Drama Books

ACT I. Scene. The Doctor's consulting room. Ground floor, 13 Marmalade Street, Pimlico. (See Scene Plot.) (Aurora. the slavey, discovered laying out Doctor's letters lovingly on his writing table; she kisses each one as she lays it down—all are in blue envelopes.) Aurora. They're all for 'im—the dear doctor. Won't 'e be pleased when 'e comes back and finds all... 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...

At rise, is seen the entrance to a tent, out of which steps an animal-tamer, with long, black curls, dressed in a white cravat, a vermilion dress-coat, white trowsers and white top-boots. He carries in his left hand a dog-whip and in his right a loaded revolver, and enters to the sound of cymbals and kettle-drums.) Walk in! Walk in to the menagery,Proud gentlemen and ladies lively and merry!With avid... more...

ACT ONE SCENE: A Room in the Church Tower. Window shutters at back wide open, starlit sky is seen through windows. Background: Snow covered house-roofs; gable windows in the distance brilliantly illuminated. In room an old chair, a fire-pan and a picture of the Virgin, with a lighted candle before it. Room is divided by posts—two in centre thick enough to conceal an adult. Chant, in unison, from the... more...

ACT I SCENE FIRST (Setting is an attic and workshop of an artificial flower-maker. It ispoorly lighted by means of a candle placed on the work-table. Theceiling slopes abruptly at the back allowing space to conceal a man.On the right is a door, on the left a fireplace. Pamela is discoveredat work, and Joseph Binet is seated near her.) Pamela, Joseph Binet and later Jules Rousseau. PamelaMonsieur Joseph... more...

You once asked me why I did not write a Don Juan play. The levity with which you assumed this frightful responsibility has probably by this time enabled you to forget it; but the day of reckoning has arrived: here is your play! I say your play, because qui facit per alium facit per se. Its profits, like its labor, belong to me: its morals, its manners, its philosophy, its influence on the young, are... more...

ACT ISCENE I[Shows a primeval forest, with great trees, thickets in background, and moss and ferns underfoot. A set in the foreground. To the left is a tent, about ten feet square, with a fly. The front and sides are rolled up, showing a rubber blanket spread, with bedding upon it; a rough stand, with books and some canned goods, a rifle, a fishing-rod, etc. Toward centre is a trench with the remains... more...

HUGH HENRY BRACKENRIDGE (1748-1816) The battle of Bunker's Hill was an event which stirred whatever dramatic activity there was in America at the time of the Revolution. Therefore, a play written on the subject should not be omitted from a collection supposed to be representative of the different periods in American history and in American thought. The reader has an interesting comparison to make... more...

REMARKS. There seems to be required by a number of well meaning persons of the present day a degree of moral perfection in a play, which few literary works attain; and in which sermons, and other holy productions, are at times deficient, though written with the purest intention. To criticise any book, besides the present drama, was certainly not a premeditated design in writing this little essay; but... more...

ONE DAY MORE SCENE I. CURTAIN RISES DISCLOSING CARVIL and Bessie moving away from sea-wall. Bessie about twenty-five. Black dress; black straw hat. A lot of mahogany-coloured hair loosely done up. Pale face. Full figure. Very quiet. Carvil, blind, unwieldy. Reddish whiskers; slow, deep voice produced without effort. Immovable, big face. Carvil (Hanging heavily on Bessie's arm). Careful! Go slow!... more...