. Yes, I was silly. I will take his hand.
He too shall guide me into Beauty’s land.
[_She advances to take his hand. As he says the next
lines, he throws down his switches, or, if a girl,
throws off dark gown and veil, and draws forth
a box of treasures. At the same time_, LATIN
_and_ MATHEMATICS _throw off their dark gowns and
veils, and appear in light garments, with flowers,
fillets, or wreaths on their heads. The_ PAGE _may
give_ LATIN _a wreath_, MATHEMATICS _a lighted
lantern, and gather up the gowns._]
DISCIPLINE. O strong young child, since you have followed me,
No longer ugly Discipline I’ll be.
A fairer self I show to each brave soul:
In Beauty’s land they call me Self-control.
Mine are these stores of treasures manifold.
[_Pouring into her hands._]
My silver rusts not, nor my well-tried gold.
LATIN. O thou dear child, that chose with me to come,
Now shall we reach the heights of Beauty’s home.
He that has climbed shall breathe the mountain air;
He that has learned shall read the pages fair,
Shall understand, shall learn himself to speak.
Fair are the flowers on the mountain peak!
[_Crowning her with the wreath._]
Beautiful words, and noble thoughts, are these,
Fine feelings, witty sayings, grace, and ease!
MATHEMATICS. O thou dear child, since thou wert not afraid
Of my slow step, dark dress, and heavy tread,
To thy small hand entrust I now this light
[_gives lantern_],
Through all the ages ever burning bright.
Clear thoughts be thine, and Truth shall keep the flame,
For from her altar at the first it came.
[_Enter_ JOY _and_ SERVICE, _quickly, hand in hand; in
bright floating dresses, with wings_. JOY _with
wreath of flowers, a star on her head and a wand_;
SERVICE _with Greek fillet, scattering flowers_.]
EVERYCHILD. Why, aren’t you Joy?
JOY. Oh, yes! I could not stay,
Where Service goes, I follow. That’s our way.
[_They kiss, and circle in a little dance, which may
end in a kiss._]
LATIN. To guide the child they come, on high command.
Service and Joy go ever hand in hand.
SERVICE. In our bright home I heard the spirits say
A child was seeking me this very day.
Gladly I hastened when I heard them speak;
Who seeketh Service hath not far to seek.
Then followed Joy, the loveliest of our band:
Service and Joy go ever hand in hand.
[_They repeat the dance and kiss._]
SERVICE. Now on our happy journey let us come
To that bright land where Goodness is at home,
Where Beauty is, where we desire to dwell.
JOY. Farewell, ye mortals all! Farewell!
[_Going._]
DISCIPLINE. Farewell!
LATIN, EVERYCHILD, _and_ MATHEMATICS.
Farewell!
“EVERYGIRL”
BY RACHEL LYMAN FIELD
CHARACTERS
EVERYGIRL.
HOPE.
MIRTH.
WEALTH.
BEAUTY.
KNOWLEDGE.
WORK.
HEALTH.
LOVE.
EIGHT DANCERS.
SCENE
Twilight in Everygirl’s garden.
DANCE OF THE FLOWERS
[_The dancers wear white dresses trimmed with the
flower which each represents._]
[_After the dance is finished, enter_
EVERYGIRL.]
EVERYGIRL. How fair this little garden seems to-night!
Small though it be, I love it well,
For here I learned to know each flower
By name; I never wish to leave it
Till to-night, when a strange voice
Seemed calling me away. I could not sleep,
But wandered here to lose my foolish thoughts
Among the flowers—
Why, here’s a white rose that but yesterday
Was just a bud, half hidden by the leaves
That tightly curled about it! See it now—
A full-blown rose, and opened to the night.
The gentle winds, the moon, and all the stars!
And thus it is with me; no more am I
A child. And so these restless thoughts
Are but to show me that I now am grown,
And that my life has opened like the rose.
[_Enter_ HOPE.]
[Illustration]
HOPE. Dear Everygirl, these words you speak are true,
Hark! do you hear that far-off voice? Listen!
It is the World’s voice, Everygirl. It calls—
And you must follow, when the World calls.
I know the garden bids you stay,
And yet the World is stronger; you must go.
So, Everygirl, this night I come with cheer—
To say that you may choose three friends to go
Journeying with you hand in hand, to share
All joys and sorrows that the World may give.
Think well, and choose with care these three,
For they shall go with you forever.
EVERYGIRL. Dear lady, will you go with me?
HOPE. Oh, no, I fain would go where sorrow is
And pain, where loss has come and joy is fled.
When all is black and dark, then I
Steal softly in and bring with me new strength
And light. Then tired hearts are glad,
And weary souls rise up to struggle on once more.
For, Everygirl, my name is Hope, and often shall I visit you.
[_Exit_ HOPE.]
[Illustration: KNOWLEDGE
Black gown of sateen. Black cap with brown owl’s head and wings. Lamp
made of gravy-boat, painted brown. Large pen for sword.]
[_Enter_ MIRTH, _dancing and singing to the tune of
“Funiculi, Funicula”_.]
MIRTH. With laughter and with joy I come to you,
The flowers among.
For now that you are bright and fresh and fair,
The world is young.
Oh, come, while all the way is green and glad,
We’ll be so gay
That time will touch us not. Oh, come, oh, come
With me away.
I am Mirth, Everygirl. Gladly will I go
Into the world with you. And you shall be
Lighthearted as I am, to laugh and sing
And frolic all day long. Come, take me;
We will feast and dance, paying no heed
To sorrow, pain, or dark and dreadful things.
EVERYGIRL. Oh, Mirth, while yet you spoke, I heard
A sound of hollow laughter, and a wail
That echoed through deserted banquet halls!
All the bright gold was tarnished, and the flowers
Were lying dead and withered all about.
Oh, Mirth, I like it not, this mocking laughter.
[MIRTH _stands silenced for a moment, then slowly exits_.]
[Illustration: HOPE
White cotton frock: pale blue tunic, ornamented with white silk stars
applied. Pale blue fillet on head with silver star.]
[_Enter_ WEALTH, _jingling bags of money_.]
WEALTH. Aha, my pretty one, so you would go into the world!
See this bright gold—’twill bring you what you ask.
All the World bows to me; and I will go
And be your friend, and always stay
To bring you fame, and joy, and everything
That only I, great Wealth, provide
For those who are my friends and followers.
All these great bags and more shall be your own,
Vast lands and houses, servants and the like,
Yea, all you ask shall I bring at your word!
I know that you will take _me_, Everygirl.
No one rejects great Wealth, or what I give.
[EVERYGIRL _hesitates, takes one of the bags, but
suddenly drops it, covering her face with her hands_.]
[Illustration: WORK
White cotton frock flowered in china blue, turned back over blue and
white striped petticoat. White apron and cap.]
EVERYGIRL. Away! Away! I like you not, great Wealth!
Just now I heard a cry that shivered through my very heart.
It was the cry of toiling women, hungry and oppressed,
Working incessantly through heat and cold.
And there were little children, too, who wept
And struggled in the darkness of the mines,
And in foul places over all the earth!
The gold is theirs, not mine. Oh, Wealth,
Begone! [_Exit_ WEALTH.]
[Illustration: HEALTH
Camp-Fire costume made a little more elaborate by bead-embroidery and
stencilling. Branch of Pine.]
[EVERYGIRL _stands weeping_.
ENTER BEAUTY.]
BEAUTY. Do not weep, Everygirl! I come to bring you joy
and happiness.
They call me Beauty, and the queen of all
The earth. All men look up to me,
And smile upon me—beautiful am I,
So shall you be, if I go with you.
All the World will stoop to kiss your hand,
And fairer shall you be than other maids.
EVERYGIRL. [_Taking_ BEAUTY
_by the hand_.]
And, Beauty, will you always stay with me?
And be my friend, and never go away?
BEAUTY. Ah, that I cannot do.
You know that I must sometime leave you.
EVERYGIRL. Beauty, stay always with me, never go away.
BEAUTY. Ah, no! I cannot be your friend forever.
[_Exit_ BEAUTY.]
[_Enter_ KNOWLEDGE, _clothed in
black_. EVERYGIRL _shrinks from
her_.]
KNOWLEDGE. You must not fear me, Everygirl, I am your friend.
Always we are friends. Was it not I
Who taught you once the names of all the flowers?
Men call me Knowledge, but I do not show
So fair a face as Beauty; mine is stern
And grim. No easy master am I,
But, if you now will take me for your friend,
I’ll show you all the wonders of the world—
Yea, and of many other worlds, also—
The magic of the deep and of the skies.
If you would have me with you,
You must search for knowledge and ever
Shall you be filled with wild desires
Never quite fulfilled. I’ll tell you all
The secrets of the world, even the thoughts
Of men and women shall be opened to you;
And those who pass along in busy throngs
Shall feel the mystic knowledge you possess.
[Illustration: LOVE
Frock of thin white cotton or China silk: angel sleeves shirred at
shoulder: gold paper heart on left side. Gold fillet in hair.]
EVERYGIRL. And will this knowledge help them too, as well
As me? Will it bring pleasure to sad hearts
And joy to tired lives?
[KNOWLEDGE _turns sorrowfully away_. EVERYGIRL _kneels,
her face in her hands_.]
EVERYGIRL. I know not what to do, nor whom to choose!
[Illustration: MIRTH
White cotton frock: points of yellow from neck, with gilded bells:
wreath of daisies, and skipping rope wound with the same.]
[_Enter_ WORK, HEALTH, _and_ LOVE _at the back of the
garden_. WORK, _advancing, touches_ EVERYGIRL _upon
the shoulder_.]
WORK. It is I, Everygirl, who am the solace
And those who toil with me, though hard their lot,
Find gladness in the joy of working.
I would go with you. The World cares not
For idle hands. So take me, though I promise not
Delights and wild excesses of emotion.
For the great joy of labor and of toil I bring,
And you shall learn to glorify the work
Whate’er it be!
EVERYGIRL. Oh, stay with me, and never go away!
[WORK _takes her hand_.
HEALTH _advances_.]
HEALTH. You see in me the thing that makes work sweet,
Without me all the world is bitter.
For I am Health, and with me beauty
Comes, and strength to labor and do good.
All things do I make possible,
For I create a palace beautiful
In which your thoughts may live and grow more fine
Because of fair surroundings.
Oh, Everygirl, I bring you health,
Oh, surely you will let me go with you?
EVERYGIRL. Yes, yes, you must not leave me, Health.
[LOVE _advances; she is more radiantly beautiful
than all the rest_.]
[Illustration: BEAUTY
Tunic of soft white silkaline flowered in pink roses: American Beauty
rose made of wire and tissue paper for scepter, White skirt.]
EVERYGIRL. Your face I know. You are familiar to me.
I saw you in the blossoming of the flowers,
I saw your eyes in all the shining stars;
Your voice was in the wind among the trees,
Your light is in the eyes of one I know.
Who are you, that I feel your presence everywhere?
LOVE. I am Love, Everygirl.
EVERYGIRL. Oh, Love, the World is calling, lead me forth.
[Illustration: Tiara may be made of cheap hat pins.
WEALTH
A Princess gown of white, stencilled in gold: robe of red also
stencilled in gold: collar made of wired net with wild carrot blossoms
sewed flat.]
[EVERYGIRL, _with one hand held by_ WORK _and one by_
HEALTH, _and led by_ LOVE, _leaves the garden. At the
gate she turns and faces the audience._]
Oh, Work, and Health, and Love, I shall not dread
The years that are to come, with you for friends!
Oh, stay you always by my side,
Then come what may I shall not fear
The world and all its strife. Perchance
With you I can help other girls to find
The Work and Health and Love that you have brought.
[_A camp-fire girl in her Indian costume steps
forward and recites the epilogue._]
You who have listened to our little play,
Come think on this before you go away:
Have you three friends to go and be your guide,
To ever journey with you side by side,
Sharing alike with you all joys and pains,
All the world’s losses and likewise its gains?
A glowing camp-fire shall our emblem be,
And ever doth its welcome burn for thee.
Oh, come, and gather with us by its blaze,
And in our songs, with us, your voices raise.
[CURTAIN]
THE EGYPTIAN CAT
(_A Shadow Play_)
BY IRENE WOODBRIDGE CLARK
The following little play was written for a special occasion, and was
successfully presented as a side show at a church fair. Tickets were
sold at ten cents each, and the performance, which was repeated several
times, netted forty-two dollars. The expense of getting up the play is
very slight. The screen upon which the shadows are thrown may be formed
of two or more large sheets, sewed firmly together, and stretched
smoothly from ceiling to floor, or to the platform of an improvised
stage. Several strong tables—kitchen tables, for instance—ranged in
line behind the screen, and as near to it as possible, would make an
excellent platform, for as the actors walk close to the curtain, a
wider flooring is not necessary. At each side of the stage and screen
a heavy shawl or blanket should be hung, so that the actors may be
concealed from the audience when not engaged in the performance. There
should be but one light to throw the shadows. A kerosene lamp is very
effective, if placed with the narrow side of the flame toward the
screen, the object being to concentrate the light, and cause it to
come from as small and yet as brilliant a point as possible. Set the
lamp in a box of some kind; a wooden soap box would do, with one side
open toward the screen. The box should be painted a dull black inside,
or old black cloth may be tacked in as a lining. If the inside of the
box is not black, it will reflect the light, and cause the shadows to
appear blurred. On no account use a reflector, as this would have the
same effect. An opening may be cut through the box, just above the lamp
chimney, to allow the heat and smoke to escape. When it is necessary to
shut off the light, as at the end of each scene, or at the close of the
performance, this may be done by quickly sliding the cover of the box
across the open front, and thus obscuring the lamp entirely. The box
with the lamp should be about on a level with the actors’ feet, or a
trifle higher, and should be at least five or six yards behind them, if
possible to arrange it so.
All these arrangements are behind the screen. The audience is to be
seated on the other side. It is not necessary to conceal the screen
with a curtain, for if the light within the box is entirely cut off by
placing the cover in front, and if the portion of the room in which the
audience is seated is well lighted, no shadows from behind the screen
will appear before the proper time. When the hour for the performance
arrives, a decided stroke of a bell should be the signal for every
light in the audience room to be turned out, and at the same moment,
for the cover to be withdrawn from before the box containing the lamp.
If this is well managed, Scene 1, having already been arranged against
the screen, will instantly appear to the audience in sharp, black
shadows. At a second quick stroke of the bell, the reader begins the
play. Any one with a good clear voice may act as reader. The best place
for him to sit is behind the screen near the lamp. As he reads only
during the actual performance, he needs no other light, but he should
be careful that he does not place himself in such a position that his
own shadow is thrown on the screen. The cat and pedestal stand five
feet, eight inches in height. A few other measurements are given in
connection with Figure No. 1, and with these as a guide, the outline of
the cat and pedestal may be drawn of the proper size on a large sheet
of brown paper and then cut out and taken to a carpenter who will saw
the figure out of heavy board. The cat, who has already appeared before
the public, was cut out pedestal and all in one piece from a large
smooth, pine board, an inch in thickness, the cost being seventy-five
cents. The pedestal was braced at the bottom so that the figure would
stand upright alone, but care was taken that no projection was made
on the side to be placed against the screen. A narrow strip of rough
fur was tacked all around the outer edge of the cat, except around the
feet, and this, with a fox tail, through which a strong piece of wire
was run, gave her a very real appearance when seen in shadow. The boy
or man, who managed her, sat on a stool behind the pedestal, and in
addition to working the eyes, tail, mouth, etc., would meow mournfully,
or spit fiercely, as the events of the play demanded. For further
directions as to the making of the figure and the working of the parts,
see explanation of diagrams. The lobster, spider, fishes, the maiden’s
heart, and the immense dollar used by her in Scene 2, her slippers,
curling tongs, and brushes, and even the tears she shed, were all cut
from pasteboard. Comical hats for the actors were made by taking old
shade hats and fastening ridiculous pasteboard shapes upon them. The
mice and rats which run by the cat in Scene 1, were cut from pasteboard
and were somewhat larger than life size. Four of them were tacked by
the feet to a long narrow strip of wood at about a foot apart, and to
one end of this board was fastened a small strong cord. When arranging
for Scene 1, this strip of board was laid in place at one end of the
stage, on the floor close to the screen, but the figures of the mice
were turned over on their sides, so that their shadows would not
appear. The cord which reached from the end of the board to the other
end of the stage lay along the floor close to the screen. During the
reading of verse third an assistant quickly turned up the board, so
that the mice instantly appeared in shadow, and a second assistant drew
it steadily by means of the cord across the stage between the cat and
the screen, until it was out of sight. The fly which buzzes around the
cat’s head in Scene 6 was also cut from pasteboard, and fastened to
the end of a rather fine wire, which was manipulated by the person in
charge of the cat. When not in use it was hung by a loop in the end
of the wire, on a nail fastened in the figure of the cat. In Scene
4, the castle might be represented by a clothes-horse, covered by a
heavy shawl, or by a large screen placed flatly against the curtain.
A window is not an absolute necessity, as the heads of the maiden and
her suitors might appear over the top of the castle wall. To raise
these actors to the proper height a table or a number of strong wooden
boxes may be used to stand on. The ladder was a stepladder of a medium
size. It was kept hidden behind the castle wall until the lover pulled
it out. When he had arranged it in place, the maiden stepped from her
elevated position to the ladder, and thus descended. The cat which
appears in Scene 4, is a second one, cut from very stiff pasteboard and
braced in places with strips of wood. Two screw eyes are fastened into
the wood, at A and B, as seen in the diagram of the leaping cat. Just
before Scene 4, a strong slender cord is fastened to a nail driven in
the floor at the end of the stage farthest from the castle. This cord
is then passed through the two screw eyes in the cat, and the cat is
given into the care of one of the actors—one of the rivals, who stands
behind the castle wall. He holds the cat in his left hand and the end
of the cord in his right, but allows the length of the cord to hang
loosely to the floor until the time for action. At the beginning of
the verse, “She fought until they both had fled,” he suddenly holds up
his arm, twists the cord about his hand and draws it tightly, and at
the words, “Leaping from the window sill,” with a quick motion lets
the cat go, when it rushes swiftly down the cord close to the screen,
and is caught by an attendant at the farther end, who himself remains
concealed. This cat is not nearly so large as the other, not being
over a yard in length. The lobster is about two feet in length. To the
upper part is fastened a strong linen thread, which passes through a
screw-eye in the ceiling above the stage or through a brass ring sewed
to the top of the screen. The other end of the thread is held by some
one at the side of the scene. The lobster may hang below the stage
platform, between it and the curtain, or may lie on the stage floor
until needed. When its turn comes to appear, the attendant draws the
thread and pulls it up into sight where it hangs flatly against the
screen. The spider is hung in the same manner and is held in place at
the top of the screen until time to drop upon the maiden’s head. A
pasteboard spider is better than a heavier one, as it responds more
quickly to the little pulls and jerks given to it and thus appears to
have more life. The maiden’s pasteboard heart is about six inches long.
By keeping the hand which holds it within the shadow of her figure she
may throw it from her open mouth apparently, without the action of her
hand and arm being seen. The effect may scarcely be called natural—who
could expect it would be? But it never fails to produce a roar of
laughter. Picking up the heart again, the maiden opens her mouth and
appears to swallow it once more. After which she regains her composure,
which has been sadly disturbed. Sawdust poured from a pitcher appears
as a fine substitute for cream and can be used again and again. In
Scene 3 the cat seizes the rivals by the fingers. This effect is
produced by the rivals, one on either side of the cat, placing each a
forefinger in a corner of the cat’s mouth, and holding it there while
apparently trying to pull it away. If the rivals thus caught jump and
dance with pain, the effect is increased. The serving maid who brings
the tea in Scene 5 wears a cap and apron and carries a tray bearing a
number of unbreakable wooden and tin dishes which make a great clatter
in falling without causing any damage. The tea table, a small one,
supported by a single post in the center, may be cut from brown paper
and pinned on the screen before Scene 5 appears. In shadow it will
seem to be just as real as an actual table, but of course a real table
may be used if preferred. Several dozen curl papers, like lamp lighter
quills, may be sewed to a circular piece of muslin which is tied on top
of the rival’s head for Scene 5, and covered by his tall head dress.
When this head dress is suddenly removed, the quills stand out in all
directions.
[Illustration]
[Illustration]
[Illustration]
A word to the actors. Let them keep so near to the screen in all
their acting that they actually touch it, and let their profiles be
constantly toward the spectators. The words of the play should be
familiar to each performer, that he or she may know what is coming
next, and be prepared to act on time. Many comical things will suggest
themselves to those taking part, if the play is entered into with
spirit.
EXPLANATION OF DIAGRAMS
The figure of the Cat having been sawed out of wood, it is ready to be
equipped with the other parts. Nearly one yard of cotton elastic, a
half or three quarters of an inch wide, will be needed. Also several
screw eyes of medium size; a staple to fasten the tail; a firm piece of
wire which will not easily bend, about 18 inches long; a fox tail; 2¾
yards of any kind of rough fur, old or new; a spool of linen thread No.
25; a yard or two of strong, fine twine; a few strips of thin board,
of a kind that will not be easily split, and several pieces of thick,
strong pasteboard.
[Illustration: _Fig. 1._]
[Illustration: _Fig. 2._]
To make the eyeballs. Fold a piece of brown paper, and cut out in
what you judge the proper size, a copy of the small diagram marked
X, which is shown in Fig. 2, taking care that the fold of the paper
is at F. When the pattern is opened it will be found to be like the
small diagram, EB. Pin this pattern in place on the wooden cat in the
manner shown in Fig. 2. If not of the proper size make another. When
you have a pattern that seems to be correct, lay it on the pasteboard
and outline it with a pencil. The resulting figure may then be cut out
with a sharp pocket knife. In the small holes made at each upper corner
of the cross-piece, H and H, fasten a piece of linen thread, about one
half a yard long. When the eyeballs are in place, these threads are to
be passed through the screw eyes fastened at the side of the cat’s head
at S and S, and brought around to the reverse side of cat’s head, where
they are tied together at the ends, thus forming a loose loop. Fasten
the cross-piece in the center to a central point above cat’s eyes, by
means of a screw-eye or ordinary screw, as indicated in diagram. This
forms the pivot on which the eyeballs move, and as it is necessary that
they move very easily, the cross-piece should not be fastened down too
firmly. When the linen thread is pulled at the right or the left by the
operator who sits on the reverse side, the eyeballs will move from side
to side. The piece forming the jaw is cut from pasteboard in a similar
way. Across the lower part tack a strip of wood. To the center of this
strip fasten the end of the cord, C, which is used to pull the jaw
down. Cut two pieces of elastic each 6 inches long, and fasten to jaw
at K and K, having first tacked another strip of wood across. Lay the
jaw in place over the cat’s mouth, in such a position that the teeth
of the lower jaw will meet the teeth of the upper jaw. While holding
the jaw in this position, tack the free ends of the elastic to the
cat’s head as shown in diagram. This must be done _without stretching_
the elastic. When the cat stands erect the jaw will now hang in place.
Pass the cord, C, through the aperture A, which has been previously cut
in the body of the cat. When it is desired to open the cat’s mouth,
pull the cord down; the elastics will cause it to spring up in place
again when the cord is not held. The aperture A should be cut through
the wood with a downward slant; if cut straight, the light would show
through the opening. Figure 3 shows diagram of eyelids. These are to be
fastened on the other side of the cat, the side on which the operator
sits. The figure, EL is cut from pasteboard and stiffened by a long
narrow strip of wood, running crosswise through the central portion. A
loop of cord is fastened at R and R. Two strips of elastic, each seven
inches long, are fastened at Z and Z. The eyelid piece is then laid
in place over the eyes, in such a position that the eye sockets are
entirely covered. Then the other ends of the elastics are tacked to the
cat’s head at V and V, or wherever the ends happen to lie when laid out
smoothly, without stretching. Fasten a screw-eye or hook at H in cat’s
body, and pulling down the loop of cord, hook it under the screw-eye
as shown in diagram, which will again leave the eye sockets exposed.
When it is desired to have the cat wink, unhook the loop, and pull the
eyelid piece up and down rapidly. When not using this contrivance,
always keep the loop hooked under the screw-eye, else the cat’s eyes
will appear to be closed. In regard to the tail—insert a stiff piece of
wire about 18 inches long, leaving the end of wire exposed for about 8
inches. Where the wire enters the tail at F, fasten it to the cat by
means of a staple but in such a way that it will move freely. To the
free end of wire fasten a piece of elastic nine inches long. Tack the
other end of this elastic to the cat’s body at E, as shown in Fig. 3.
Also fasten a piece of cord to the same end of wire, which may be used
to pull down the tail. It will spring up voluntarily as the elastic
draws it. The strip of fur is to be tacked all around the edge of cat’s
body, except around the feet, which would not show well in shadow if
surrounded by fur. When this is finished the cat is complete.
[Illustration: _Fig. 3._]
The operator should be quick but not nervous. To make the cat appear
life-like, he should keep all the mechanism at work as much as
possible, taking care to have her movements as much as possible in
harmony with the play. If he practises a little before the performance,
he can make the cat the center of interest. When the actors feed the
cat the operator should slowly pull down the jaw, and when the food is
received shut it again quickly. When the cat is supposed to speak the
operator should make the action of the jaw keep time with the words as
they are read. When any one approaches the cat, by moving the eyeballs
the operator may make it appear that the cat is looking in that
direction. A judicious amount of purring, growling, and hissing may add
to the interest, but it should not be too frequent.
SCENE I
[CAT _on pedestal appears at left of center_. MAIDEN,
FISHER, MAN WITH COD, _etc., all stand ready to
appear in proper order. The_ MICE _and_ LOBSTER
_are in place_.]
[Sidenote: Maiden walks slowly in, turns, and walks out.]
There stood a castle years ago
In Egypt by the Nile;
Within its walls a maiden dwelt
Whose heart was free from guile.
[Sidenote: Cat’s eyes roll, mouth opens and shuts, and tail wags.]
Within the castle also dwelt
A cat of high degree.
A Sacred Cat with yellow eyes
As big as big could be.
[Sidenote: Mice and rats run across stage, while cat wags tail.]
Her throne was on a pedestal,
—And there she always sat;
She was too dignified to run
To catch a mouse or rat.
[Sidenote: Eyes open and shut.]
She never blinked her yellow eyes
Except to give assent.
To her in trouble or in doubt
The household always went.
[Sidenote: Men enter with cream and fish, and after pouring out cream,
and offering it and the fish to the cat, disappear at further end of
stage.
Enter fisher with rod and line.]
The cream on which she daily fed,
Was in a silver dish;
And seven men were kept at work
Supplying her with fish.
[Sidenote: Eyes roll.]
The fisher, on his cunning line,
Brought in the eel and trout;
The cat beheld with greedy eyes,
And wagged her tail about.
[Sidenote: Man enters with cod, and lobster is pulled up by a string,
from below floor of stage.]
A cod, of size magnificent,
Was turned upon a spit,
And by it stood the lobster, which
Was always served with it.
[SCREEN THE LIGHT]