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FIVE PLAYS AND
FIVE PANTOMIMES
BY
SIDNEY BALDWIN


ILLUSTRATIONS BY
MARY ROSE DONOVAN
The Penn Publishing Company
Philadelphia
4 1925


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FOREWORD
THE PLAYS. These little plays are primarily designed to sup-
ply the need for children’s dramas that may be worked out with
out the necessity for long training, elaborate costuming or ex-
pensive accessories. The undoubted benefit that a child derives
from such plays is too often offset by the nervous wear and tear
of long rehearsals and the strain and fret of over much prepara-
tion.
It is the aim of this book to develop the small actor’s ingenuity
and imagination rather than to perfect his capacity for memor-
izing by repetition. The most radical point of difference between
this and other books of children’s plays is the substitution of
dances where songs have ordinarily been usedi—simple dances
for groups, individual pantomime dances for the separate char-
acters. The superiority of the dance over the song is rapidly
becoming recognized by modern child-educators everywhere, since
the dance provides a proper outlet for a child’s natural energy,
increases self-confidence, poise and ease of movement, and en-
courages self-expression, none of which benefits can be claimed
for songs.
These little plays will appeal to the children because in plot
and characters they belong to that border country between fact
and fancy in which little folk love to wander. No useless tarletan
fairies, these with tinsel wings and crowns, but kindly and gentle
spirits of familiar things—beings who exist, not merely to flutter
and posture like the conventional fairies of old fables, but to do
tender services for helpless flowers, to ride the rain-drops to the
603007


Foreword
aid of dusty grass or to lift and caress a faded violet’s drooping
head.
THE PANTOMIMES. A pantomime, a play without words, is
the skeleton of an idea that is to be filled out, given body and sub-
stance by the interpretation of the performer. As children are
quite incapable of fine self-analysis, only simple action is used in
children‘s pantomime. In the five pantomimes in this book the
responsibility for the action rests in large part upon the group
rather than upon the individual performers; thus, the child who
is slow of thought gains confidence and inspiration by the example
of his neighbor, and is encouraged to develop a suggestion which
he could never have originated by himself. "
The child should never for one moment be allowed to forget
that his every gesture is an important part of the whole story
and that unless his own action be clearly understood by the
audience, part of the story will be lost to them. The teacher
should remember this point particularly as she will find that the
child has a tendency to lessen the action until after repeated re-
hearsals the meaning of the gesture is lost through carelessness.
Tangible objects give the children a better grasp of the situa-
tion. A chair serves as a tree, or as a house. If a book is placed
where the flower is supposed to grow the little pantomimist can
gather honey much more realistically. The slower Child goes to
get honey from the blossoms that another child had just left, and
finds satisfaction in repeating the action which it could not have
created. They should be encouraged to add bits of action that
they think suitable. It is much easier to cut down at the last
than to build up. The idea should be over-emphasized rather
than not brought out enough. It must be constantly urged on the
children that the audience will not know what they are doing


Foreword
that the children may learn to associate the action with the music.
It is also better not to use music which has words that the chil-
dren know, as fairies and popular songs are not in entire harmony.
Phonograph records that are already owned may be used, or
others be borrowed, thus cutting down the expense of buying
particular records, which might be out of stock. All records are
too long for dances of this sort, but the music may be silenced
at the proper time.
THE DANCES. The dances in this book, though short, are as
long as it is wise to make them. Longer ones with a more in-
volved story- lose their clearness, and the interest of both the
actor and the audience. Once the idea is mastered, the children
can build their own dances, and take great pleasure in planning
and improving them. If the teacher desires, the dances may be
taught at first as a part of the class-room work. “How would
you dance if you were a fairy in the woods?” “How would you
ask a fairy to dance with you if you were a butterfly?” It is
then a simple matter to combine these dances in the regular pan-
tomime. '
As mob scenes on the stage are given more rehearsing than
any other part of the play, so the group dances, and especially
the pantomime dances must be gone over and over until there
is no .doubt in the last child's mind just what it is to do, both
alone, and in connection with some one else. You are often safe
in leaving little points to be decided by one child dancing alone;
you are never justified in leaving anything to the judgment of a
group. A simple action that almost any of them will perform
easily alone, utterly vanishes from their brains when they are act-
ing in concert, and as fear gradually spreads itself through a mob,


Foreword
so will forgetfulness grow in a group of children until the whole
action is lost, and their gestures turn into meaningless motions
while the teacher stands watching the havoc and powerless to
prevent it. Rehearse, then, and again rehearse. Go over the
action at their seats so they will think it as well as do it.
“James, what do you do first?” “I go and get a pick-axe.”
“Who else goes and gets a pick-axe when James does?” The
hands go up. The teacher scrutinizes them to be sure that they
are right. “What happens next?” And so on, until each child
can repeat the story without a mistake. After a drilling like this,
the teacher may feel reasonably safe. With children it is hard
to be perfectly sure what may happen, but if the music is playing
a strain which they associate with a certain action, and if their
lesson has been well learned, the pantomime will go on uncon-
sciously even after an unexpected interruption. I once saw a
group of children playing a pantomime game in the course of
which a cat walked out on the stage. The audience laughed; the
children looked to see what they were laughing at. They were
plainly disconcerted, and the pantomime stopped, but before any
older person could spring to the rescue, one of the children said
to the others, “Don’t stop, don’t stop!” and carried the cat off
the stage. .
I congratulated the teacher on their self control, and she told
me that the year before, a similar thing had happened and she
had had to drop the curtain after the children had forgottenctheir
entire action. “I made up my mind it wouldn’t happen again,
if I could help it," she said, “and I have trained these children so
that they can do the whole thing backward.” She had, for, the
interruption removed, the play went on without any lessening of
interest.





Contents
PLAYS
THE CHRISTMAS SPIRIT . . . . .
CHRISTMAS EvE . . . . . . .
MARJORIE’S GARDEN . . . . .
MOTHER NATURE’S TRUMPETER . . .
THE ENcHANTEo GATE . . . .
PANTOMIMES
THE CHRISTMAS ELVES .
THE INDIAN CAMP . .
THE SPIRIT or THE FROST .
THE QUEST OF THE BUTTERFLY
PAGE
I3
33
47
63
THE GROWTH or THE FLOWERS
81
89
99
III
12!


THE CHRISTMAS SPIRIT





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CAST OF CHARACTERS
THE CHRISTMAS ANGEL
SPIRIT OF THE FIR
H H H
H H U
(l H H
“ “ “ MOUNTAIN
H H H
FIRST SHEPHERD
SECOND SHEPHERD
MARCA
FIRST WISE MAN
SECOND “ “
THIRD “ “
ATTENDANTS
VILLAOERS
The simplicity of this little play makes it especially fit for the
over-crowded Christmas time. NO one character has many lines
to learn, and the action is simple. If there is plenty of time, re-
peated rehearsing will make the performance smoother.
Much more than in a play of the ordinary sort, the eerctiveness
may be marred by wrong lighting. Two-thirds Of the lights
should be shaded with royal blue paper, and the remaining third
in golden brown. This gives a mysterious air, and at the same
time lights up the scene so that the action can be followed. The
1


4 The Christmas Spirit
THE CHRISTMAS SPIRIT
PRELUDE FIRST
SCENE, a field, bordered by trees. In the foreground three shep-
herds lie asleep. Chorus behind scenes sings “Holy
Night.” As the song comes to its close, the Christmas
Angel enters. She stands at center of stage far enough
back so that the spirits, when they advance will be in front
of her.
El
ANGEL
BIRCHD El mou/vm m
ELMD [:1 rm
STREAME] D MA Pt 5
Tm: CHRISTMAS ANGEL.
Lo, all four winds waft happiness tonight!
The silent earth lies waiting for the star
To shine o’er manger mean in Bethlehem.
And I, the Christmas Angel, come before,
To call the nature world to give its love
To Him who comes as Saviour of the world.
0 Spirits of the Mountains, fields and streams,
I call you forthl
(The Spirits of the Elm, the Beech, the Maple, the Fir,
the Mountain, the Stream and as many other tree spirits as


The Christmas Spirit 5
are needed to fill the scene, silently step out from behind the
trees.)
SPIRIT OF THE STREAM (advancing slightly).
Dear Christmas Angel, has the time then come?
SPIRIT OF THE ROCK.
We long have waited for thee, and thy call.
ANGEL. TO-night is born the Christ in Bethlehem.
When shines the star, we there must take our way
To homage pay, and bear our living gifts
That we His children lay before our Lord.
What have ye, Spirits of the Woods and Fields?
ROCK (kneels). I bring my store of rock. Deep in my heart
Lie gold and silver. Jewels too I hold.
Men seek them night and day for royal gems.
These do I bring to lay before His feet. (Rises)
STREAM. My stream Of water pure I bring to Him.
See how it sparkles! Those are sunbeams caught! (Bows
head).
To Him who is the Giver of all life
I come to homage pay with living gift.
ANGEL. Thy gifts are welcome. But what of the Trees—
Why stand they silent? Spirit Of the Birch,
Are thy hands empty on this night of nights? (Advances).
SPIRIT OF THE BIRCH.
Dear Christmas Angel, I have naught but twigs
That yet are bare of bud. In three short months
The tender green and white Of my new leaves
Would be a fitting gift. But now I stand
With empty hands. I cannot give my all. (Retires.)


12 The Christmas Spirit
out at the end of the processional. As they rise, First Vil-
lager speaks.)
FIRST VILLAGER. How queer this is! He is no noble’s child!
Look how the light shines out about his head!
The Saviour can he be, in manger born?
Come, let us too pay reverence to the Babe.
(They go forward. Marca, who has been watching, kneels
where he stands, His head is bowed and he does not look
up till the Villagers have followed the rest. Then, he rises,
remembers the lamb under his arm. goes forward, puts the
lamb gently in the cradle, and, overcome by his own daring,
runs off stage after procession.
The Christmas Angel comes forward, gathers up the gifts
of the Spirits and the Wise Men and with them in her arms
comes to the front of stage.)
ANGEL. Giving again the gifts I go from here—
The Christ Child gifts that men and spirits gave.
You catch a glimpse of me, now here, now there,
In crowded street or pathway. Then, your hearts
Are lighter with the thought that I am near.
The Christmas Spirit, I am called by men.
But in my heart are greater gifts than these.
The angels sang of them when Christ was born,
And every Christ-tide they are born anew:
Good will and peace and love that lasts alway
I give to you throughout the whole wide world—-
To you whose hearts are sad with many cares,
To you whose lives are joyous through the years
I bear the message, beautiful and new
Glory to God in the Highest and on Earth
Peace and Good will to Men.
(Angel slowly exits.)





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Christmas Eve 17
cape of light blue, covering her from shoulders to feet. Elaborate
crown on head, surmounted by star.
COTTON.
Dress of white canton flannel with rough side out. Twisted
cotton should be used for trimming the neck and sleeves. Skirt
is caught up over a white cord, and a twisted coronet of cotton is
on her hair.
TINSEL.
White Greek costume, with tinsel trimming; costume heavily
falling to feet. Thread tinsel fastened at shoulders and falling
loosely to hem of gown. Crown of tinsel with thread tinsel falling
through flowing hair.
MIsTLEToa.
Blouse of white, trousers of green; one green, one white stock-
ing. Cap made of mistletoe leaves of green cambric with white
balls here and there. Carries spray of mistletoe.
HOLLY.
Jester’s costume of red and green. Cap trimmed with holly.
Carries spray of holly.
CHRISTMAS BALLS.
Boy. Yellow costume to knee, strung all over with the smaller
Christmas balls of all colors.
CORNUCOPIA.
Wears dress of grey cheesecloth to look like silver. Carries big
silver cornucopia.
MARSHMALLOW.
Costume made by swinging cords of boxes over shoulders.
Black arms and legs. Four sides to box. No hats. Square hat
boxes covered with white paper are the right size.


18 Christmas Eve
CHocoLATE CREAMS.
Round brown boxes. Collar of brown cambric that reaches to
edge of box, imitating top of candy. Black arms and legs.
POP-CORN.
White fluffy tarletan dress very full, five or six skirts each Shorter
than the last. Chains of popcorn worn around neck and crown of
pop-corn with strings hanging over the flowing hair. White stock.
ings and shoes.
CRANBERRIES.
Red skirts (or bloomers) and waists made like jumper blouses
worn over skirts. Strings of cranberries around neck. Red stock-
ings.
FRoST FAIRIES.
Loose white gowns of cheesecloth falling from neck to ankle,
and cut in points from the knee down. Big bag of frost hung over
right shoulder by tinsel strap and carried on left side. Small
crown of silver paper heavily coated with mica. Costume glitter-
ing with mica shaken on wet glue spots.
CANDY CANES.
White suits with red stripes running around. Carry big
wooden candy cane, striped red and white.
CHRISTMAS CANDLE.
Yellow cap cut to look like a flame. Grey blouse and knicker-
bockers. Carries pasteboard candle five feet high with flame at
top.


20 Christmas Eve
TINSEL (left center).
I thought those people would never go to bed! If they
had been five minutes longer, we should have lost our hour
of revelry.
CANDY CANE I. (on front left of stage).
I cannot walk. They broke off half my leg. I’ve been
looking everywhere for it. Now, I'm sure that that was
what one of them was eating.
CANDY CANE II. Better that than your head!
CANDY CANE I. Oh, that will go tomorrow when the children
come. I want my leg tonight!
(A crack is heard. Cornucopia rushes forward.)
CORNUCOPIA (back center; characters clear space in front of her).
I knew my side would break. They bent it when they
put me on the tree. And now my candy is all gone. (Cor-
nucopia comes to front left during dance.)
(Candy runs out from behind Cornucopia, Marshmallows,
Chocolate Drops. Dance. Tableau at end.)
DANCE OF THE CHRISTMAS CANDLES
MUSIC: SCHOTTISH.
FIRST FIGURE: Schottish in circle (eight measures).
SECOND FIGURE: Turn, schottish in circle opposite way (eight
measures).
THIRD FIGURE: Chocolates stand still. Marshmallows schottish
around circle, weaving in and out around Chocolates, reach
partner (four measures). Face partner; all 'silde lright
four steps (fifth measure), slide left four times (sixth meas-


Christmas Eve 2 I
are) ; turn around (se'venth measure) ; and bow (eighth meas-
ure).
FOURTH FIGURE: Chocolates schottish about Marshmallows.
Repeat second half of third figure (eight measures).
FIFTH FIGURE: Schottish in circle with partners (four measures) ;
reverse and schottish four measures (fifth to eighth measure).
SIXTH FIGURE: Chocolates on outside, schottish around circle
four times. Marshmallows on inside, face other way and
schottish around circle four measures. Re'uerse both, which
brings them back to partners.
SEVENTH FIGURE: Facing partners schottish in and out around
circle, Marshmallows going one way, Chocolates the other, and
passing first on the inside of the circle and then the outside
(weaving step).
EIGHTH FIGURE: All schottish off in line.
TINSEL. Who are those things?
CANE 11. (closing up space).
Those are candies. Cornucopia here has lost them from
her case.
(Tinsel goes up stage.)
CORNUCOPIA. I wish my side hadn’t brokenl
CANDY. Never mind. You will be whole tomorrow, when we
are smashed to bits for our contents.
CHRISTMAS BALLS (coming down center).
I can just see the rest of me by standing on tiptoe at the
window. The biggest mortal stepped backward on my box,
and then hastily gathered the broken pieces and took them


22 Christmas Eve
out to wait for the ash-man. I wonder how he’d enjoy
Christmas Day if half of him were thrown out! (Goes
back to window.)
POP-CORN (right center).
You’re not half as badly off as we are. How would you
like to be shaken over a hot fire till you burst in agony?
And then after that, to have your heart pierced with a
sharp needle? More than half my companions disap-
peared in the process, vanishing down throats! I don’t
think it is a Merry Christmas!
lCRANBERRY (with Pop-corn).
I sympathize with Pop-corn. I was not roasted, but I
was Strung, and hanging by a thread is not pleasant!
CHOCOLATE DROP (front, left side).
I’m sweeter than you are!
MARSHMALLOW. You’re not. I’m pure sugar.
CHocoLATE. The children like me better.
MARSHMALLOW. They do not. 1
(Chocolate and Marshmallow fight. )‘
CORNUCOPIA. Come, Come; this will never do! I shall put
you back in the case if you behave so!
(Cotton and Tinsel come down, center front.)
TINSEL (to Cotton). You are not very pretty, Cotton, all dead
white as you are. N ow, my glitter is much more effective!
(Mistletoe and Holly draw near to listen.)
COTTON. I am pretty. Mistletoe called me so just now!
TINSEL (sarcasticall y ) .
Oh !—Mistletoe!


Christmas Eve 23
MISTLETOE. Yes, I did, Tinsel. That is, to be exact, Holly said
I was going to say so. And I ought to be a good judge
of beauty. I see enough of it at Holiday time.
TINSEL. Oh! Then, if you are such a judge, which of us two
should hang higher on the tree? Those stupid mortals
have put a bit of cotton on the top-most limb—and that is
my place.
COTTON. It is not. I belong there.
MISTLETOE. But why quarrel? You have no power to get up
there now!
TINSEL. No, but it would relieve the Slight if it were acknowl-
edged that it is my place.
COTTON. It is not your place!
CHRISTMAS TREE (coming down center—all fall back).
Come come! what is this quarrel?
COTTON. Tinsel says that She should be higher on your boughs
than I am. I, who represent the snow which weighs down
your branches in the winter! Nothing could be higher than
that!
TINSEL. But I am the Frost-—
CHORUS OF FROST FAIRIES (scattered through crowd).
No, no! you are not!
Ist FROST FAIRY. We are the Frost Fairies, (coming forward).
we who come in green boxes labelled Diamond Dust.
We are the frost, Tinsel.
TINSEL. (discomfited).
True; I had forgotten you who never get higher than the
floor. Your fingers are too weak to cling to the tree, and


24 Christmas Eve
you fall off. But 1—1, who am the water, sparkling from
top toe in my frozcn splendor, hold so fast that the needles
leave the boughs sooner than I.
COTTON (sarcastically) .
But I who am still the snow, while Tinsel changes from
frost to water, I am in my rightful place, o’ertopping her.
Am I not, O Tree?
CHRISTMAS CANDLES. You! Oh ho! We can make way with
you in a second. But a touch of our flaming wick to your
dress, and Lady Tinsel would reign supreme. Oh! Ho!
(waves candle).
(Cotton shrinks. Tinsel stands her ground as candle approaches.)
TINSEL. You can not harm me, Christmas Candle. Come as
close as you like! I can hold my own!
CHRISTMAS CANDLE. Shall we burn up Cotton, Lady Tinsel?
It will take but a spark. Oh Ho!
COTTON. Keep your distance, sir! If there be talk of burning,
the Christmas Tree, himself, could not stand against your
mischief. Burning is no test.
TINSEL. (To Cotton): You are not beautiful! See how I
sparkle in the candle-light!
(Turns to show costume. Candle holds candle near.)
FROST FAIRIES. Lady Cotton shall sparkle too! We will help
her. She shall outshine you!
(Dance with Cotton in center. Fairies weave about her,
showering her with Diamond Dust. At end, she gets up and
preens herself.)


Christmas Eve 27
FIRST FIGURE: Two lines. Canes on one side. Candles on the
other; lines face. Step right (one), cross left foot behind
(two), step right (three) and hop (four), bringing left foot
up in front of right foot, as the hop is taken. Repeat left
(second measure); repeat whole six times.
SECOND FIGURE: Face front. Step on right foot (one), hop on
right foot (two), step on left foot (three), hop on left foot
(four). (First measure).
Repeat this step for eight measures, the leader turning
outside of his line and leading hack to the back of the line.
The First Candy Cane, and the First Christmas Candle cross
their cane and candle, and the others pass through this arch,
coming down to place.
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THIRD FIGURE: Repeat first figure with boys in new positions.
FOURTH FIGURE: Repeat second figure.
Continue repeating this until the last couple is leading.
These, instead of forming arch, turn in, and lead up the mid-
dle, and they form the arch the other way, so that the boys go
off stage through the arch, the fourth couple following last.


Christmas Eve 29
FOURTH FIGURE: Cranberries make the circle into a square and
sit cross-legged. They sway their bodies from right to left
all together, imitating the popper as it shakes over the fire.
The Pop-corns in the middle crouch, and at the first count
of each measure, one Pop-corn at a time, leaps up, and crouches
again, as Pop-corns do when they burst. Only one girl jumps
for each of the first three measures. For the fourth and
fifth measure two jump, one on the first, and one on the third
count. In the sixth and seventh measures three pop on the
first three measures, and on the eighth, the Pop-corns all pop
and run to their places in the line.
This action is 'very effective. The children must bob up and
down suddenly, so that they are ready to bob again. The
Cranberries, being the popper, must keep their motion steady.
FIFTH FIGURE: Pop-corns sit in circle and bow forward and back
Cranberries in a long line wind in and out the center of the
circle, running two steps and turning two out of every meas-
ure, to imitate the rolling of cranberries in a bowl. In the
meantime, a ball of red cord is passed from hand to hand of
the Pop-corns, and on the eighth measure the Cranberries run
to their place between two Pop-corms, and take their place on
the cord (eight measures).
SIXTH FIGURE: All skip 01f, holding the red card close to their
waists, as though they were strung on it.
DANCE OF THE CHRISTMAS ANGEL, THE CHRIST-
MAS TREE, COTTON AND MISTLETOE,
HOLLY AND TINSEL.
AlUSIC—llfinuet music. Minuet step used all through.
FORMATION: Christmas Tree and Angel in center at back. Holly


30 Christmas Eve
and Cotton on right of stage, Mistletoe and Tinsel on left.
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FIRST FIGURE: With minuet step, step right, tap with left toe
twice (one measure) ; step left, tap with right toe twice, start-
ing with the outside foot the partners advance toward center
of stage, the Christmas Tree and the Christmas Angel going
straight forward, the other two couples coming sidewise for-
ward. They advance for six measures; on the seventh they
face their partner and he makes a sweeping low bow, while
the lady bends low in a curtsey (two measures).
SECOND FIGURE: Partners face each other. Joining right hands
high, they step on the right foot, and tap the left twice, look-
ing at each other. Step on left foot advancing to partner’s
place, tap right twice. These steps are very small and six
are taken before the opposite place is reached. The last two
measures are taken up by the bow and curtsey.
THIRD FIGURE: Return to place, same step.
FOURTH FIGURE: Form a circle. The Christmas Tree crosses
right hand with Cotton, the Christmas Angel with Mistletoe,
and Holly with Tinsel.
With right hands they advance around this circle, letting
go, and bowing directly across circle to partner on last two
measures (eight measures).


Christmas Eve 3 I
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FIFTH FIGURE: Forming circle with left hands in center, they re-
peat step (eight measures).
SIXTH FIGURE: Holly and Cotton face Mistletoe and Tinsel.
Christmas Angel faces Christmas Tree. For six measures
Holy and Mistletoe and the Christmas Angel turn their part-
ners in the center, finishing in two lines. They bout) low on
last two measures.
They all face up stage, back to audience, Holly and Cotton
are behind the Christmas Angel; Tinsel and Mistletoe behind
the Christmas Tree. The Tree and the Christmas Angel
lead off with step up stage, and before the bow the bell strikes,
and the curtain falls quickly, as the last steps of the minuet
sound on the stage.
(Clock, at end, strikes one.)'
QUICK CURTAIN
(Curtain rises again, showing real tree trimmed.)





MARJORIE’S GARDEN
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CAST OF CHARACTERS
MARJORIE girl of ten.
THE FAIRY OF THE GARDEN girl of twelve or fourteen.
SUN boy of ten.
RAIN boy of ten.
Wesr WIND boy of ten.
SOUTH WIND girl of ten.
CLOUDS girls of seven.
FLOWERS girls of seven to nine.
MUSIC
A soft, dreamy melody for South Wind’s dance.
A more spirited dance for Rain.
COSTUMES
MARJORIE.
Little girl’s dress, not too elaborate.
THE FAIRY OF THE GARDEN.
Trailing gown of delicate blue, pink or lavender. Carries a
long flower wand, and wears a crown of tiny flowers.
SUN.
Bright yellow costume. Halo or rays around his head. Quiver
on back filled with yellow paper darts.
RAIN.
All grey, with long deep-fringed sleeves, and waist fringed t0
knees. Wears bag of raindrops. No cap.
35


36 Marjorie’s Garden
WEST WIND.
Suit of dark green.
SOUTH WIND. .
Dress of white floating stuff, flowers caught here and there, and
flowers in her long hair.
CLOUDS.
Grey dresses or suits with long grey scarves.
BUTTERFLY.
Light yellow, with long gorgeous wings stenciled with a copy of
butterfly spots.
FLOWERS IN THE GARDEN.
Costumes simulating the flowers they represent. They may be
all of one kind or may differ.
MARJORIE’S lGARDE'N
SCENE, a garden. All along the side stand a double row of flowers.
These have drooping heads.
'(Enter Majorie with a watering can),
MARJORIE. 'Oh, my poor pretty flowers. I do wish that the hot
sun wouldn’t shine so brightly. I am so afraid you will die
before the rain can save you. I’ll give you all the water I
can carry, but I am afraid that it won’t be enough.
(Holds water over flowers, going to fill can between each
twa. When she has gone over all of them, she stands back
'and watches them anxiously, but they do not revive.)
MARJORIE. I do wish I knew what to do for them.
'(She stoops down and pats the ground at their feet. Enter
the Fairy of the Garden.)


38 Marjorie’s Garden
FAIRY (agitatedly). The Sun! See, here comes the Sun himself 1
(Enter Sun, very proudly. Without noticing either Mar-
jorie or the Fairy, who stand watching him, he strides over
to the bed, and lays his hand on the shoulder of one of the
flowers.)
SUN. Come away, little flower, come with me. You have been
here quite long enough. I want to burn you up. (Flower
shrinks). Oh, you need not turn to your companions. By
this time tomorrow they will be gone too. I have let you
live too long already.
MARJORIE (running to him and shielding her face with one arm,
tries to push him away from the flower, but stops, as if he
were too hot for her). Go away, Sun. You shall not
burn up all my flowers. (Though she is not able to touch
him, nevertheless he is so astonished that he lets the flower
go, and retreats to the center of the stage).
SUN. And who are you, pray?
MARJORIE. I am Marjorie, the little girl who owns this garden,
and you shall not have my flowers. (Turns to Fairy).
Oh, Fairy, make him go away. He is too hot. I cannot
touch him.
FAIRY. He is too powerful for me, too, dear child. I am afraid
we must let the poor flowers go.
(Flowers stretch out their arms pleadingly toward Marjorie.)
MARJORIE. No, no! I will not! I won’t let him have' them i
(She runs in front of the garden bed, and stays between
Sun and the flowers, shielding her face, but preventing Sun
from getting near the bed. Sun astonished makes several


42 Marjorie’s Garden
Then she waves hands over flowers’ heads standing back of
them, occasionally laying her finger on lips, to insure perfect
quiet. When the last flower head has fallen forward, South
Wind slips from one to the other whispering in each flower
ear. Then she tiptoes away toward the Fairy and Marjorie,
and watches the flower bed from where she stands before she
speaks.)
SOUTH WIND. There, they are all fast asleep, and will sleep
for a long time. They are very tired, those flowers.
FAIRY. Yes, Sun has made up his mind he is going to have them.
Marjorie drove him away, but he will come back, and take
them.
SOUTH WIND. Sun is coming here? Then I must go away. He
and I are not friends at all. He makes the air so hot that
I cannot breathe, and then he laughs at me. Marjorie is
very brave to dare to stand against him. I have done all
I could for you, dear Fairy. You will let me go now?
FAIRY. Yes, South Wind, run away.
MARJORIE. Thank you so much, South Wind, for putting the
flowers to sleep.
SOUTH WIND. I will come and put them to sleep tomorrow, if
Sun does not take them away tonight. (South Wind goes
out).
MAJORIE. Sun shall not have them. He might be kind.
(Enter Sun; He goes straight for the garden, but Mar-
jorie gets in the way.)
SUN. (Angrily). What, you here yet! I told you before, I
mean to have those flowers. Now, if you do not go, I' shall


Marjorie’s Garden 43
have to hurt you. (Marjorie does not move; he darts to-
ward her.)
FAIRY. Take care, Sun! You know what will happen to you,
if you hurt a mortal!
SUN. I do not mean to hurt this mortal, but she need not get
in my way.
MARJORIE. (Still shielding her face.) You are dreadfully hot,
but you shall not burn my flowers!
(There is a battle between Marjorie and Sun. Twice he
tries to get at the garden, and twice she gets in his way. He
does not dare touch her, but tries to get past her. Each time
he retreats, to make a new start. She does not advance to-
ward him, but stands defiant, ready to block his path. The
third time, he gets by her, and seizes one of the flowers.
Her cries awake the rest of the flowers, who shrink away
from the spectacle of one of their number in the grasp of the
Sun.)
MARJORIE. (Holding flower’s other arm.) Let my flower go!
You shall not have her!
(Sun starts to drag flower away but drops her, at sight
of Rain who enters here. Flower falls to her knees; Marjorie
drags her back to the garden, and plants her. She is so busy
patting the earth around her feet, that she does not see the
entrance of Rain.)
SUN. How dare you come here! (Sun and Rain glare; Rain
comes down toward front.)
MARJORIE. (Clapping her hands, and running toward Rain.)
Oh, how good of you to come! You will help my poor
flowers.


44 Marjorie‘s Garden
FAIRY. (Dragging her back.) Come away, Marjorie. You
must not interfere. This will be a battle between two
deadly enemies.
(Battle between Sun and Rain. Sun starts to run Rain
of the stage, but Rain dodges. Sun has, for ammunition,
yellow paper darts, which he uses sparingly, whenever he has
a chance. Rain has a bag full of tiny, round balls, peas, pith-
balls or clay. They fight, slowly, never touching each other,
always trying to see if one cannot drive the other of the stage.
Once Rain is driven away, and Sun starts for the garden, but
Rain returns and he forces him to fight again. Finally, how-
ever, he forces Rain to the front of the stage. Rain has used
all his ammunition, and has no other resource, and Sun slowly
approaches him. Suddenly, from the back, rush in the Clouds.
They surround Sun, waving their scarfs in front of his eyes
till he is blinded, and turns dizzin around. Then they sur-
round him in confusion, pulling him this way, pulling him that,
blinding his eyes with a scarf, tying his hands, and finally pull-
ing him off the stage utterly routed.
West Wind hovers around the edge of the group, urging
them on, blowing them now here, now there. ds Rain follows
Sun off in triumph, West Wind turns to the Fairy.
WEST WIND. I found Rain and sent him here to try his skill with
Sun. Fearing that Sun would conquer, I brought along
the first clouds I found, and they did good service.
FAIRY. They did indeed, West Wind. Marjorie’s flowers havq
reason to thank you.
(Enter Rain.)
RAIN. There’ll be no sunset tonight, I promise you. Sun is go








'CAST OF CHARACTERS
DAFFODIL A girl, from ten to twelve years. A
good dancer.
NATURE A larger girl.
SUN A girl or boy from nine to twelve.
RAIN A girl same size as Sun.
WOOD-ELVES A number of boys from seven to nine.
VIOLETS Girls from ten to twelve.
SWEET PEAS Girls from ten to twelve.
APPLE BLOSSOMS Girls from seven to nine.
MUSIC
DANCE OF DAFFODIL.
Some melody soft, yet joyous. This cannot be played too low.
DAFFODIL’s CALL.
A chord of three or five notes, like a bugle call, which har-
monizes with the dance, and can be recognized as a separate strain.
The same chord is used always.
DANCE or THE VIOLETs.
Waltz.
DANCE OF THE APPLE BLOSSOMS.
Polka.
DANCE OF THE WOOD-ELVEs.
Spirited music, suited to elves.
49


50 Mother Nature's Trumpeter
DANCE or THE SWEET PEAS.
Waltz.
ENSEMBLE DANCE.
Two-four time, skipping.
COSTUMES
DAFFODIL.
Dress of very soft, green material. Waist falling in points
from belt to hem of skirt. Yellow hat, shaped like daflodil, with
the opening for face.
NATURE.
Dress of leaf green. Long brown cloak, and brown mob cap
White hair.
SUN.
Yellow dress. Yellow paper rays on head. Carries yellow
paper darts.
RAIN.
Grey dress, loose hair. Grey veil.
WOOD-ELF.
Grey bloomers and jumper waist. Leaves sewed or stenciled on
edge. Caps of leaves, green stockings.
VIOLETS.
Five purple petals on green skirts. Purple waists. Purple
caps made of five wired petals, violets shaped. Green stem on top
of cap. They carry long garlands of leaves.
SWEET PEAS.
Pastel shades of cheesecloth. One piece dresses. Long green
scarves over shoulders. Sweet pea bonnets to match dresses.
Green stockings.


5 8 Mother Nature’s Trumpeter
This is repeated three times, the ones on the side repeating
their step and swing.
FOURTH FIGURE: The two on the side waltz around each side of
the room to the center of the back. The center one goes down
to meet them. She takes their hands and together they
waltz up to the dias of Nature and make a low bow. This
will take about sixteen measures.
Sweet Peas, who are watching, clap their hands.
NATURE. Was that hard? You have only to grow, and my two
helpers, Sun and Rain (they come forward) will help you.
(Sweet Peas dance of with Sun and Rain in center.)
NATURE. Daffodil, are the rest of the flowers ready?
DAFFODIL. Quite ready.
NATURE. Then we must not delay longer. Sound the call!
(Daffodil blows the call. Then dances of the stage before
Nature who walks off slowly. The call sounds again, fainter.)
SCENE 11
(Before the curtain rises the call sounds.)
(The call sounds again of stage. It is Midsummer Day.
The Violets are sleeping in little groups by the side of the
stage. The Sweet Peas come stealing in in a group.)
FIRST SWEET PEA. I’m sure that was the call. Yet no one back
in the garden heard it, and no one here is stirring.
SECOND SWEET PEA. Are these the woods. I like them better
than a garden. I wish we grew here.
FIRST SWEET PEA. We may dance here, at any rate. I have


Mother Nature’s Trum eter 6!
P
SECOND FIGURE: lVith left hands across center, skip other way
eight times.
THIRD FIGURE: A and B go up to C and D with two marching
steps (one two) A bows to C, and B bows to D (three four)
C bows to A and D bows to B (one two) and joining A
and B they all walk back two steps. The four are now stand-
ing in a straight line (two measures).
FOURTH FIGURE: [Vith the nearest group of fours. The first
figure is repeated with partners. C and A are partners and
B and D. They face right, and the A of one group crosses
hands with B on the other side, and gives her other hatid to
her partner. B does the same with A and D.
FIFTH FIGURE: Second figure is repeated.
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SIXTH FIGURE: C, A, B, and D of one group take two walking stePs
which bring them in front of C, A, B, and D of the other
group. As in the third figure, one line bows, the other line





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The Enchanted Gate 67
THE ENCHANTED GATE


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SCENE. 11 lane.
Across the middle of the stage, set end to the audience
is a gate. One foot of wall is on the side toward the au-
dience. On the other side, the wall makes a corner. Out-
side, the place is bare. The butshes around the entrances
have neither leaves nor flowers. lVithin, the bushes are
thick with blossoms, the wall is covered with “cines, and the
whole place is beaultiful.
On one of the bare bushes a scarf is caught.
Enter Prince Thardof, carrying the cap of the Princess.
PRINCE. She came this way; I know she came this way. Here
is her cap Which dropped along the path. (Sees scarf)
—And this (takes it and examines it) this is her scarf she
wore to-day.
(Calls)
What ho, hallo! Hallo in there, hallo!
(Tries gate; shakes it. Elf tiptoe: out of woods on inside
of gate. Without coming to gate, peers out to see who is
there; looks for a minute and then runs back. Prince waits
impatiently to have him come.)
Hallo, come here (calls after him) I want to speak to you!
He does not heed me! Let me in, I say!


68 The Enchanted Gate
(Shakes gate again. Elf comes out again, runs into wood,
returns with second Elf and they stand there looking at him.)
Come here and open for me. Do you hear?
LOTA (the first elf) to HOLDUN, (the second).
He’s asking us to open it for him.
HOLDUN (chuckling). He wants to come in where the Princess is!
THARDOF. The Princess! Then she is here! She is found!
Open this gate I tell you! Will you not?
Then I’ll climb over it, or pull it down!
(Attempts to climb over it, but fails. Then, he shakes
it violently. Elves attend to the garden, paying no attention
to him. The Elf King enters.)
ELF-KING (to Elves, angrily. The Elves are afraid of him.)
What means this noise? How dare you touch the gate?
LOTA. We have not touched it, master.
HOLDUN. (No, not we!)
’Tis he who tries to break the lock and hinge
Because the gate swings not at his command.
(Elf King strides toward gate where Prince is still stri'ving.)
ELF-KING. What would you, sirrah! Stop that deafening din!
THARDOF. You call me sirrah? Who dares call me that!
ELF-KING. Who dares to fumble at my gateway here. I’ll have
no trespassing upon my ground!
THARDOF. Your ground! My ground! My father is the king.
This country is his kingdom. Turn this lock!
Some one has coaxed the Princess from her play,
And I am here to find her. Let me in!


The Enchanted Gate 69
ELF-KING. Wait, not so fast. I am the ruler here.
Go ask your father if this land is his.
If he says aye, tell him to prove it here.
If he can say to me, ‘Give back the maid,
And I pay homage,’ wide the gate will swing.
PRINCE. Then she is safe. The Princess is unharmed!
Oh, I will go to find him. He will come.
You shall not hold her in your horrid place.
The palace grounds are gay with flowers sweet;
This place is bare and ugly. She will grieve
If left for long where she has never been.
You tempted her to wander by your tricks.
She always was too trusting. I will go! (turns)
(Enter the King, his father, and his retinue.)
KING. Have you learned of the Princess, O my son?
The heralds that we sent have failed us all.
None find a trace of her.
PRINCE (eagerly). Oh, I have found
See here—her cap,—her scarf! She came this way!
She is in there, but why I do not know.
Tell him to open to us this locked gate!
ELF-KING. Yes, tell me, King! Command the lock be turned.
The Prince, your son, says you rule all this land.
I wait your signal. Will you say it me?
(The King turns away, silent. The Prince stands looking
at him, wonderingly. The nobles of the retinue draw closer
to comment on the situation, and the Elf King stands in front
of his gate, arms folded, defiant.)
FIRST NOBLE. The King is silent. Why does he not speak?


70 The Enchanted Gate
KNOTHAIRE. He cannot! Long ago, the story goes,
This place was free from all the elfish band
Until the King, once—heedless—made a pact
That he should give—for certain worthless work
The elves could do—this land, and never rule
Again this bit of kingdom. Ever since
There has been strife.
FIRST NOBLE. But can our King n’er gain
His royal rule? Must this barred gate stand here?
That mocks him when he stops in front of it?
KNOTHAIRE. I do not know. I think there is a charm
That must be broken. But ’tis long ago.
My grandsire told the story. Hush! the King!
(They draw back to position as the King turns.)
KING. I must submit. Here, I am powerless.
This gate will never yield its lock to me. (Turns to
gate.)
But this I ask you, not as royalty—
But as a searcher who has lost his heart,
For such the little maiden was to me A
And would have been still more if she had stayed.
I pray you tell me, is the Princess there?
ELF-KING. Since you do not command, and since your son
Though yet impetuous, is daring brave
To save his trials, I will answer you.
Now listen!
(The stage is 'very still as the King and his followers strain
their ears to listen. From the elf woods comes the sound
of the Princess’ voice. No words can be heard. No one
moves till the song stops.)


The Enchanted Gate 71
PRINCE. Her voice; it is the Princess—and she sings!
She is not happy! No, she cannot be!
Why, she has none of us to play with her!
How can she sing!
KING. Hush, son. You do not know.
The elfin ways. A trick that may have been.
(The court listens again, and the song grows softer.)
ELF-KING. No trick, 0 King. The Princess wanders here.
We have her safe, and she shall not be harmed.
She is our princess and we hold her dear,
And she shall rule us, when she older grows.
PRINCE. No! No! My Princess shall not be your queen!
She came from far to us to learn our ways.
Oh, tell him, Father! We must have her back!
KING. O Elf King, though I know you do not hold
Our ways and customs more than thistledown
Which you may waft on any passing wind,
Still I beseech you. She is still so young
Naught does she know but flowers and blue skies,
And when our Prince, my son—our royal heir-—
Had grown to man’s estate, she was to be—
PRINCE. (Breaking in) : ‘She is to be’ say, rather!
(I will not)
No, never! give her up! Here will I stay.
That gate must open some time. I will wait,
And when it does, I’ll find my little maid.
For she will grieve if she is left alone.
This place is barren. She has naught to do.
ELF-KING. You see your own side. Ours is beautiful.


72 The Enchanted Gate
But still, to ease your minds, the gate shall swing,
For one brief moment, while you look on us.
(Prince prepares to dash in, but is held back by an unseen
force, with which he struggles. The gate swings inward
toward Elfland, then swings back, and clangs shut.)
FIRST NOBLE. There flowers grow, and I saw butterflies.
How difierent from this place. The palace yard
Is not so blossoming, or not so wide.
KING. Come, my son. You may not linger here.
Our princess we have lost. You must not grieve.
PRINCE. Is there no way to rescue her? No way?
KING. No way. The elves have done their scheming well.
Back to the palace drear to mourn for her!
(The men stand in line while the King passes out. The
Prince also bows, and while his father's back is turned, goes
to the end of the line. Knothaire steps out of his place,
and the line goes on without him. As the Prince looks back
at the gate, Knothaire approaches him.)
KNOTHAIRE. Your Highness, I think there is yet a way.
Before my grandsire died, he often talked
Of olden tales in which these elves played parts.
He babbled of a charm which power had
To break the elfin spell and give the land
Back to the Kingdom it was taken from.
In some old book turned yellow, whose thin leaves
Are breaking with the weight of many years
Might not some mention of this charm be made?
PRINCE. In truth there might be. I will go and search,
And you, good Knothaire, stay you here and watch.


74- The Enchanted Gate
Princess wandering out of wood, her arms filled with flowers.)
PRINCESS. \Vhat lovely flowers. I may pick them all.
Yet here I have enough. I‘ll let them grow.
Now, I’ll make garlands for my hair and dress.
(Sits down; weaves flowers.)
I need more green! (Sees Frog) I pray you, Master Frog,
Get me some leaves from off the bushes there.
FROG. I cannot, Princess. I must guard the gate.
PRINCESS. Oh, dear! I’ve strewn my flowers all around.
Can you not leave the gate, good Master Frog?
(Frog shakes head. Princess gathers flowers in her dress;
goes over and gets her leaves. Comes back and sits down
under the wall, in front of gate. She weaves her garlands,
humming as she works.
Prince enters from other side. He brings a huge book.)
PRINCE. I have found it. I have found the charm.
It is so simple, yet so very hard—
(reads)
“IF MORTAL MAID MAY OPEN GATE TO
MAN,
THEN ELVES MUST FLEE TO ’SCAPE THE
KINGLY BAN."
So says the book—’tis old, but very clear.
Look you! (he shows book—they read it).
KNOTHAIRE. The Princess sits in there. I heard her come:
And you may hear her humming if you will.
(Prince listens. Says slowly.)
“If mortal maid”—the Princess mortal is—


The Enchanted Gate 77
KNOTHAIRE (detaining him). Oh, no, he is a wanderer. Oft
he sits
For hours singing songs and chanting lays.
He is not harmful. See, these slugs are big!
(Frog eats.)
(Princess, busy weaving half listens, dropping her work
slowly as Prince talks.)
PRINCE. My Princess, can you hear? I pray you think
How you and I—it was but yesterday—
Were playing in the courtyard in the sun.
You said, “When I am queen, I will do thus l”
Do you remember?
PRINCESS. Am I dreaming now?
PRINCE. Will you come back to courtyard games again.
You are enchanted in the Elf-King’s thrall.
Break off the spell that binds your memory;
Swing in the gate—
FROG. “The gate!” What says he now?
KNOTHAIRE. Oh, he but dreams. Shall I go in the wood?
The slugs are thick.
FROG. Would your friend guard the gate?
KNOTHAIRE. Aye, that he would.
FROG. Then I will go with you.
I will return.
PRINCE. Oh, Princess, try the gate!
PRINCESS. It seems as though I hear a voice I know.
There are no people here. Who can it be?
































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84. The Christmas Elves
MOTHER.
Dark house dress.
SANTA.
Usual costume.
DOLLS.
White dresses, red sashes (cambric) red bows on hair—red
stockings.
SOLDIERS.
Military clothes. Cap and sword would be suflicient. The
dolls must be very stiff-legged.
SANDMAN.
Brown doublet and knickerbockers—long feather in small brown
cap. Bug on hip—brown stockings. Pointed tips to shoes if pos-
sible.
ELVES.
Red bloomers, green pinafore jerkins, red stockings. Belt of
red. Small red pointed cap with sprig of holly in it and paper
bell on end—larger paper bell on belt.
(If the dolls are to be elves, the girls may wear red skirts over
their dresses. The waists would be alike for girls or boys.)
DIRECTIONS
This pantomime may be very naturally done. The game of tag
at the beginning must be spirited. The children go constantly from
one part of the stage to the other. The boy never really catches
the girl, but only follows her trying to get her, so she need not
wait for his move, but must lead. The mother's part of the pan-
tomime has nothing unusual in it. She should be at all times dig-
nified.


The Christmas Elves 85
The Sandman dance, like all the rest of the pantomime dances,
must be constantly rehearsed. If it can be done often in front of a
new audience who point out the first place the meaning is not clear,
the dance will be more eflective. It is very easy to suit the music
to the steps, omitting or rearranging a little.
The dolls’ dance, and the first entrance of the elves are as simple
as form dances can be made. The children find no trouble in fitting
the motions to the music. It is harder for small children to keep
stifl than an older person realizes, and these dances were made
short for that reason.
Every elf, in the last part, must have his own work to do. Some
bring in the presents, some fill the stockings, some trim the tree.
But every one must know just what he does, and just when he does
it, and this order should never be changed in rehearsing unless
it is final, else there will be moments when only one child is moving
and others, a bit later, when there will be a mad scramble.
THE CHRISTMAS ELVES

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SETTING—A nursery—two beds, two tables, fire-place in center
back. Back of fireplace hung with thick, full black curtain
—divided in center to make entrance.


88 The Christmas Elves
plain what they dreamed. Dance as dolls danced. Point
to fireplace. I
MOTHER points to bed. Children run to bed and get in.
Mother tucks up.
Sleigh bells outside. Children listen. Mother pretends
not to hear—children lie down. Mother lea-ves room—-
sleighbells. Children sit up, shake heads. Lie down. Sleigh-
bells. Children sleep.
SCHOTTISH. Santa peers through fireplace. Enters. Elves
enter in two lines. Prance around bed. Santa goes to
girl’s bed—writes list. To boy’s bed—repeat. Hands one
list to leader of each side as elves go out.
Elves return, bringing packages, tree, etc. Some trim
tree, others fill stockings. When work is finished, they leap
to back of room. -
Elves exeunt—through fireplace—Santa first, or hold tab-
leau as curtain falls.








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The Indian Camp 93
both hands straight above her head, as high as they will
go (pose) ; then slowly lowers them to the side straight out
from the shoulder, palms up (pose) brings them around to
the front, palms still up (pose). Then she drops them,
and goes back to the tent.
The warriors come out, bound for an early morning hunt.
As they step out from the tent opening, they at once face the
east, and give the ceremony of greeting, not together, but
as they come, without paying any attention to each other.
Then they prepare for the hunt. They take down their
bows from the side of the tent, where they hang, and try them
to be sure that the strings are strong. One or two shoot a
trial arrow into the sky. When all is ready, the Chief steps
from the wigwam. They stand still while he gives the cere-
mony of greeting and then behind him, go off in the forest,
single file.
11s they go, the women come out. They do not greet the
sun, but go at once about the daily duties. These are por-
tioned off, so that each knows just what she is to do. Some of
them go for water. At one side stands a big jar, made by
covering the sides of a small hogshead with brown paper, and
coloring it in imitation of the pottery. Some of the women
carry water in smaller jars to fill this. Some of them build
the fire, pretending to light it by twirling a stick in a gro'ved
stone, or by blowing the ashes till they flame up. If matches
are used they must be handled as inconspicuoust as possible.
Some grind the meal between stones, and go for the water
which the others have brought in, to wash it. Outdoors the
washing can be done, but inside it must only be suggested.
When the meal is ground and moistened, it is spread on flat


94
The Indian Camp
stones before the fire. The fire burning, one woman stays to
watch it and the others go for short excursions into the wood
bringing back a few sticks each time. It is to be impressed
on the children that they are not to leave the stage for long.
Some of the women bring out the papooses in their papoose
cradles, and hang them on the trees, or the sides of the
tent. These places should be prepared beforehand.
When the work is all done, the women fall to work at their
manual work, baskets, bead work, pottery, etc. At no time
must the stage be lacking motion, however. Now, one crosses
to fill a cup to moisten her day. Now, another goes into
her tent for more ra/fia. A good bit of action would be to
have a smaller child tip over the mother’s bead box and be re-
proved for it, while the mother tries to pick up the beads.
Suddenly, they all look off. The warriors are coming home.
The women put their work away and stand at the back of the
stage, out of the warriors’ way, waiting for them.
First comes the Chief, who goes directly to the entrance of
his tepee, and stands there, arms folded, viewing the scene.
Next, come two of the warriors bearing a litter on which,
under heaps of green leaves they carry the body of the deer
which they have shot. This is so covered as not to be visible
at all. After them, follow the rest of the band. One Indian
goes to the tom-t0m(which may be a drum, with its bright col-
ors concealed) which two of the women have carried to a place
directly in front of the litter, in the center of the circle, He
sits cross-legged before it, and waits till the warriors are all
in a circle around him. Then he commences to beat the tom-
tom.
The real Indian dance is simply varying forms of rhythm.





THE SPIRIT OF THE FROST.





its. .


106 The Spirit of the Frost
and so on till all six have passed. The sixth couple have
passed under the arch made by the other five. This takes
sixteen steps.
THIRD FIGURE: When all are in their places, the sixth couple step
forward and the ten other girls move directly out into a circle,
stepping backward with same step point. At the same time,
they swing their wands in toward the circle. Each center
girl holds five wands in her outside hand. This takes eight
steps.
IE
EH3
II!
Number twos pass on the inside of number ones, and on the
outside going back.
Repeat this step, with number ones advancing and number
twos retreating.
Repeat from the first of the second measure.
FOURTH FIGURE: Dancers face with left hand in center.
Step left, posing body forward on left foot (as in first
figure) (one measure) ; step back on right, pointing left foot
in front, swinging garland in left hand across body (second
measure); waltz twice beginning with the right foot (third
and fourth measures); step right, swing left and repeat three
times (fifth to eighth mealsures).


The Spirit of the Frost I07
Repeat three times, each time advancing a quarter way
around the square.
FIFTH FIGURE: Repeat second figure.
As dance is nearing the close, Summer looks down the Path-
way and hastily gathering her daisies about her departs. A
few of these, as the dance ends, run to Roses and try to pull
them away. The Roses stop, turn to look and, frightened,
run of the stage, just as the Autumn elves run on. These
carry pots which are supposed to contain yellow and red paint
and big brushes. They chase the flowers, brandishing their
paint brushes, and rub these over one or two of the last
flowers. When all the flowers have disappeared, they go to
work to transform the scenery. They carry bunches of aa-
tumn leaves, which they put on the bushes. Some of them
pull down the summer vines and put up autumn ones. This
is done in such a manner that it appears that the Elves are
turning the green ones, not taking them down and putting
others in its place. This work goes on busily, till all the
scene has an autumn tinge and then one Elf looks off, runs to
his companions, pointing off. These turn and look of, point-
ing and nodding to each other, showing in pantomime that
some one is coming. They run to the very edge of the scenery,
and sit cross-legged around the- scene, while Autumn and her
attendants come in.
Autumn comes in ahead of the attendants. She walks to
the center of the throne, and takes her seat, while the Golden-
rods follow, standing in two lines each side of the throne.
The chief of the Elves brings up a heap of autumn leaves for
her inspection, and shows her (in pantomime) that they have
finished their work. Autumn slowly looks around, then nods


108 The Spirit of the Frost
approval, and the Elf retires. Then, the Goldenrod form
a semicircle, in front of the throne and kneel, with hands out-
stretched as if asking a favor. Autumn bows her head as if
granting it. The Goldenrod bend their heads in obeisance
and then rise.
SIXTH FIGURE: In circle, ten girls step point eight times, facing
right. Center girls turn as their wands turn.
SEVENTH FIGURE: Ten girls turn left and come back to places.
EIGHTH FIGURE: The two center girls each go to a position be-
hind the center girl 0f the five whose wands she holds. At
Elli]
.- a---_-—.--‘
Elm
El
El
0.0.0000.
..Onn.---Q‘
.___ _____ E]
the same time, the ten girls form in two straight lines of five
girls, facing the audience. They carry their own wands.
From the line formation the three center girls on each side
step forward so that their final position is in a small circle with
the center girl nearest the audience and the girl who held the
wands opposite her.
The circle is big enough so that there is plenty of room
around them for Jack Frost.
At close of Goldenrod dance, Jack Frost runs to center





CHARACTERS
BIG BUTTERFLY Girl of twelve.
SECOND BIG BUTTERFLY Girl of twelve.
12 to 24 FAIRIES Girls from 10 to 12 years.
12 to 24 WOOD-ELVES Boys or girls from 10 to 12.
12 to 24. BUTTERFLIES Girls from 7 to 10 years.
MUSIC
For the Fairies’ dance till the entrance of the Wood-elves—
Waltz.
For the Wood-elves—Skipping Tune four-four time.
For the Butterflies—two-four or six-eight time. Smooth music.
COSTUMES
BUTTERFLY.
White cheesecloth, stenciled around the edges like butterfly spots.
Soft wings fasten in the back, and reach to the fingers where they
are held by threads. The two big butterflies have gorgeous wings.
The rest of the flock are less elaborate.
FAIRIES.
Pastel shades of tarletan over white, or dainty colors, pink over
lavender, lavender over blue, etc. Flowers around the neck and
sleeves and worn in the hair, also flowers dotting the dress.
WOOD-ELVES.
Green bloomers and green jerkins trimmed with autumn leaves.
Tight green cap, edged with leaves.
113


118
The Quest of the Butterfly
times when a butterfly, who has been flying by, and who wishes
to dance with them enters the ring. At once the dancing stops,
while they wait for her to go away, because, they, being fairies,
do not dance with any other folk. She asks first one, then
another to dance, by raising her wings high and standing per-
fectly still in front of her, but, though some of them try
to get their neighbors to dance with her, by gently pushing
them forward, they all refuse, and wait till she goes away
before they continue. But the Butterfly is rather stupid, and
cannot see why she is left alone. One of the fairies has a
brilliant idea. “If we pretend we are asleep, perhaps she
will go away.” So she flies around the circle, whispering her
thought to each, and as she passes, they drop down. The
Butterfly cannot understand it, because a moment ago they
were up and dancing, and she curiously goes around to each
fairy, peeping at her, as she lies asleep. They are very still
while she looks at them, but as she passes on, they watch her
from beneath their eyelids hoping that she will go away.
But the Butterfly is persistent. ,The fairies were dancing
before, and they will dance again. She will wait. So she
stands patiently in the center of the ring, and the fairies, see-
ing that they cannot get rid of her. jump up and attempt to
dance, but as she constantly gets in their way, they at last, as
she approaches first one, then the other, fly away to the woods,
leaving her alone.
By this time the wood-elves have heard the music. They
romp through their dance, paying not the slightest attention
to the Butterfly, who tries her best to play with them. When
they too disappear in the forest, the Butterfly is so sad that
she hides her face. _





CHARACTERS
FROM TWELVE To TWENTY WOOD-
ELVES Eight to ten.
IA THIRD AS MANY FLOWERS AS
ELVES Girls from six to eight.
As MANY FLOWER FAIRIES A8
FLOWERS lFrom ten to twelve.
SUN Girls of twelve.
RAIN Girl same size.
EAST WIND
WEST WIND Girls of twelve.
SOUTH WIND
NORTH WIND
MUSIC
Light quick music for the wood-elves, a skipping tune. This
goes on through Sun and Rain’s pantomime.
The music changes to a waltz as the flower fairies enter. This
lasts till the end, unless the pianist wishes to introduce new themes
for the winds.
COSTUMES
WOOD-ELVES.
Green jumpers and blouses. They carry either a rake, a hoe or a'
spade.
123


124 The Growth of the Flowers
FLOWERS.
Dresses of pastel shades. Long brown cloaks that cover them.
Square of brown cambric over their heads when they enter.
FLOWER FAIRIES.
Dresses of leaf green, with flowers in their hair and here and
there on their dresses.
SUN.
Yellow dress, with halo and darts in quiver.
RAIN.
Grey dress with long grey veil that is caught on head and comes
down to tips of arms.
WINDs.
Grey floating dresses, with scarfs of different colors.
SOUTH WIND. White scarf with flowers caught on it.
WEST WIND. Grey scarf.
EAST WIND. Blue scarf.
NORTH WIND. Black scarf.
The elves prepare the ground for the seeds, and plant the
seeds. Sun and Rain do their part toward making them
grow, and the flower fairies come in to take care that they
learn their lessons well. They show them how to meet the
advances of the winds which will blow on them, and finally,
having taught the flowers their lessons, dance away, leaving
the flowers gaily nodding and waving in the breeze.
THE GROWTH OF THE FLOWERS
The space is clear.


The Growth of the Flowers 127
was joyous, she is more dignified and quiet. With a last
wave of her cloud toward the stage, she leaves the stage going
backward and waving her cloud as she goes.
The Flower Fairies enter. They dance in and out, join-
ing hands, dance in twos and threes around the seeds, three
of them dancing around one seed, then dancing over to another.
At last they break up and dance, each fairy directly to her own
flower.
They stoop down, and pull off the square over the flower
head. The flower has her head in her lap, her face down,
and her hands under her chin. The Flower Fairy stoops
down and whispers in one ear (pose). She gets all the way
up, and then stoops down and whispers in the other car
(pose). Then she stands quietly behind the flowers, while
they very slowly raise their heads, and their arms, bringing
them up like growing lea'ves. When their arms are in the
air, the fairies dance around and sit down in front of them,
but a little to the side, so that the audience sees the front,
the flowers and the side back of the fairy.
South Wind comes in, and the Flower Fairies wa've their
arms just a bit, in the air, to his soft breezes. The flowers
do not do this, but just watch. Then West Wind comes, and
the Flower Fairies wave harder, bending from their waists.
Then East Wind comes, and the cutting blast reaches them,
the Flower Fairies cower, their heads buried in their arms, to
escape the blasts.
Then North Wind comes, and the Flower Fairies freeze,
falling on their sides.
This is repeated, and the second time the flowers go through
their lesson, the fairies also repeating it. Again, it is repeated,


I28
The Growth of the Flowers
but the third time the Flower Fairies take their places be-
hind their flower and only watch.
After the North \Vind has gone out for the last time, the
fairies dance around to the front of their flowers, and giving
them their hands, help them to their feet. Then they dance
before them and the flowers imitate their dancing. As soon
as each flower is dancing alone, the Flower Fairies dance away
into the forest, and leave the flowers swaying and dancing
where they have grown.
THE END





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