Drama Books

Excuse me, sirs, I pray—I can't yet speak—I'm crying now—and have been all the week."'Tis not alone this mourning suit," good masters:"I've that within"—for which there are no plasters!Pray, would you know the reason why I'm crying?The Comic Muse, long sick, is now a-dying!And if she goes, my tears will never stop;For as a player, I can't squeeze... more...

IN THE SHADOW OF THE GLEN A PLAY IN ONE ACT SCENE.—{The last cottage at the head of a long glen in County Wicklow. Cottage kitchen; turf fire on the right; a bed near it against the wall with a body lying on it covered with a sheet. A door is at the other end of the room, with a low table near it, and stools, or wooden chairs. There are a couple of glasses on the table, and a bottle of whisky, as if... more...

CLYDE FITCH (1865-1909) Clyde Fitch brought a vivacity to the American stage that no other American playwright has thus far succeeded in emulating. The total impression of his work leads one to believe that he also brought to the American stage a style which was at the same time literary and distinctly his own. His personality was interesting and lovable, quickly responsive to a variety of human... more...

MISALLIANCE Johnny Tarleton, an ordinary young business man of thirty or less, istaking his weekly Friday to Tuesday in the house of his father, JohnTarleton, who has made a great deal of money out of Tarleton'sUnderwear. The house is in Surrey, on the slope of Hindhead; andJohnny, reclining, novel in hand, in a swinging chair with a littleawning above it, is enshrined in a spacious half... more...

FIRST ACT SCENE Morning-room in Algernon’s flat in Half-Moon Street.  The room is luxuriously and artistically furnished.  The sound of a piano is heard in the adjoining room. [Lane is arranging afternoon tea on the table, and after the music has ceased, Algernon enters.] Algernon.  Did you hear what I was playing, Lane? Lane.  I didn’t think it polite to listen, sir. Algernon.  I’m sorry... more...

SCENE I.—The Library Enter SURFACE and SERVANT SURFACE. Mr. Stanley! and why should you think I would see him?— you must know he came to ask something! SERVANT. Sir—I shouldn't have let him in but that Mr. Rowley came to the Door with him. SURFACE. Pshaw!—Blockhead to suppose that I should now be in a Temper to receive visits from poor Relations!—well why don't you show the Fellow... more...

ACT I SCENE 1 A small railway station near London. Time: Ten years ago. BERT'Ow goes it, Bill? BILLGoes it? 'Ow d'yer think it goes? BERTI don't know, Bill. 'Ow is it? BILLBloody. BERTWhy? What's wrong? BILLWrong? Nothing ain't wrong. BERTWhat's up then? BILLNothing ain't right. BERTWhy, wot's the worry? BILLWot's the worry? They don't give... more...

ACTORS' DESCRIPTION OF CHARACTERS Margaret Chalmers. Twenty-seven years of age; a strong, mature woman, but quite feminine where her heart or sense of beauty are concerned. Her eyes are wide apart. Has a dazzling smile, which she knows how to use on occasion. Also, on occasion, she can be firm and hard, even cynical An intellectual woman, and at the same time a very womanly woman, capable of... more...

INTRODUCTION The three plays here presented were the outcome of a period when Björnson's views on many topics were undergoing a drastic revision and he was abandoning much of his previous orthodoxy in many directions. Two of them were written during, and one immediately after, a three years' absence from Norway—years spent almost entirely in southern Europe. [Note: Further details... more...

THE FIRST ACT One of the city gates of Pekin. Over the gate, planted on iron poles, a row of severed heads with shaven crowns and Turkish tufts. TIME: Shortly after sunrise. When the curtain rises the gate is closed. From within the roll of drums and military commands. BRIGELLA. (Behind the scenes.) Halt! Present arms! TRUFFALDINO. (Behind the scenes.) Halt! Slope swords! Open the gate! At ease! Quick... more...