GIFT OF TLi!lI DEPT. ST. NICHOLAS BOOK OF PLAYS & OPERETTAS PSYCH. LIBRARY ST. NICHOLAS BOOK OF PLAYS OPERETTAS YORK : PUBLISHED II Y THE CE1STTITRY CO. 1905 Copyright, 1874. 1876, 1877, 1880, 1881, 1882, 1886, 1888, 1890, 1892, 1894, 1897. 1898, 1899, by THE CENTURY Co. Copyright, 1900, by THE CENTURY Co. Gift J. F. TAPLEY GO. New York PUBLISHER'S NOTE The plays and operettas here as- sembled were published originally in " St. Nicholas," some of them a quar- ter of a century ago. u The Ballad of Mary Jane" and certain others have been called for again and again, and five or six have been reprinted in pamphlet form . Their popularity has suggested the making of the present volume, which contains all of the pieces that have been in most demand. CONTENTS PAGE THE MODERN AND MEDIEVAL BALLAD OF MARY JANE 1 ACTING BALLADS 15 THE HOUSE OF SANTA CLAUS .... 23 MOTHER GOOSE OPERETTA 36 THE LAND OF NOD 41 THE GIANT PICTURE-BOOK 72 SHADOW-PANTOMIMES 81 THE MAGIC SWORD 93 THE FALSE SIR SANTA CLAUS .... 109 A SIXTEENTH-CENTURY CHRISTMAS .... 139 CHRISTMAS EVE AT MOTHER HUBBARD'S . . 153 A LAWN DANCE FOR LITTLE PEOPLE .... 173 DICKY DOT AND DOTTY DICK 180 AN OLD ENGLISH FOLK-SONG 190 HAYDN'S " CHILDREN'S SYMPHONY "... 196 A TOPSYTURVY CONCERT 200 THE CHANGELING . . 202 ST. NICHOLAS BOOK OF PLAYS AND OPERETTAS ST. NICHOLAS BOOK OF PLAYS AND OPERETTAS THE MODERN AND MEDIEVAL BALLAD OF MARY JANE BY HENRY BALDWIN This is a shadow-play, which can be performed in any parlor. A sheet is hung between the audience and the performers, who, by the proper arrangement of light (which can best be attained by experiment), throw their shadows on the sheet. Somebody hidden from the audience reads the ballad aloud. IT was a maiden beauteous Her name was Mary Jane j To teach the district school she walked Each morning down the lane. [She passes and repasses behind the curtain. Well skilled was she in needlework, Egyptian she could speak, Could manufacture griddle-cakes, And jest in ancient Greek. 1 31\ NICHOLAS PLAYS AND OPERETTAS It was the stalwart Benjamin, Who hoed his father's corn ; He saw the lovely maiden pass, At breaking of the morn. [He enters at left. Deep sighed that bold, admiring swain ; The maid vouchsafed no look She munched a sprig of meetin'-seed, And read her spelling-book. [She enters at right, and halts. THE STALWAKT BENJAMIN. A low obeisance made he then ; Right bravely did he speak : " There is no rose so fair," he said, " As that upon thy cheek ! " And many a brooch and silken gown Will I bestow on thee, If thou wilt leave thy father's house And come and marry me." THE BALLAD OF MARY JANE Then proudly spake that lovely maid : " Thy corn-patch thou may'st till ! I haste to teach the infant mind, On yonder lofty hill. THE BEAUTEOUS MAEY JANE. " Though never golden brooch have I, Though silken gown I lack, I will not wed an husbandman, So take thine offer back ! " HE TORE IN HIS RAVEN LOCKS." ST. NICHOLAS PLAYS AND OPERETTAS Oh, fiercely blow the icy blasts When winter days begin ! But fiercer was the rage that filled The heart of Benjamin ! He tore in shreds his raven locks, And vowed he 'd love no more. " Smile on," he cried, " thou haughty maid ; Thou shalt repent thee sore ! " The lady turned ; she did not speak ; Her tear-drops fell like rain ; [Tears represented by small pieces of paper. Those plaintive words at last did pierce The heart of Mary Jane ! II Oh, blithely sang the soaring lark ; The morning smiled again j Up rose the sun, with golden beams, And up rose Mary Jane. [The lark should be made of pasteboard, and a string, passed through his body, should be stretched diagonally across the sheet. By another string fastened to his head, and running over the upper nail, he may be made to soar. The sun should rise by a string passed over a nail in the center, and at the top of the framework on which the sheet is stretched. The lark should be about as large as the sun. THE BALLAD OF MARY JANE HE SUN. THE SOARING LARK. She gat her to her daily task, As on the former morn ; Alack ! she spied not Benjamin A-hoeing of the corn. [Enter Mary Jane. No longer, as she trips along, Her merry songs she sings ; The tear-drops dim her pretty eyes, Her lily hands she wrings. 1 "And art thou gone, sweet Benjamin? Ah ! whither hast thon fled ? My spelling-book has charms no more j I would that I were dead ! " But soon her bitter moan she ceased ; She viewed her doughty knight, Delayed not many leagues from thence, And in most grievous plight. ST. NICHOLAS PLAYS AND OPERETTAS For as lie to his husbandry That day would fain have passed, A monster cow his path beset, And sorely him harassed. THE COW HARASSES BENJAMIN. Upon the summit of a wall He sits, and dares not flee ; The awful beast its sprangling horns Doth brandish frightfully. [The cow, made of pasteboard, should be fastened to a broom-handle, and poked in from one side. The smaller the cow the better. " Oh, Mary Jane ! " he cried, " if you But love me, do not stay To weep, but lend a friendly hand, And drive the cow away ! " Her apron then she quickly takes, And wipes her streaming eyes ; Not quicker melts the morning dew Than to her love she flies. THE BALLAD OF MARY JANE The monster turns at her approach, It shakes its ample tail ; Take heart, O Benjamin ! thy love Will neither quake nor quail. MART JANE WAVES HER PARASOL. Her parasol that venturous maid Exalted o'er her head, Thrice waved it in the air, and lo ! Straightway the monster fled. Then tarried not that joyous pair Fond vows of love to make, But to the house of Mary Jane Themselves they did betake. [As the cow runs away, Benjamin gets down and approaches Mary Jane till almost close to her. Then, if both lean forward, the ST. NICHOLAS PLAYS AND OPERETTAS RESCUED! above affecting tableau is produced. They then take hands, and the lamp is moved slowly to one side and obscured ; this gives them the appearance of walking, and allows the father to enter ; after which the lamp is moved back, and the lovers reenter. And out spake grateful Benjamin : " Forsooth, I had been dead, Had Mary Jane not saved my life And her I fain would wed." Up spake her aged sire then; Full wrath fully spake he : " How darest thou, thou popinjay, To ask such thing of me ? " For wert thou but a millionaire, Then would I not demur ; Now thou art but an husbandman, And she a school-teacher ! n THE BALLAD OF MAEY JANE 9 Oh, sorely, sorely, did they grieve ! The cruel parient's heart Inflexible as stone remained, And they were torn apart. [He motions them apart. THE AGED SIRE IS WRATHFUL. Ill And now has come Lord Mortimer, A-suing for her hand ; A richer nobleman than he Is not in all the land. Upon his lordly knees he sank, On bended knee he fell ; " And wilt thou not, fair Mary Jane, Within my castle dwell ? 10 ST. NICHOLAS PLAYS AND OPERETTAS " Thou walkest now with weary feet, But thou shalt ride in state ; And dine and sup, like any queen, Off my ancestral plate." LORD MORTIMER. Right scornfully that angry maid Her dainty nose upturned ! She waved her lily hand, and thus His tempting offer spurned : 1 GET HENCE ! AVAUNT ! I SCORN THY GOLD." THE BALLAD OF MARY JANE 11 " Get hence ! avaunt ! I scorn thy gold, Likewise thy pedigree ! I plighted troth to Benjamin, Who sails the briny sea." [Exit Mortimer ; enter father. " Nay, verily," her father said ; " Braid up thy golden hair ; Prepare to die, if thou wilt not For nuptials prepare ! " [Flourishes a pasteboard knife. THE FATHER ENTERS. She braided up her golden hair With jewels bright, eft soon j She clad her in her twice-dyed gown, And eke her thrice-patched shoon. " Oh, Benjamin ! Oh, Benjamin ! " Was all that she could say j She wist not but that he was dead, Or thousand leagues away. 12 ST. NICHOLAS PLAYS AND OPERETTAS IV Alack for Mary Jane ! the knife Hangs glittering o'er her head ! Before the altar, Mortimer Waits his fair bride to wed. " Who knocks upon the outer gate ? Oh, father, quickly hie ! " ' 'T is but the grimy charcoal man ; We have no time to buy ! " HER SHRIEKS NO MERCY WIN!" " Methinks I hear the area-bell ; Oh, father, quickly speed ! " " 'T is but a pesky book-agent ; Thou hast no time to read ! " THE BALLAD OF MARY JANE 13 The fatal knife descends, descends ! Her shrieks no mercy win ! When lo, a shout ! the door gives way! In rushes Benjamin ! I NOW RETURN, A TRILLIONAIRE." "Full many a year, a pirate bold, 1 7 ve sailed the Spanish Main ; I now return, a trillionaire, To claim thee, Mary Jane ! " Out spake her happy sire then : " Can I my eyes believe ? Upon your knees, my children dear, My blessing to receive ! " Alas for luckless Mortimer, Of love the hopeless dupe ! He gave up all his title-deeds, And joined a circus troupe. 14 ST. NICHOLAS PLAYS AND OPERETTAS But merrily the bells did ring, Loud was the cannon's din, Upon the day when Mary Jane Was wed to Benjamin ! [A low step-ladder, or table covered with a cloth, may be used for the wall. Mary Jane's bonnet can be made of a newspaper. Her father may wear a waterproof cloak, belted in, if a dressing-gown is not obtainable. ACTING BALLADS BY AMY LOVELL IN the long winter evenings, when lessons are all learned, supper eaten, and while bedtime is still a good way off, there comes a pause which is (or should be) " known as the children's hour.' 7 Everybody is a little tired. Boys and girls stretch themselves again, and wish there were something pleasant to do. If there is not anything pleasant to do, the yawns in- crease, the pause becomes first dull, then quarrelsome, and the evening ends unpleasantly, or the boys sidle toward the door and invent errands to the store or the post-office, which lays the foundation of a habit of being out, and of various mischiefs. Now, there are plenty of pleasant things which can be done to fill up this unoccupied hour. The boys and girls can play at chess, backgammon, or cards. Don't be shocked, dear papas and mamas, at the word " cards." Cards are not in themselves harmful, and almost all young people are likely to play them sooner or later. It is a thousand times better that they should do so at home as a permitted amusement, than away from home, with the feeling that they are indulging in a guilty pleasure which they must hide from you. There can be reading aloud from some really entertaining book. There are parlor games of all kinds, and some which tax the wits a little without 15 16 ST. NICHOLAS PLAYS AND OPERETTAS tiring them. There are candy-pulling, corn-popping, roasting apples by a string, telling stories round the fire, piano kaleidoscope, acting charades. And, easier than charades, and better fun, there is acting a ballad, about which I particularly want to tell, because it is new to many of you, and in the long winter evenings you may like to try it. ^ Acting a ballad does not require as much prepara- tion as acting a charade, because the movement is all in pantomime, and is regulated by the movement of the ballad chosen. It is necessary, of course, that all who act should know the ballad, or should read it over carefully several times, so as to be prepared for what is coming, and ready to express by their ges- tures and faces what is supposed to be going on. Many who have not confidence to act in a charade will find that they can do this easily, for no ready wit is needed, and it often is much easier to follow a course laid out for you than to invent one of your own. If there is a piano in the room, and any one who can sing, the ballad should be sung slowly and dis- tinctly, with an accompaniment which introduces an imitation of the sounds of wars, storms, guns, or whatever else may transpire in the ballad. If not, it must be read or recited, taking care to pronounce clearly and give due emphasis to the words. The characters must come in at the proper moment as the singing or reading progresses, and time their move- ments to the movement of the story. The ballad chosen should always be one in which there is little relation and as much action as possible. Campbell's ACTING BALLADS 17 ballad of " Lord Ullin's Daughter " is a good example of the sort of ballad to choose. " The Young Lochin- var " is another, and that pretty poem, " Old Mistletoe Bough/ 7 which is always successful, giving as it does opportunity for quaint groups and sudden changes of scene. Others, which I have never seen acted, but which could not fail of effect, are Tennyson's ballads of " The Lord of Burleigh " and " Lady Clare." None of these are funny ballads, although the improvised scenery, dresses, and stage properties will naturally lend a flavor of comedy to them as they are enacted. In entertainments of this sort, grace should be con- sulted as well as comedy, and there is a wide differ- ence between burlesquing a poem and acting it with just that tender edge of fun which gives piquancy without marring the intention of the poet. As an example of comical ballad-acting, let us take Campbell's "Lord Ullin's Daughter," a poem with which most of you are probably familiar. It requires four principal performers, and two or three assistants, who remain out of sight, or by the courtesy of the audience are supposed to be so. The curtain rises, revealing the ferryman in his boat. There is no need of an actual curtain; a blanket shawl hung on two gimlets answers the pur- pose perfectly, or if there are two connecting rooms a door can be opened and shut. As real boats are not easily obtainable in parlors, it will be well to make a substitute out of two large clothes-baskets, which will furnish convenient accommodation for three per- sons. There must be footstools or boxes for seats, and beneath the boat large traveling- shawls or table- 18 ST. NICHOLAS PLAYS AND OPERETTAS cloths should be spread, which the assistants at the sides of the room can shake to imitate the movement of waves slightly at first, but more and more im- petuously as the story goes on. The boatman is naturally in shirt-sleeves or in a jacket or greatcoat, while pokers or yardsticks will suffice for oars. The other characters are the lady, her knight, and the father. The poem begins thus : A chieftain, to the Highlands bound, Cries, " Boatman, do not tarry ! And I '11 give thee a silver pound To row us o'er the ferry." During the singing of this verse the chief and lady enter. The chief shows the boatman a piece of money. He is dressed in hat and tall feather, with a plaid shawl arranged to represent the Highlander's plaid, and is armed with a bread-knife or pistols; he also carries a valise, bandbox, and umbrella. The lady should be attired in a wide hat and waterproof cloak, and should carry a bird-cage, a work-basket, and a parasol. Second verse : " Now who be ye, would cross Lochgyle, This dark and stormy water?" " Oh, I 'm the chief of Ulva's isle, And this Lord Ullin's daughter." This is all in pantomime, of course. The boatman calls attention to the stormy water, as the waves rise, ACTING BALLADS 19 and strives with gestures to dissuade them from crossing. Third verse : " And fast before her father's men Three days we ; ve fled together ; For should he find us in the glen, My blood would stain the heather." Here the lady is terrified and shudders, looking imploringly at the boatman. He goes on with much action through the next : " His horsemen hard behind us ride ; Should they our steps discover, Then who will cheer my bonny bride When they have slain her lover?" The boatman consents to receive them, and bustles about as preparing the boat. The lady clings to her lover and looks anxiously behind. Next verses : Out spoke the hardy Highland wight : "I '11 go, my chief ; I ; in ready. It is not for your silver bright, But for your winsome lady. "And by my word ! the bonny bird In danger shall not tarry ; So, though the waves are raging white, I '11 row you o'er the ferry." They hurry their luggage into the boat; the lady gets in ; the chief and the boatman remain standing, and look back for the pursuers. But now the storm increases; the gas should be lowered, and the piano accompaniment should be a 20 ST. NICHOLAS PLAYS AND OPERETTAS low, dull roll in the bass, with occasional nigh, wild notes to represent the water-spirit. By this the storm grew loud apace, The water- wraith was shrieking ; And in the scowl of heaven each face Grew dark as they were speaking. But still as wilder blew the wind, And as the night grew drearer, Adown the glen rode armed men Their tramping sounded nearer. A tramping should be made in the hall, gradually approaching the terror of all in the boat increases. " Oh, haste thee, haste ! " the lady cries, "Though tempests round us gather; I ; 11 meet the raging of the skies, But not an angry father." The boat has left a stormy land, A stormy sea before her When, oh ! too strong for human hand, The tempest gathered o'er her. The lady clings to her bird-cage; the chief puts down his umbrella wide open, and feebly assists in the rowing. The waves increase, and the tramping approaches nearer. And still they rode amidst the roar Of waters fast prevailing. Lord Ullin reached that fatal shore ; His wrath was changed to wailing. Here Lord Ullin rides in on a chair or cane, with cloak and feathered hat. He is armed with a lance, ACTING BALLADS 21 which can be improvised from a yardstick. Seeing the fearful situation of things, the distracted parent rides frantically up and down, imploring their return, his steed curveting excitedly. For, sore dismayed, through storm and shade, His child he did discover ; One lovely hand she stretched for aid, And one was round her lover. "Come back ! come back ! " he cried with grief, "Across this stormy water; And I '11 forgive your Highland chief, My daughter ! O my daughter ! " The gestures of the stern father must show how intense is his anxiety. The boat reels. One by one the things are thrown overboard bird-cage, valise, umbrella, and work-basket. Even these sacrifices are in vain. The boatman endeavors to turn the boat. 'T was vain the loud waves lashed the shore, Return or aid preventing ; The waters wild went o'er his child, And he was left lamenting. The entire boat and its contents toss and reel, until they at last all topple over, and are supposed to be submerged in the wild waters; the waves (shawls) rise, and finally cover them from sight. The father remains frantically riding to and fro, wringing his hands, and enacting the most intense despair. At last he rides off, while the others emerge from their watery graves, and the curtain falls, let us hope, amid "immense applause." 22 ST. NICHOLAS PLAYS AND OPERETTAS Ingenuity is essential in converting to use mate- rials that some would think of no avail, but which others quickly adopt. Thus an open umbrella be- comes an apple-tree with an apple stuck on each point, a shovel and poker make a fair violin, while a muff-box or a saucepan does duty as a military hat. This is much better fun than to have the real things. What is more amusing than the play in " Midsummer Night's Dream," where a lantern represents moon- shine, and somebody takes the part of a wall, holding up his fingers to make a cranny for the lovers to whisper through ! Both for winter and summer evenings ballad-acting can be made an available entertainment. Even in the woods at a picnic, one could be easily arranged, the bushes serving as screen and green-room for the char- acters, and the stage appointments being furnished out of the lunch-baskets and the wearing-apparel of the audience. THE HOUSE OF SANTA GLAUS A CHRISTMAS FAIKY SHOW BY EDWARD EGGLESTON ARRANGEMENT OF THE STAGE The stage, shown in the diagram, is about fifteen feet deep by twenty in width in its main portions. It may vary considerably from these dimensions, according to the size of the hall or Sun- day-school room. The room in this diagram is supposed to be forty feet wide. The stage should not be less than twelve feet in depth nor loss than fifteen in width. The portions of the Front of Stage. PLAN OF THE STAGE. stage represented at B and /may be on the same level of the main platform, or B may be higher or lower, and /an incline. The beauty of the stage is greatly enhanced by surrounding it with a fence of pop-corn. The upright posts should be bits of lath eighteen inches high, the lower end nailed to the edge of the platform, and the whole wrapped with strings of pop-corn. Then draw two strands of the corn from post to post, to repre- sent the horizontal rails. At * there should be a gate with a 23 24 ST. NICHOLAS PLAYS AND OPERETTAS pointed arch over the top. This should also be of lath, wrapped with pop-corn. There should be three strands in the gate and a diagonal brace. The pop-corn fence is not essential, but it is a great addition to the beauty of the scene, giving the stage a weird and fairy-like appearance, and contrasting finely with the dark green behind. At x, x, two small Christmas trees may be planted. The house A is nine feet in length and six in depth. It should be about six feet high at the eaves. The frame is of THE GATE. studding, and it is first covered with lath nailed six inches or more apart. Cedar boughs are then so interwoven as to entirely cover it. The roof is thatched in the same way. At e there is a chimney made by knocking out both ends of a packing-box such as is used for shoes. The box is kalsomined or painted to look like stone ; cleats are nailed around this chimney near the top, to imitate ornamental stonework. The box is securely nailed to the timbers of the house, and there is a ladder inside the house, so arranged that the lad who represents Santa Glaus can put his head and shoulders out at the top. At b there is a THE HOUSE OF SANTA GLAUS 25 doorway two feet wide, in which is a door on hinges. Make it an open frame covered with pink tissue-paper. The window c, is two feet square and made like the door, but intersected with strings of pop-corn for sashes. Over the doorway b is a trans- parency like a transom. It reads " Santa Claus," arid is lighted by a lantern behind. The house should be provided with a door-bell. Every precaution must be taken against fire. The house should stand about two feet from the wall, and the back may be left open. At a, a, two pumpkin faces illuminated are suspended or put upon any support that may be found convenient. At B there should be either a miniature tent or a dense arbor of evergreens. If the tent is used, a Chinese lantern may be suspended on the top outside. CHARACTERS, COSTUMES, ETC. SANTA GLAUS should be a boy of fourteen or sixteen years of age, -with good acting qualities, especially a sense of drollery. He should have any appropriate costume, wig, mask, etc. He carries a snuff-box and a red or yellow handkerchief. He is also provided with a whistle. The DWARFS are boys of ten or twelve years of age. They wear masks and a red tunic of paper-muslin, stuffed, to give them a hunchback appearance. They carry staffs, little tin trumpets, stoop as they walk, and speak in a squeaky fal- setto. Their stations are just inside the house, at h, li. They appear from behind the house in every case except the very last. The FAIRY QUEEN should be a little girl of from six to nine years of age, dressed in gauze, with wings of the same material. Stripes or stars, or spangles of gold paper, add to the effect of her dress. She wears a coronet and carries a wand. The COMMITTEE should consist of three girls in ordinary dress. They are represented by X., Y. ; and Z. in the following dialogue, but their real names should be used instead of the letters. Z should be a rather small girl. 26 ST. NICHOLAS PLAYS AND OPERETTAS PRELIMINARY ARRANGEMENTS The superintendent or pastor conducts the introductory exer- cises from some point in front of the stage. No one must be seen on the stage until the dialogue begins. At the time of beginning, the house A conceals Santa Claus and his two dwarfs, and a grown person who has charge of the lights and who acts as prompter. There is no light on the stage except that in the transparency over the door, and that in the pumpkin faces. There are a large number of tapers or lamps inside the house, carefully arranged to avoid the danger of fire. These are not lighted until the signal is given in the dialogue. The fairy queen is concealed in her bower at B, with some one who has charge of her, and an automatic music-box, that stands upon the floor of the platform, wound up and ready to be started at the proper time. The committee of girls sit in the audience, and not together. After appropriate introductory exercises, a teacher rises in his place and speaks in substance as follows : TEACHER. Mr. Superintendent, I see some very pleasant decorations here, but no presents or refresh- ments for the scholars. I move that a committee of three be appointed to go up to Fairyland and inquire of Santa Claus. I would like to know why this Sun- day-school has been left out. ANOTHER TEACHER. I second that motion. [Superintendent puts this question to vote, and declares it carried, in due form. SUPERINTENDENT. I would appoint let me see- girls are better at coaxing than boys, I think I will appoint X., Y., and Z. [catting the girls by their real names], who will please come forward. [X., Y., and Z. rise from their places in their several classes, and come forward to the superintendent. THE HOUSE OF SANTA GLAUS 27 SUPERINTENDENT. Girls, you see we are without any candy or anything of the sort for our scholars. Old Santa Glaus has forgotten us. He never did so before. Now I want you three to proceed to Fairy- land and see if you can find him. Tell him we must have something. Don't come down without some- thing. We can't have all these children disappointed. [The committee proceed by the steps to the stage. They stop to examine the first pump- kin face. Z. What a strange face ! Wonder who it is ! Y. One of Santa's tricks, I suppose. X. They do say that he 's full of fun. But this must be his house. Let 's find the door. [All proceed to the front] Here it is. Y. Is n't it cute ? I 'd like to live here. Z. And play dolly-house? X. Here 's a door-bell. Santa Claus has all the latest improvements, I declare. Y. Ring it. Z. No, don't; I 'm afraid. X. Pshaw! Santa never hurts anybody. Don't you see his name over the door? [Rings. After a pause.] I wonder he don't answer. Maybe he is n't at home. Y, Gone sleigh-riding, as sure as I live ! Z. I guess he 's gone to bed. Maybe his mama would n't let him sit up late. X. Let 's look around, and see what we can find. You two go around that side, and I '11 go around this. See if you can't find him in behind the face that 's hanging up there. 28 ST. NICHOLAS PLAYS AND OPERETTAS [X. goes to the left, around the house, while Y. and Z. go around to the right. They proceed timidly to the back of the house, out of sight of the audience, whereupon the dwarfs blow sharp blasts upon their horns, and the girls all rush back to the front of the house. X. I 'm so scared ! Y. AND Z. Oh, dear ! I 'm so scared ! X. What could it be ? Guess old Santa Claus made that noise just for fun. I wish the superintendent had come himself, or sent some of the boys ! Y. I '11 bet the boys would run from that noise. Don't you ? X. Yes. Boys never are as brave as girls, anyhow. But let 's go back again, and see what there is there. Z. I 7 m afraid. X. Well, you stay here, and Y. will go that way, and I will go this way. [X. again goes to the right, Y. to the left. They proceed more timidly than before to the rear of the house, disappearing behind it. The dwarfs blow their horns, the girls reappear, crying out in alarm, and the dwarfs run out after them. The girls hurry back to the front of the house, followed by the dwarfs one coming round one end of the house, the other round the other. They speak in high, squeaky tones. FIRST DWARF. What do you want ? SECOND DWARF. What are you doing here ? X. We want Santa Claus. But we did not know there were two Santa Clauses. [The dwarfs laugh long and loud. THE HOUSE OF SANTA GLAUS 29 FIRST DWARF. We are not Santa Clauses. We are the dwarfs that take care of Santa Claus's store-rooms, full of goodies aud presents. SECOND DWARF. But there 7 s nothing left to take care of now. Santa 7 s given away all he had this Christmas. X. But we must see old Santa. Our Sunday-school has been left without anything, and we want to see good old Claus himself. FIRST DWARF. But you can't. He >s asleep. SECOND DWARF. He was out all night last night, and now he ; s tired to death and sleeping like a top. Thunder would n't wake him. X. But we must see him. Y. AND Z. Yes, we must. SECOND DWARF. If you 'd been riding over roofs all night FIRST DWARF. And climbing down chimneys SECOND DWARF. And filling stockings FIRST DWARF. And Christmas trees SECOND DWARF. And climbing up chimneys again FIRST DWARF. And getting your hands and face all over soot SECOND DWARF. And driving reindeer they do pull- BOTH DWARFS. I guess you 'd be sleepy too. X. But we must have something for the children. Y. AND Z. We must have something. FIRST DWARF. There is n't a thing left. SECOND DWARF. Not a thing. X. What will the superintendent say ? Y. What will the children say ? 30 ST. NICHOLAS PLAYS AND OPERETTAS Z. What will the infant class say? X. And what will the deacons say ? Y. AND Z. Yes, what will the deacons say ? BOTH DWARFS. Deacons ! Oh, my ! Ha, ha ! [The dwarfs now give a blast apiece, and retreat into their hiding-places. X. Well, 1 'm going to wake up old Santa Claus. Y. Maybe he '11 be cross. X. But we must have something. \Rings.] I won- der he does n't answer. Z. Ring louder. X. Well, here goes. [Rings three or four times.] [Santa Claus, appearing at the top of the chim- ney, blows his whistle. X., Y., AND Z. Oh, dear ! SANTA CLAUS. Who 's there ? Who rang my bell, I 'd like to know ? Pity if I can't sleep Christmas night, when I 'm tired to death. Who 's there, I say f X. Oh, you dear old Santa Claus ! Don't be angry. Some of your little friends have come to Fairyland to see you. Come down. SANTA CLAUS. Ha, ha, ha! Some of my little friends come to see me ! Well, well ! [Bloivs his whistle. } Light up the house, fairies, light up the house. [Whistles again, and then descends the chimney and reappears at the front door. The house is lighted within.] How do you do, girls? How do you do? [Shakes hands all round, and then, with great deliberation, takes a pinch of snuff.} Well, I 'm glad to see you. What can I do for you ? THE HOUSE OF SANTA CLAUS 31 X. Why, you see, Santa Claus, our Sunday-school is left without anything this Christmas. SANTA CLAUS. [Sneezes and uses his bandana.] What ? You don't tell me so ! What 's the name of your school? X. The Sunday-school. SANTA CLAUS. Oh, yes ! And your superintendent is Mr. ? I know him like a book. I 've filled his stockings many a time when he was a little fellow. I don't know how I came to miss that school. But you see I 'm getting old and forgetful. Y. How old are you, Santa ? SANTA CLAUS. Oh, now ! Do you think I 'd tell you that? Z. You must be as old as the Centennial. SANTA CLAUS. Pshaw ! I used to fill George Wash- ington's stockings when he was a little boy. Y. No ! Now, did you ? SANTA CLAUS. Of course I did. Y. What did you put in them ? SANTA CLAUS. What did I put in little Georgie Washington's stockings? Well, now, that 's more than a hundred years ago, and an old mail's memory is n't strong. I can't remember but one thing, X. What's that? SANTA CLAUS. A hatchet. Y. Oh, my! Z. That same little hatchet? SANTA CLAUS. The very same little hatchet. [Laughs.] But I did not give him the cherry-tree. X. Yes; but we must have something for our school, good Santa Claus. 32 ST. NICHOLAS PLAYS AND OPERETTAS SANTA GLAUS. But you can't. 1 7 ve given away all I had, and turned the reindeer out on the mountains to pasture, and the times are so hard that I can't afford to hire a livery team. X. Yes ; but we must have something. Y. Yes ; we must, dear old Santa. Z. Yes, indeed. SANTA GLAUS. [Takes snuff and sneezes.] Well, what is to be done ? How many scholars have you got this year? X. About . SANTA GLAUS. So many! Why, you must be growing. I hope you have n't any Christmas bummers among them folks that come to Sunday-school to get something to eat. I hate that kind. Y. I don't think we have many of that sort. SANTA GLAUS. Well, I always did like that school, and now I 've gone and forgotten it ! I wish some- thing could be done. [Blows Ms whistle long and loud, and shouts.] Dwarfs, here ! Drako, where are you ? Krako, come! Wake up! [Whistles again.] [Enter dwarfs, each blowing his horn. SANTA GLAUS. Now, my little rascals, what have you got for the Sunday-school? BOTH DWARFS. [Bowing very low.] Nothing, my lord. SANTA GLAUS. [Takes snuff and sneezes.] I don't see that I can do anything for you. X. But we cannot go back without something. The, children will cry. SANTA GLAUS. Dwarfs, go and look again. [They go back behind the house as be- fore. After a time they reappear. THE HOUSE OF SANTA CLAUS 33 FIRST DWARF. We cannot find a thing. SECOND DWARF. Not one thing. SANTA CLAUS. [Takes snuff.] Well, my little friends, this is very embarrassing very but I have n't a thing left. X. But we can't go back. What will the superin- tendent say ? We must have something. Y. Something or other. Z. Yes, something. SANTA CLAUS. I '11 go and see myself. [Exit into house. After a considerable delay reenters.] Yes, I find a box of candy, nuts, and pop-corn in the closet. X., Y., AND Z. Candy, nuts, and pop-corn ! Good ! SANTA CLAUS. What have you got to put the things in? X. Why, we have n't got anything. SANTA CLAUS. Well, then, the children will have to take off their stockings and let me fill them. X., Y., AND Z. Oh, Santa Claus ! we could n't, such a cold night as this. SANTA CLAUS. [Takes snuff, looks perplexed, ivalks about the stage.] Well, I don't know what to do. X. Oh, dear! Y. Oh, dear ! Z. Oh, dear ! dear ! lear ! SANTA CLAUS. [Starting up.] Now I have it. X. Have what? SANTA CLAUS. An idea. Z. An idea ? [Addressing X.] What 7 s an idea ? Can you put candy into an idea ? X. Be still, Z. Let 's hear what Santa Claus's idea may be. s 34 ST. NICHOLAS PLAYS AND OPERETTAS SANTA GLAUS. I know who will help me out of this trouble. There 's my friend the Fairy Queen. X. The Fairy Queen ! Y. Oh, my ! Z. Goody ! goody ! goody ! [Santa Glaus blows three blasts on his whistle and listens. The music-box in the fairy bower begins to play. SANTA GLAUS. Listen ! She 's coming ! X. Fairy music ! Y. ANDZ. Sh-h! [The fairy comes down from B, skipping and reciting or singing : In the secret rocky dell, There the fairies love to dwell ; Where the stars on dewdrops glance, There the fairies love to dance. BOTH DWARFS. [Bowing to Santa Glaus.] The Fairy Queen, my lord ! SANTA GLAUS. [Bowing.] Hail, Queen of the Fairies ! X., Y., AND Z. [Bowing.] Hail, Queen of the Fairies ! FAIRY QUEEN. [Bowing.] Hail, Santa Glaus ! Hail, little friends ! Oh, stocking-filler Santa Glaus, I heard you whistle what 's the cause? You rough and shaggy children's friend, Why did you for a fairy send J ? SANTA GLAUS. [Talcing snuff. \ Why, you sea, here 's a Sunday-school forgotten, - - hundred children ! I want to give them something. But they have n't got anything to put it in. THE HOUSE OF SANTA CLAUS 35 FAIRY QUEEN. How would fairy stockings do ? White or black or pink or blue ? X. Fairy stockings ! Y. Oh, my ! Z. Goody ! goody ! goody ! FAIRY QUEEN. [ Waving her hand toward B.] Whatever Santa Glaus shall say, That let Fairyland obey. SANTA GLAUS. [Entering the house and Mowing hi* whistle.] Fill up the stockings, fairies; fill up the stockings. [The dwarfs enter, this time by the front door, and return, carrying between them a basket full of little pink tarlatan stockings filled with candy, nuts, etc., which are then dis- tributed to the children. MOTHER GOOSE OPERETTA (In Three Scenes, Founded upon the Story of "Bobby Shaftoe") BY G. B. BARTLETT CHARACTERS AND COSTUMES Five or more pairs of boys and girls as peasants with bright skirts, laced bodices, high-crowned muslin caps, or any pic- turesque costumes for the girls ; knee-breeches with broad sus- penders, and white shirts (no coats), straw hats with bright ribbons, for the boys. HERBERT has a suit of same style as the other peasants, over which he has a short coat trimmed with yellow braid. BOBBY SHAFTOE also has a coat, much plainer than Herbert's ; he has light curly hair, and wears large tin or silver-paper buckles at his knees. In Scene III he wears a sailor's suit. MARIE, blue skirt, pink bodice, high cap with many ribbons. All except Herbert carry covered baskets, which (if in sea- son) can have vines of clematis hanging from them and falling over the shoulders of the peasants, many of whom carry them on their heads. One table, three chairs, and one spinning- wheel will be needed. If the actors cannot sing, the singing may be performed by concealed persons. SCENE I The peasants are heard singing outside; the chorus grows loud slowly, and they enter, march twice around, and form in a semicircle, and sing to the tune of "Dearest May." It is the pleasant twilight, the sun is setting slow, 36 MOTHER GOOSE OPERETTA 37 As homeward from our daily task with merry step we go. It is the close of day ; With hearts so light and gay, In merry row, we homeward go, To rest at close of day. [After singing, they slowly march out, and the music gradually dies away. * Bobby and Marie, who have remained as if in earnest con- versation, come forward and sing, to the tune of " Lightly Row," " Yankee Doodle," or any other that may be suited to the words. BOBBY. Dearest, will you marry me ? For you know how I love thee ! Tell me, darling, will you be The wife of Bobby Shaftoe? MARIE. Robert, pray don't make me say What I 've told you twice to-day ; Let us true friends always stay No more, Bobby Shaftoe ! BOBBY. If you will not marry me, I will go away to sea, And you nevermore shall be Aught to Bobby Shaftoe ! MARIE. Dear Bobby, you will never go, For you 've often told me so ! You will not go far, I know ! Good-by, Bobby Shaftoe ! [Bobby runs away as if in anger. Marie looks after him, smiling, as if expecting him back, grows anxious, follows the way he went a few 38 ST. NICHOLAS PLAYS AND OPERETTAS steps, then turns and sadly goes in the op- posite direction. Herbert enters from the direction in which Bobby ran, and follows Marie, as if he had been listening to the conversation. SCENE II Marie enters very sadly, goes to the table at left, takes up knitting-work, throws it down impatiently, draws spinning- wheel to the right of the room, and begins to spin and sing. Toil is sweet when hearts are light, Sunshine follows darkest night ; Always when the heart is right, Trouble will not linger. Peasant girl enters in great haste, and sings. Marie, have you heard the news ? Our dear friend has had the blues, And has sailed upon a cruise Our dear Bobby Shaftoe ! Marie rises in confusion, upsets the wheel, and sings. Bobby Shaftoe gone to sea ! And no message left for me? Oh, it cannot, cannot be ! Dearest Bobby Shaftoe ! She cries, leaning her head on the shoulder of her friend, and the two girls sing in duet. Bobby Shaftoe 's gone to sea, Silver buckles on his knee ; But he '11 come back again to I ' < me, Pretty Bobby Shaftoe ! MOTHER GOOSE OPERETTA 39 SCENE III Three years are supposed to have passed. Marie sits very sadly at work. Herbert enters and leans over her chair. Her- bert sings. Marie, why so cold to me ? I was ever true to thee. Bobby Shaf toe 's lost at sea ; Give up Bobby Shaf toe ! MARIE. No, he is not lost at sea ! Fate cannot so cruel be As to tear away from me My own Bobby Shaf toe ! HERBERT. Pray, consent my wife to be ! For I know he 7 s lost at sea, And you '11 never, never be Wife of Bobby Shaf toe ! Marie kneels down, resting her head on the chair, as if in tears, and sings very sadly. If he 7 s dead or lost at sea, I can never care for thee ; Live or dead, I '11 faithful be, And true to Bobby Shaftoe ! Bobby comes rushing in, dressed as a sailor. Marie runs toward him in rapture. BOBBY. Darling, 1 7 ve come back from sea ; 1 7 ve come back to marry thee, For I know you 're true to me True to Bobby Shaftoe ! 40 ST. NICHOLAS PLAYS AND OPERETTAS MARIE. Yes, I always cared for thee ! And now you have come from sea, We shall always happy be, Dearest Bobby Shaf toe ! Peasants enter and shake hands with Bobby, then form a ring around him and Marie, and, after dancing, sing to the tune of "Dearest May." We welcome home our comrade, who wandered far away, To love and peace and rapture upon this happy day ! Oh, happy day ! with hearts so light and gay, We joyous sing in merry ring, Oh, happy, happy day ! NOTE. In the dialogue, the first singer sings one half of the air, and the other concludes it. THE LAND OF NOD (An Operetta for Young Folks, Portraying the Visit of Six Little Sleepy-heads to the King of the Land of Nod, and the Wonders Tlicy Saw at his Court.) BY E. S. BROOKS CHARACTERS THE KING OF THE LAND OF NOD. THE SAND MAN . Cabinet Ministers. JACK o' DREAMS > THE DREAM SPRITES. THE DREAM GOBLIN. THE Six LITTLE SLEEPY-HEADS. THE DREAM PRINCE. THE GOBLIN CAN-AND-MUST. MY LADY FORTUNE. THE QUEEN OF THE DOLLIES. OLD MOTHER GOOSE. THE DREAM PRINCESS. THE ROYAL PAGES. His MAJESTY'S STANDARD-BEARER. COSTUMES AND MOUNTING The stage mounting and the costumes must depend entirely upon the taste and facilities of the managers. The more care bestowed upon the preparation of the costumes and the dressing of the stage, the more effective will be the presentation. If no curtain is used, the scene should be set to represent a throne- room, with a tastefully draped throne at the rear center of stage. The only other properties really necessary are a wheel- 41 42 ST. NICHOLAS PLAYS AND OPERETTAS barrow; a hand- wagon; six couches either small mattresses or inclined frames (of this style), over which bright-colored afghans may be thrown. Soap-boxes, cut to this shape and with sacking tacked across, would do for these couches. Strings of artificial flowers for Dream Sprites, say thirty to forty inches long, and a banner of crim- son and gold (or some equally striking combination), bearing conspicuously a big poppy, and the words, " ' To bed ! To bed!' says Sleepy-head." The costumes, as far as possible, should be based on the following : THE KING. Velvet (or imitation) tunic of cardinal color- trimmed with black and gold ; trunks or knee-breeches ; long cardinal stockings ; shoes with gold buckles ; long velvet (or imitation) robe and train-cloak of royal purple, trimmed with ermine ; gold crown, encircled with poppy wreath ; long white beard ; scepter and crown jewels. THE SAND MAN. Common working suit of a house-painter (overalls, shirt-sleeves, etc.), painter's white or striped apron, and a sand-sprinkler or flour-dredger. JACK o' DREAMS. Regular costume of a court jester, party- colored, with cap and bells, jester's rattle and bells. THE DREAM SPRITES (not less than six, and more, if possible all little girls). Pretty white dresses, gauze wings, chains of artificial flowers as above. THE DREAM GOBLIN. Red goblin suit tight-fitting suit with wings, red skullcap with short horns. THE Six LITTLE SLEEPY-HEADS. Three little boys and three little girls (the younger the better), with long white night- gowns over their clothes, the girls with nightcaps. THE DREAM PRINCE. Fancy court suit. MY LADY FORTUNE. Classic Grecian female costume; gold fillet in hair. Wheel, about twelve inches in diameter, from an old bicycle, made to revolve, spokes and spaces between them covered with cardboard and papered in different colors. THE LAND OF NOD 43 OLD MOTHER GOOSE. Short red petticoat, red stockings, slip- pers with silver buckles, brown or fancy overskirt and waist, high bell-crowned hat, red or purple cape, large spectacles, and broom. THE GOBLIN CAN-AND-MUST. Dull-brown, tight-fitting suit, brown skullcap and short horns, heavy chains on hands. THE QUEEN OF THE DOLLIES. Any pretty, fancy costume, gold crown, wand ; she should have two or three prettily dressed dolls. THE DREAM PRINCESS. Fancy court dress. THE ROYAL PAGES. Two or four small boys in fancy court suits. THE STANDARD-BEARER. Fancifully designed semi-military suit. The costumes may most of them be made of silesia, which has the effect of silk. The following ages are suggested for children taking part in the representation. KING : stout, well- voiced boy of about sixteen. JACK o' DREAMS, SAND MAN: boys of twelve or fourteen. GOBLIN CAN-AND-MUST : boy of thirteen. THE DREAM PRINCE : boy of eleven or twelve. DREAM GOBLIN : boy of twelve or thirteen. PAGES : boys of six. STANDARD-BEARER : boy of eight or ten. DREAM SPRITES : girls of ten or twelve. DREAM PRINCESS, MY LADY FORTUNE, MOTHER GOOSE : girls of ten or twelve. QUEEN OF THE DOL- LIES : girl of eight. LITTLE SLEEPY-HEADS : children of from four to six. Appropriate music should be played between parts, or when- ever a pause occurs in which music would add to the effect. Any part for which a good singer cannot be had may be spoken instead of sung. Should all the parts be spoken, instrumental music only would be required, and this could be performed be- hind the scenes. THE OPERETTA Enter in procession the King, preceded by Standard-bearer, and followed by the Pages. Music" Fatinitza March," or any other preferred. King stands on the platform on which the 44 ST. NICHOLAS PLAYS AND OPERETTAS throne is raised, and faces the audience. The Standard-bearer steps back to one side, and the Pages stand on either side at the foot of the throne. All salute the King. Music by W. F. SHBEWIN. A la Militaire. KINO. m 1. I'm the jol - ly old King of the Realm of Dreams, The 2. My crown is a gar - land of pop - pies bright, That 3. Come hith - er, my bench - men, bold and true, Proud THE LAND OF NOD 45 Espretsivo. sweet, sleep - y Land of Nod; grow in the Land of Nod; knights of the Land of Nod; '.... And I For wher - fol - low the sun - king's van - ish - ing beams, And drive round the world the black hors - es of night, Or ev - er I go, and what -ev - er I do, My fly when his morn - ing glo - ry streams, For sometimes a night-mare the dreamers to fright, As I roy - al old head must be guid - ed by you; Now,... 1 Enter right and left the Sand Man and Jack o' Dreams, who make each a low obeisance to his Majesty. 46 ST. NICHOLAS PLAYS AND OPERETTAS I am the drow - sy god Yes, ride to the Land of Nod, The is n't that aw - fully odd ? Yes, I am the drow - sy dear, dreamy Land of cu - ri - ous, funny and god! But I'm King of the Night in my Nod; And I wel - come the children, all odd? For what -ev - er I do, I de Gas - tie sleep - y pend up of Dreams; The King of the Land of Nod! and white, As they come to the Land of Nod. on you, Tho' I'm King of the Land of Nod. ' ' ^ _ ( Use last four measures of introduction as an interlude.) THE LAND OF NOD 47 SAND MAN. [Bowing to the King.] I I am the Sand Man bold ! And 1 7 m busy as busy can be, For I work when it 's hot, And I work when it 7 s cold, As I scatter my sand so free. Close to the eyes of the children dear I creep and I creep ; I peer and I peer j I peer as with barrow I plod. Then I scatter, I scatter the sand so free, Till the children are s-1-e-e-p-y as s-1-e-e-p-y can be ; And oif we trot the children with me To the King of the Land of Nod. I I am the Sand Man bold ! I come when the night-shades fall j Then up to the children my barrow I roll, And the sand fills the eyes of 7 em all. [Bepeat last seven lines of first stanza. KING. Scatter and plod, Sand Man odd ; You 're a trusty old knight of our Land of Nod. JACK o' DREAMS. [Bomng low to the King.} I >m the sprightly young, lightly young Jack o ; Dreams, And I caper the livelong night, While my jingling bells, with their tingling swells, Are the dear sleepy children's delight. For I jingle them here, into each pearly ear, And I jingle them there again j 48 ST. NICHOLAS PLAYS AND OPERETTAS And the dreams come and go, and the dreams fall and flow, As I jingle my bells again. And I dart, and I whirl, o'er their brains toss and twirl, As I scatter the fancies odd ; I >m the child of the night, 1 'm the jolly young sprite Of the King of the Land of Nod. KING. Well spoken, my henchmen bold and true, Proud knights of the Land of Nod ; But tell to me, Sand Man, what do you Bring now to the Land of Nod f Just sample the stock of your latest flock For the King of the Land of Nod. SAND MAN. O sire ! I bring to the Realm of Dreams The sleepiest set of boys That ever the sun-king's vanishing beams Cut off from their daylight joys The sleepiest, drowsiest, laziest set In all my travels I ? ve met with yet ; And I 've picked out three as a sample, you see, A sample most funny and odd, To show you the stock that comprises the flock Of the King of the Land of Nod. KING. Ho ! fix the couches, Jack o' Dreams, And you, O Sand Man odd, THE LAND OF NOD 40 Roll in the boyswithout their noise For the King of the Land of Nod. [Low music. 1 Jack o' Dreams arranges and smooths down the couches, and the Sand Man returns, bringing in his wheelbarrow three little boys in their nightgowns, fast asleep. He and Jack o' Dreams lift them out gently and place them on their couches. King rises to receive guests. KING. [Joyfullij.] Now nid, nid, nod, my bonny boys. O Sand Man, it is plain The stock you bring before your king Your fealty proves again. Sleep right, sleep tight, with fancies bright, On Dreamland's pleasant sod ; The night 's begun, we '11 have some fun, Says the King of the Land of Nod. And what, O Jack o 7 Dreams, do you Bring here to the Land of Nod ? Come ! let us know what you have to show To the King of the Land of Nod. JACK o' DREAMS. Great King ! I bring the sweetest things That ever you looked upon, With bangs and curls, and frills and furls The rosiest, posiest little girls That ever romped or run ; 1 Gottschalk's "Cradle Song" (simplified edition); Heller's "Slumber Song" ; " Swing Song," by Fontaine ; " Good-night," by Loeschhorn ; Lange's " Blumenlied " ; "Nursery Tale," by Fradel, or other selection. Or a lady may sing "Birds in the Night," by Sullivan. 50 ST. NICHOLAS PLAYS AND OPERETTAS The tightest, brightest, sauciest lot That ever in dreams I plagued. I could n't pick better for you no, not If you begged, and begged, and begged. And of these there are three that I wish you to see- Three sleepers so charming and odd If Your Majesty please, shall I bring in these For the King of the Land of Nod ? KING. Ay ! bring them in, young Jack o' Dreams, And you, old Sand Man odd, Fix the couches all for the ladies who call On the King of the Land of Nod. [Low music, 1 while Jack o' Dreams draws in a little wagon in which are three very little girls, in their nightgowns, fast asleep. He and the Sand Man lift them carefully out and lay them on the couches. King, in rap- ture, bends over each little girl in succession. KING. Oh, my pink ! Oh, my pet ! You 7 re the prettiest yet ! Brave Jack o' Dreams so true, 7 T is very plain that never again A fairer lot we '11 view. Sleep soft, sleep well, O girlies fair, On Dreamland's pleasant sod, While the Dream Sprites start in each young heart For the King of the Land of Nod. [Stands by the throne and waves his scepter. 1 See foot-note on page 49. THE LAND OF NOD 61 Cling, cling, by my scepter's swing, By the wag of my beard so odd j Dream Sprites small, I summon you all To the King of the Land of Nod ! Enter the Dream Sprites, each with a chain of flowers. They glide in and out among the little sleepers. DREAM SPRITES. [In concert.} We weave, we weave our fairy chain Roun^l each young heart, in each young brain, Our dream-spell chain so sweet. Bright Dream Sprites we, so gay and free ; We come with tripping feet, with merrily tripping feet, To dance on Dreamland's sod, While we weave, we weave our fairy chain Round each young heart, in each young brain, That beats and throbs in the sleepy train Of the King of the Land of Nod. Enter the Dream Goblin on tiptoe, with finger raised. DREAM GOBLIN. But if some children eat too much, Or on their backs recline, I jump and bump on all of such, Until they groan and whine. 'T is not my fault, you '11 all agree I 'm naught but a goblin, as you see, And I dance on Dreamland's sod. But if children will stuff, why that 's enough j I know what to do, for I 'm " up to snuff," For the King of the Land of Nod. 52 ST. NICHOLAS PLAYS AND OPERETTAS KING. Now weave your chains, ye Dream Sprites fair, And call the Dreams from the misty air. Stand back, O Goblin odd ! Old Sand Man, scatter your sand apace O 7 er each drooping eye, on each little face j And Jack o' Dreams, jingle your merry bells Till the tinkling tangle falls and swells, While trooping from Dreamland's pleasant lanes Come the Dreams through the ring of rosy chains, Come the Dreams so rare through the misty air, To the King of the Land of Nod. DREAM SPRITES' WEAVING SONG Music composed by ANTHONY REIFF.l Andante. Copyright, 1880, by Anthony Reiff. THE LAND OV NOD 53 fe$==t- air; Come, come, come, Come to these chil - dren fair. Come to these chil-dren fair. Soft and low, pp 54 ST. NICHOLAS PLAYS AND OPERETTAS Soft and low, Sing to each list-'ning ear, Sing to each list'ning ear; Fall and flow, Dreams of the air, ap - pear! Here ap - pear, THE LAND OF NOD 55 Da Capo dal Segno al Fine. Here ap-pear, Dreams of the air, ap-pear! KING. Here, here, children dear ! Now, by my scepter's swing, I hold you all in my mystic thrall, Fast bound in my fairy ring j Eyes bright closed tight, rest ye on Dreamland's sod. As your slumbers you keep, speak the language of sleep To the King of the Land of Nod. Sfx* LITTLE SLEEPY-HEADS. [Sitting up in bed, facing the audience, and nodding their heads sleepily.] We are k Little Sleepy-heads just from the earth, To visit the Land of Nod. Our lessons are over, and so is our fun ; And after our romp, and after our run, Right up to our beds we plod j And when mama is kissed, and prayers are said, Why we drowsily, dreamily tumble in bed, And are off to the Land of Nod. [Fall sleepily on their couches again. 56 ST. NICHOLAS PLAYS AND OPERETTAS KING. Now raise the call, my subjects all, As ye gather on Dreamland's sod. Bid the Dreams appear to the children here And the King of the Land of Nod. INCANTATION CHORUS [All sing] Music by ANTHONY EEIFPJ is _ . s Mer-ri- ly, mer-ri - ly here we sing, Cheer-i - ly, cheer-i - ly 1 -jg p- ^ ~!*T Copyright, 1880, by Anthony Reiff. THE LAND OF NOD 67 let it ring, Ring, ring thro' the mist - y air; 3^S^5 ~r I ""' " ' ^*^^ .. ^ _ Sprightly, 0! lightly, 0! Come at our call; Hith-er come, hith - er come, Hith-er come, one and all! Hith-er come, d-ts cr : hith - er come, Come to these chil-dren fair. 58 ST. NICHOLAS PLAYS AND OPERETTAS SECOND CHORUS. 4s Glid - ing, slid - ing, full of joy hast - en, girl and boy. A-sleep, a - sleep on Dream-land's sod, Quickly, oh, quickly we bid you come. & Drow - si - ly, drow - si - ly, Crooning with buzz and hum, p -*f- ^ =M THE LAND OF NOD 59 tJ -- -* ' ' "*' '* * *- -*- To the King of the Land of Nod, The King of the Land of Says the King of the La_nd of Nod. Buzz-buzz, EfEElfeEfeE f 23E5==f Buzz - buzz, Says the King of the Land of Nod. 60 ST. NICHOLAS PLAYS AND OPERETTAS [As the buzz-buzz chorus is repeated, with nod- ding motion and music accompaniment, the Six Dreams silently enter and stand behind the little sleepers. THE DREAM PRINCE. [Steps in front of first little girl ] I 'm the gallant Prince of the Fairy Isles That float in the mists of story, 1 7 m the glittering Prince of the Realm of Smiles, And I tread the paths of glory. I call the bright flush to each eager cheek, As my deeds are read with rapture, And the dangers I face and the words I speak Are certain all hearts to capture. Oh, I Ve danced in the brains of countless girls, As they Ve read with joy the story Of my wondrous treasures of gold and pearls, And my marvelous deeds of glory. I 'm the Prince who glitters on many a page Of many a fairy story, Ever young and brave, as from age to age I reign in perennial glory ; And I come to-night at the call of my King, To dance through your sleep, dream-laden, And many a happy thought to bring To my rare little, fair little maiden. [Shakes his sword aloft. Here 's my strong right arm, that shall shield from harm This Queen of my Realm of Story ; I 'm your Prince so true, and I come to you, Filling your dreams with glory. [Steps behind her again. THE LAND OF NOD 61 KING. Right gallantly spoken, my brave young Prince ; No knight of my realm has trod More loyal than you for the pleasures true Of the King of the Land of Nod. MY LADY FORTUNE. [To first little boy.] With My Lady Fortune's wheel, Turning ever, woe or weal, Into every life I steal, As to you, my boy. Listen, while I tell to you All I 'm able now to do, If my aid you rightly sue, For your future joy. With my wheel, I '11 turn and turn All the joys for which you yearn High and leaping thoughts that burn In your heart so bright. Wealth and health, and honor, too, All that 's noble, brave, and true, With my wheel I turn for you In your dreams to-night. But, my boy, remember this Guard your heart, lest Fortune's kiss Turn your noble aims amiss To the ditch of pride ; Wealth and health may sometimes pall ; Pride e'er goes before a fall ; With good luck be wise withal j Never worth deride. Fortune comes from patient heart, 62 ST. NICHOLAS PLAYS AND OPERETTAS Pleasures, too, from kindness start. Luck from pluck should never part ; So, my boy, be strong ! Ever to yourself be true , Help the needy ones who sue j Upright be and manly, too, Victor over wrong. KING. Hurrah for My Lady Fortune's wheel ! May it turn full many a rod, Never for woe, but ever for weal, Says the King of the Land of Nod. OLD MOTHER GOOSE. [To second little girl.] Over the hills and far away, Sailing aloft on my broomstick gay, Out from the Land of the Long Ago, Out from the Realm of the Want to Know, Scattering song-seeds high and low, Travel I fast to the children. Into your dreams I bring to-night Snatches of song and of story bright, Glimpses of what you know oh, so well ! From the man who cries, " Young lambs to sell," To the poor drowned kitty and ding-dong bell, And dear old Mother Hubbard. Old King Cole and his Fiddlers Three, The Wise Men sailing their bowl to sea ; Humpty-dumpty, the Mouse in the Clock, THE LAND OF NOD 63 Taffy the Welshman, who got such a knock, Little Bo-peep and her tailless flock, And the House that Jack Built jumble. Soon from your life I fade away ; Treasure, my dear, to your latest day The songs I Ve sung and the truths I Ve taught, The mirth and laughter that oft I Ve brought, The sense my nonsense has ever wrought, And the blessing of Mother Goose. KING. Dear Mrs. Goose, I 'm proud to see You here on Dreamland's sod ; And ever to you my castle is free, Says the King of the Land ofJNod. THE GOBLIN CAN-AND-MUST. [To second little boy.] Clank ! clank ! in my dungeon dank, I live far down among chains and dust ; And I say to each girl, and I say to each boy, 1 7 m the grim old Goblin Can-and-Must. When they go to bed ugly, and cross, and bad, Leaving mother and father so sorry ami sad, Then I come and I stand and I say : [Shaking his finger. Little boy, little boy, you are wrong, you are wrong ! And this is the burden of my song : .What your parents say do should be easy for you, And you can and must obey. 64 ST. NICHOLAS PLAYS AND OPERETTAS Yes, you can and must do right, do right ; And however you squirm and twist, I shall come and shall stand in your dreams at night ; And they '11 never be happy, and never be bright, Until love your heart has kissed, And you 're ready to say, on the very next day, " My parents I can and must obey." Then away from your dreams to his chains and dust Will vanish the Goblin Can-and-Must ! KING. You 're out of place, Mr. Can-and-Must ! Go From pleasant Dreamland's sod ! There 's not a boy [Here Can-and-Must shakes his head, and points to second little boy in proof of his statement. What no ? Why, sho ! Says the King of the Land of Nod. QUEEN OF THE DOLLIES. [To third little girl] Little one, pretty one, Sleeping so sound, Resting so calmly on Sleepyland's ground, Open your heart to a dream of delight, Open your dream-lids for me, dear, to-night ; Open your dream-eyes to see what I bring, Open your dream-ears to hear what I sing j List to me, turn to me, here as I stand, The Queen of the Dollies From bright Dollyland. THE LAND OF NOD 65 Small dreamer, wee dreamer, Into your heart Now, with my fancies and visions, I dart j Visions of dollies all satin and puff, Visions of dollies in azure and buff , Cloth of gold, silver thread, velvets so rare, Gossamer laces, fair faces, real hair, Bonnets, and bracelets, and jewels so grand Oh, sweet are the dollies Of bright Dollyland. Precious one, little one, Come, will you go Off with the Queen to the wonders she '11 show ? Make your own heart, then, a land of delight, Fair with life's sunshine, with love's glances bright. Then shall we float, dear, in dreams soft and sweet, Oif to the joy-gates and down the fair street, Into the palace, and there, hand in hand, Reign both Queens of Dollies In bright Dollyland. KING. And I will go, too, fair Queen, with you, To Dollyland's beautiful sod. Yes, your Majesty bright, we will go to-night, Says the King of the Land of Nod. THE DREAM PRINCESS. {To third little boy.] Daisies and buttercups lowly bend- Bend for me as I pass ; For the Queen of the Dreams to this boy doth send 66 ST. NICHOLAS PLAYS AND OPERETTAS His own little, sweet little lass. roses bright, and violets, too, Rejoice as so swiftly I pass; 1 shall dance and nutter his day-dreams through I 'm his own little, sweet little lass. O Powers above ! In your infinite love, Make him gentle, and brave, and strong; Make him fearless and true, and manly, too, As ye hasten his years along. O Prince of the Isles of Beautiful Smiles, Send us pleasure and happiness rare ; Send us favoring tides as our ship gaily glides Down Life's flowing river so fair. KING. Well, well, my brave boy, there '11 be nothing but joy In your pathway so soon to be trod. May this sweet little lass make it all come to pass, Says the King of the Land of Nod. JACK o' DREAMS. [Rushing in at right] Great King ! the sun is on the run The lamps of day to light. 'T is time to go, oho ! oho ! With the vanishing shades of night. Dismiss your court, break off your sport ; 'T is time that your way you trod Around Cape Horn, ere day is born, To the opposite Land of Nod. THE LAND OF NOD 67 SAND MAN. [Rushing in at left.] Too true, too true ! Great King, for you The horses of night I Ve hitched To your chariot grand, and a fresh load of sand Into my barrow I Ve pitched. So, let us be off ! be off ! be off ! To China's celestial sod, To hold the court, and renew the sport, Of the King of the Land of Nod. [Spirited music "Racquet Galop," Simmons, "Full of Joy Galop," Fahrbach, "Boccaccio March," or other selection. KING. [Rising.] Gather and plod, gather and plod ; Up and away from the Land of Nod ! SAND MAN AND JACK o r DREAMS. [Together.] Goblins, sprites, and dreamy ring, Gather, gather round your King, Here on Dreamland's sod. Bound the world we now must go, Ere the sun his face doth show In this Land of Nod. All the characters form in circle around the children, and all excepting the King sing or repeat together : Music by W. F. SHER WIN. 68 ST. NICHOLAS PLAYS AND OPERETTAS To THE CHILDREN. Softly. ( Chil - dren dear, Sleep - ing here, Pare you, fare you ( Pleasures bright Round you light, Hap - py chil - dren m r~~* > I I To THE KING. / well! Might - y King, Break the ring all. Might - y King, Break the ring To THE CHILDREN. THE LAND OF NOD 69 Wake! wake! the i spell we break Of the King of the Land of Nod. II -&- . J ' .- mv v r-^