HOW TO BE A GOOD RADIO ACTOR The play in this book has actually been produced on the radio. Possibly you have listened to this one when you tuned in at home. The persons whose voices you heard as you listened, looked just as they did when they left their homes to go to the studio, although they were taking the parts of men and women who lived long ago and who wore costumes very different from the ones we wear today. The persons whose voices you... more...

JAMES NELSON BARKER (1784-1858) In a letter written to William Dunlap, from Philadelphia, on June 10, 1832, James Nelson Barker very naïvely and very fully outlined his career, inasmuch as he had been informed by Manager Wood that Mr. Dunlap wished such an account for his "History of the American Stage." From this account, we learn that whatever dramatic ability Mr. Barker possessed came from the enthusiasm created within him as a reader... more...

MRS. MERCY WARREN (1728-1814) Most of the literature—orations as well as broadsides—created in America under the heat of the Revolution, was of a strictly satirical character. Most of the Revolutionary ballads sung at the time were bitter with hatred against the Loyalist. When the conflict actually was in progress, the theatres that regaled the Colonists were closed, and an order from the Continental Congress declared that... more...

THE FLUTTER OF THE GOLDLEAF Scene: Laboratory in the attic of the Warner cottage. At right, toward rear, entrance from down-stairs. A rude partition, left, with door in centre. Window centre rear. Large kitchen table loaded with apparatus. Shelves, similarly loaded, against wall near table, right. Wires strung about. A rude couch, bench, and several wooden chairs. Time, about 8 p.m. Lamp burns on table. Mrs. Warner comes up-stairs, puts her... more...

ACT I SCENE—Living-room of CURTIS JAYSON'S house in Bridgetown, Conn. A large, comfortable room. On the left, an arm-chair, a big open fireplace, a writing desk with chair in far left corner. On this side there is also a door leading into CURTIS' study. In the rear, center, a double doorway opening on the hall and the entryway. Bookcases are built into the wall on both sides of this doorway. In the far right corner, a grand piano. Three... more...

THE 'Contrast' was the first American play ever performed in public by a company of professional actors. Several plays by native authors had been previously published, the more noteworthy being the 'Prince of Parthia,' a tragedy by Thomas Godfrey of Philadelphia, which was probably written, and was offered to Hallam's company in 1759 (but not produced), and was printed in 1765, two years after the author's death.[1] A comedy called the... more...

ACT I A drawing-room at the Hunters', handsomely and artistically furnished. The woodwork and furniture are in the period of Louis XVI. The walls and furniture are covered with yellow brocade, and the curtains are of the same golden material. At the back are two large windows which give out on Fifth Avenue, opposite the Park, the trees of which are seen across the way. At Left is a double doorway, leading into the hall. At Right, opposite, is a... more...

COSTUMES. The simplicity of the costuming as well as of the stage setting makes the play an easy one for amateurs to produce. The dress of the four school girls should be as modern as possible. Their hair should be elaborately arranged. Hippolyta should wear the dress of an Amazon, armor if possible, or a short skirt, sandals laced high with crossed strings, waist to match the skirt, a crown, and a shield on the left arm. The shield can he... more...

MR. AND MRS. EDWARD ROBERTS; THE CHOREWOMAN Mrs. Roberts, with many proofs of an afternoon's shopping in her hands and arms, appears at the door of the ladies' room, opening from the public hall, and studies the interior with a searching gaze, which develops a few suburban shoppers scattered over the settees, with their bags and packages, and two or three old ladies in the rocking-chairs. The Chorewoman is going about with a Saturday afternoon... more...

STEELE MACKAYE (1844-1894) When one realizes the sociological purpose behind Steele Mackaye's "Paul Kauvar; or, Anarchy," it is interesting to note how inefficient the old form of drama was to carry anything more than the formal romantic fervour. Compared with John Galsworthy's treatment in "Strife" and "Justice," it makes one glad that realism came and washed away all the obscuring claptrap of that period. Daly, Boucicault, and their... more...