A = — ^^ r~ A = ^^ O ^— O = —* — =^ ro 0^ 3) 6 = O >^^M ^ 8 — 1 = r- ^sr en 3 = 4 ^ 5 — ^H» 1 — == —1 — = -< 5 ^ Hudson Shepherd in the Distance ■"HE SHEPHERD M THE DISTANCE A Pantomime in Three Scenes By HOLLAND HUDSON STEWART KIDD •MODERN PLAYS • COIXED BV FRANK SMA^T TO BE PUBLISHED SHORTLY Fifty Contemporary One -Act Plays Edited by Frank Shay and Pierre Loving This volume contains FIFTY REPRESENTATIVE ONE-ACT PLAYS of the MODERN THEATRE, chosen from the dramatic works of contemporary writers all over the world. THE CONTENTS ARE AUSTRIA: Schnitzler (Arthur)-Llterature BELGIUM: Maeterlinck (Maurlce)-The Intruder BOLIVIA: More (Fcderico)-Interlude FRANCE: Ancey (George)-M. LambUn Porto - Riche (Georges) - Francoise'a Luck GERMANY: Ettlinger (KarD-Altrulsm von Hofmansthal (Hugo)- Madonna Dianora Wedekind (Frank)-The Tenor GREAT BRITAIN: Bennett (Arnold)-A Good Woman Calderon (George)-The Little Stone House Cannan (Gilbertj-Mary's Wedding Dowson (Ernest) - The Pierrot of the Minute Ellis (Mrs. Havelock)-The Subjection of Kezia Hankin (St. John) -The Constant Lover INDIA: Mukerjl (Dhan Gopal)-The Judg- ment of Indra IRELAND: Gregory (Lady)-The Workhouse Ward HOLLAND: SpeenhoS (J. H.)-Louise HUNGARY: Biro (Lajos)-The Grandmother ITALY: Giacosa (Giuseppe)-The Rights of the Soul RUSSIA: Andreyev (Leonid) - Love of One's Neighbor Tchekofif (Anton)-The Boor SPAIN: Benevente (Jacinto) - His Widow's Husband Quinteros (Serafina and Joaquin Alvarez) -A Sunny Morning SWEDEN: Strindberg (Augu8t)-The Creditor Wied (Gustave) -Autumn Fires UNITED STATES: Beach (Lewis) -Brothers Cowan (Sada)-In the Morgue Crocker (Bosworth)-The Baby Car- riage Cronyn (George W.)-A Death in Fever Flat Da vies (Mary Carolyn)-The Slave with Two Faces Day (Frederic L.)-The Slump Flanner (Hildegarde)-Mansion8 Glaspell (Susan)-Trifles Gerstenberg (Alice)-The Pot Boiler Helburn (Theresaj-Enter the Hero Hudson (Holland)-The Shepherd in the Distance Kemp (Harry) - Boccaccio's Untold Tale Langner (Lawrence) - Another Way Out Millay (Edna St. Vincent)-Aro da Capo Moeller (Philip)-Helena'8 Husband MacMillan (Mary)-The Shadowed Star O'Neil (Eugene)-IIe Stevens (Thomas Wood)-The Nursery Maid of Heaven Stevens (Wallace) -Three Travelers Watch a Sunrise Tompkins (Frank G.)-Sham Walker (Stuart)-The Medicine Show Wellman (Rita)-For All Time Wilde (Percival)-The Finger of God YIDDISH: Ash (Sholom)-Night Plnski (Davld)-Forgotten Souls Large 8vo. Cloth. Gilt top NET $5.00 % Turkep Morocco NET $12.00 STEWART & KIDD COMPANY PUBLISHERS :-: CINCINNATI, U.S. A. STEWART KIDD MODERN PLAYS Edited by Frank Shay The Shepherd in the Distance Stewart Kidd Modern Plays Edited by Frank Shay TO MEET the immensely increased de- mands of the play-reading public and those interested in the modern drama, Stewart & Kidd Company are issuing under the general editor- ship of Frank Shay a series of plays from the pens of the world's best contemporary writers. No effort is being spared to secure the best work available, and the plays are issued in a form that is at once attractive to readers and suited to the needs of the performer and producer. From time to time special announcements will be printed giving complete lists of the Plays. Those announced thus far are: SHAM, a Social Satire in One Act. By Frank G. Tompkins. Originally produced by Sam Hume, at the Arts and Crafts Theatre, Detroit. THE SHEPHERD IN THE DISTANCE, a Pantomime in One Act. By Holland Hudson. Originally produced by the Washington Square Players. MANSIONS, a Play in One Act. By Hildegarde Planner. Originally produced by the Indiana Little Theatre Society. HEARTS TO MEND, a Fantasy in One Act. By H. A. Overstreet. Originally produced by the Fireside Players, White Plains, N. Y. Others to follow. Bound in Art Paper Bach net 50 cents. THE SHEPHERD IN THE DISTANCE A PANTOMIME IN THREE SCENES By HOLLAND HUDSON First produced by the WASHINGTON SQUARE PLAYERS at the Bandbox Theatre, New York City STEWART & tIDD QNONNATT. as. K CINCINNATI STEWART & KIDD COMPANY PUBLISHERS Copyright, 1921 STEWART & KIDD COMPANY All Rights Reserved Copyrighted in England This pantomime is fully protected by the copyright law, all require- ments of which have been complied with. No performance, either pro- fessional or amateur, may be given without the written permission of the author's representative, Frank Shay, who may be addressed in care of the publishers, Stewart & Kidd Company, Cincinnati, Ohio. The Shepherd in the Distance A PANTOMIME By Holland Hudson The Shepherd in the Distance was first produced by the Washington Square Players, at the Bandbox Theatre, New York City, on the night of March 26, 191 5, with the following cast: The Princess Frances Paine The Attendant Beatrice Savelli The Shepherd Robert Locker The Wazir Jrvid Paulson The Vizier John Alan Houghton Ghurri-Wurri {the Beggar) .Harry Day The Goat E. J. Ballantine Slaves of the Princess. . . .Josephine Niveson Edwina Behre The Maker of Sounds . . . .Robert Edwards Produced under the direction of William Penning- ton. Scenes and costumes designed by Robert Locker. .1109231 PROGRAM the persons The Princess The Attendant The Slaves The Wazir [her guardian] The Vizier The Nubian The Shepherd The Goat Ghurri-Wurri The Maker of Sounds THE action I. The Princess beholds The Shepherd in the Distance and goes in quest of him. II. Ghurri-Wurri, enraged by the Princess' meagre alms, swears vengeance. III. He reveals her destination to the Wazir. IV. Pursuit ensues. V. The Princess meets The Shepherd in the Distance. Her capture is averted by the faithful Goat. VI. The Goat's long head evolves a means of rescuing The Shepherd from the cruel Wazir. VII. The Princess joins The Shepherd in the Distance. THE SHEPHERD IN THE DISTANCE THE STORY^ Of the Princess, we know only that she was fair and slender as the lily, that somehow the fat and stupid Wazir became her guardian, and that he neglected her utterly and played chess eternally in the garden with his almost-equally-stupid Vi- zier. Is it any wonder she was bored? One afternoon the Princess called for her ivory telescope, and, placing it to her eye, sought relief from the deadly ennui which her guardian caused. In the Distance she discerned a Shepherd, play- ing upon his pipe for the dancing of his favorite Goat. While he played the Princess marveled at his comeliness. She had never seen before a man so pleasing in face and person. At the end of his tune it seemed to her that the Shepherd turned and beckoned to her. She dared watch him no longer, lest her guardian observe her. When the Wazir, the Vizier and the Nubian were deep in their afternoon siesta, the Princess stole out of the garden with her personal retinue and her small but precious hope chests, and set forth toward the Distance. Now on the highway between the foreground and the Distance lived a wretched and worthless beggar who had even lost his name and was called Ghurri-Wurri because he looked absolutely as miserable as that. He pretended to be blind and *A synopsis for readers only. 7 THE SHEPHERD IN THE DISTANCE iJ-^f wore dark spectacles. The greatest affliction of his life was that his dark spectacles prevented him from inspecting the coins that fell on his palm, and he received more than his share of leaden counterfeits. When Ghurrl-Wurri observed the approach of the Princess and her retinue he reasoned from the richness of their attire that alms would be plenti- / ful and large and he fawned and groveled before them. The Princess was generous, but she was also in haste, so bade her attendant give him the first coin that came to hand, and hurried on. Ghurri-Wurri's rage knew no bounds. He wept, he stamped, he shook his fists, he railed, and he cursed. Then, perceiving the Princess' desti- nation, he made haste to notify her guardian. The Wazir would not believe him at first and the beg- gar would have lost his head if he had not hap- pened on the Princess' telescope and placed it in the Wazir's hand. Gazing toward the Distance, the Wazir saw the Princess and her retinue nearing their desti- nation. He lost his temper and did all of the undignified things which Ghurri-Wurri had done. Then, with the Vizier and the Nubian, he set forth in pursuit, forcing the reluctant Ghurri-Wurri to guide them. They ran like the wind, till the beg- gar gasped and staggered, only to be jerked to his feet and forced on by the implacable Vizier, who was cruel as well as stupid. Meanwhile the Princess arrived in the Dis- tance. The Shepherd, who was as wise as he was comely, had proper regard for her rank and danced in her honor to his own piping. They had scarcely spoken to each other when the faith- 8 THE SHEPHERD IN THE DISTANCE ful Goat warned them of the furious approach of the raging Wazir. The Goat carried the Princess to a place of safety on his back while the Shep- herd stayed to delay her pursuers. Of the Nubian he made short work indeed, but the Vizier over- came him with his great scimitar and they led him captive to the garden, leaving Ghurri-Wurri cursing on the sands. Arrived at the garden, the WazIr ordered the Shepherd bound in chains and went on with his chess game. The Shepherd, in a gesture of de- spair, came upon the Princess' telescope and, seek- ing some ray of hope, gazed into the Distance. Here he saw the Princess and his faithful Goat, who, he perceived, had invented a plan for his deliverance. Soon the Princess returned to the garden, but disguised as a wandering dancer. She danced be- fore the Wazir and pleased him so much that he bade her come nearer. She did so, and bound the Vizier's arms with a scarf, which so amused the Wazir that he laughed loud and long. Then she bound the Wazir's arms in the same manner and it was the Vizier's turn to laugh. Into their laugh- ing mouths she thrust two poisoned pills, so that in another instant they fell over, quite dead, amongst the chessmen. The omnivorous Goat delivered the Shepherd from his chains with his strong teeth and they all returned to the Distance, where they still dwell in more-than-perfect bliss and may be discerned through an ivory telescope any fine afternoon. THE SHEPHERD IN THE DISTANCE CONCERNING THE SCENERY In the original production by The Washington Square Players, The Shepherd in the Dis- tance was played in front of backgrounds of black velvet. The garden scene consisted of a black velvet drop about half-way between the cur- tain and back-wall, upon which a decorative white design merely suggesting the garden and its gate was appliqued. This drop was made in three sec- tions, the middle one hung on a separate set of lines so that it could be raised to show the "Dis- tance" (as seen through the telescope) without disturbing the rest of the scene. The "Distance" consisted of a velvet drop hung slightly behind the middle section of the garden scene, on the middle of which two large, white concentric circles were appliqued around a circu- lar opening about five feet in diameter. The bot- tom of the opening was about eighteen inches above the stage. Behind this stood a platform just large enough to hold four characters at one time. Black masking drapes were provided at both sides of the stage and behind the platform. The Prologue, Scenes II, IV, V, the first part of Scene VII and the Epilogue were all played before a plain velvet drop hung a few feet up- stage of the curtain line. The Shepherd in the Distance has also been produced in colors very effectively by the Hollywood Community Theater, at Hollywood, California. There is no reason why any highly decorative treatment of scenery and costuming will not enhance the production if it be well planned and consistent throughout. lO THE SHEPHERD IN THE DISTANCE IMPORTANT PROPERTIES The properties consist principally of a small chess table with most of the chessmen glued on, two stools, a telescope, a balloon and papier- mache chain, which are employed as a ball and chain, a very large Chinese crash cymbal for the stage manager's use, and such personal properties as occur in the text. COSTUMES AND MAKE-UP Whatever scheme is selected for the scenery, the costumes and make-up should be consistent with it. In the original production, all of the characters but the Nubian were made up com- pletely with clown white or "Plexo," the eyebrows and eyes outlined in black and the mouths rouged but slightly. No unwhitened flesh was visible. The Princess wore a white satin pseudo-Orien- tal costume with stiff ruffs at the collar, wrists and knees, the trousers not gathered at the an- kles, a flat, close-fitting turban with a number of ornaments and a hanging veil, and white slippers. In the dance in Scene VI she used a long, black gauze scarf and a white one. Her attendant wore a similar costume of cheaper material, an unor- namented turban and black slippers. Her slaves were also similarly garbed, in cotton, but with bulkier turbans, and baggy trousers, gathered at the ankles. The Wazir, armed with a preposterous "cor- poration," wore baggy white trousers, gathered at the ankles, a sleeveless vest with wide, horizon- tal black-and-white stripes, a white cloak hanging from his shoulders which terminated in a large, II THE SHEPHERD IN THE DISTANCE black tassel, a turban, a beard made of several lengths of black portiere cord sewed to white gauze, and white, pointed shoes. His bare arms were whitened, his eyebrows were short, thick and high up on his forehead, and he carried a black snuff-box. The Vizier's white trousers were not so full as the Wazir's ; his tight, white vest had tight, white sleeves; his cloak was shorter and without a tassel. His white turban, however, was dec- orated with antennae of white milliner's wire.^ He affected high-arching eyebrows, a long, pointed nose, a drooping moustache, and a disdainful mouth; carried a white, wooden scimitar about four feet long with a black handle, and wore bells on his pointed, white shoes. The Nubian wore black tights and shirt, black slippers and a white skull cap and breech-clout. The rest of him, excepting his eyes and mouth, which were whitened, was a symphony in burnt cork. The Shepherd wore white, knee-length trunks, frayed at the ends, a little drapery about the upper man, slippers and a cap. His body was whitened abundantly and he carried a tiny flute. The Goat wore a white, furry skin, horns and foot and hand coverings resembling hoofs. His make-up approached the animal's face as nearly as possible. Ghurri-Wurrl wore tattered, white, baggy trousers, vest and cloak, a turban and black gog- gles. The Maker of Sounds was garbed in an all- enveloping white burnous and a white skull-cap. 12 THE SHEPHERD IN THE DISTANCE A FEW STAGE DIRECTIONS Left to right, in this text, refers to the actor's, not the spectator's, point of view. The action of the piece is meant to be two-dimensional; the actors are to perform in profile as far as possible, except when registry of facial expression is im- portant; the action should be parallel with the back drop. The entire action must be rhythmical and the rhythms should be used as definite themes, one for the Princess and her retinue, another for the Wazir, etc. The performance should be ex- tremely rapid and must never drag. The cast should direct special attention to the comic fea- tures, and the director to the pictorial elements of the piece. The director may consider the per- formance as an animated poster which moves rapidly from design to design. 13 THE SHEPHERD IN THE DISTANCE A Pantomime By Holland Hudson prologue l^The curtain rises on a plain drop curtain. The Maker of Sounds enters with his arms full of instruments, crosses the scene and sits with his back against one side of the proscenium, out- side the curtain line. He tries out all his instru- ments, wind, string, percussion and "traps." He yawns. He becomes impatient and raps on the stage.^ Cymbal crash The lights go out The drop is lifted in the dark- ness Cymbal crash The lights are turned on SCENE I [The Wazir's garden. Discovered left to right, the Nubian, standing with folded arms, the Vizier, seated at the chess table, playing with the JVazir. At the other side of the stage, the Princess, her attendant, her two slaves. All stand motionless until set in action by the Maker of Sounds.^ The Music The Pantomime, etc. Tap — on Chinese Nubian unfolds his arms wood block Tap He salaams Tap Resumes original pose 14 THE SHEPHERD IN THE DISTANCE The Music The Pantomime, etc. Tap Vizier moves a chessman Tap JVazir moves a chessman Tap Vizier moves a chessman Tap Wazir picks up snuff-box Tap Opens it Tap Offers Vizier snuff Tap Vizier takes a pinch Sand blocks Sniffs it Drum crash Vizier sneezes Drum crash Sneezes again No sound Sneezes again Nubian sneezes synchronously with Vizier's paroxysms Tap Vizier returns snuff-box Tap Wazir puts it away Bell Princess yawns Tap Signals her attendant Tap Attendant picks up telescope Tap Hands It to Princess Wind instrument Princess uses telescope [The middle portion of the back drop is lifted to show the "Distance" in which the Shepherd is discovered piping for the Goat's dancing] 15 THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Stringed instru- ment The Shepherd sees the Prin- cess, stops piping, and de- clares his adoration across the distance. He beckons her to join him Princess promises to do so 'The lifted portion of the drop is lowered again. The "Distance" van- ishes^ Tap Princess signals to her retinue Tap Attendant relays the signal Tap Slaves stoop Tap Lift the hope chests to their shoulders Bass chord on stringed instru- ment Princess and retinue take one step downstage Treble chord All lean forward, watching Wazir Drum crash JVazir and Vizier stand up Drum crash They glare at Princess Tap on wood block They sit Bass chord Vizier yawns Bass chord Wazir yawns Bass chord Nubian yawns Bass chord Vizier nods Bass chord Wazir nods Bass chord Nubian drops on one knee i6 THE SHEPHERD IN THE DISTANCE The Music Treble chord Bass chord Cymbal crash Cymbal crash The Pantomime, etc. Princess and retinue lean for- ward. They take one step [A continuation of this business. Takes them off at the left] The lights go out [In the darkness, Princess and retinue cross to right of stage, ready for Scene II] The plain drop is lowered The lights come up Tambourine jin- gles Tap on piece of crockery Sand blocks Tap crockery Begins the Prin- cess rhythm on Chinese wood block SCENE II — G h ur r i - Wurri discovered above at center, with his dark glasses pushed up on his forehead, counting his money He finds a bad coin Bites It Throws it away Hears the Princess retinue ap- proaching He pulls glasses over his eyes 17 THE SHEPHERD IN THE DISTANCE The Music Telegraphically expressed it is: • •• ••• ••• ••• Musically, a c - cented triplets, common time, presto Princess rhythm continues Drum crash Tap Tap Tap Tap Tap, Tap, Tap Tap Tap on crockery Princess rhythm Begin drum roll pp. cresc. to f. The Pantomime^ etc. He grovels Princess and retinue enter from the right They pass by Ghurri-Wurri without pause Ghurr'i-W urr'i runs ahead and prostrates himself before the Princess Princess' retinue halts Princess signals to attendant Attendant signals to nearest slave Slaves proffer chest Attendant opens it, takes coin, closes it Gives coin to Princess Princess drops coin in beg- gar's hand Princess and retinue exit at the left Ghurri-Wurri looks at coin, scrambles to his feet, looks after Princess, shakes his fist, starts to the right, turns, shakes his fist again, exits at right, raging. i8 THE SHEPHERD IN THE DISTANCE The Music Cymbal crash Cymbal crash The Pantomime^ etc. Lights out In the darkness Ghurri-Wurri crosses to left of stage, ready for Scene III The drop is lifted Lights up SCENE III — [The Wazir's Garden as in Scene I] Wazir, Vizier and Nubian asleep as before Ghurri-Wurri enters at the left Prostrates himself before Wazir Wazir and Court sleep on Ghurri-JV urri again pros- trates himself The Court sleeps on Ghurri-Wurri slams himself down hard Wazir, Vizier, Nubian awake Wazir shakes his fist at the beggar Signals Vizier Vizier runs thumb along his scimitar blade Ghurri-Wurri retreats to the right 19 Bass chords Tap on drum Tap on drum Bass chord Tap on drum Bass chord Drum crash Drum crash Drum roll Wood-block tap Sand blocks Tap THE SHEPHERD IN THE DISTANCE The Music Tap Tap, tap Tap Tap Princess rhythm Tap Drum crash Drum roll Tap Tap Tap Wazir rhythm on wood-drum. Telegraphically stated: etc. The Pantomime^ etc. He stumbles over the tele- scope He picks it up and hands it to the Wazir Ghurri-JVurri points to the "Distance" The Wazir uses the telescope The "Distance" is revealed as in Scene I Princess and retinue are seen traveling [across the plat- form from right to left] The Wazir lowers the tele- scope The "Distance" vanishes as in Scene I Wazir stamps his foot He shakes his fists, first at the "Distance," then off left Points at Ghurri-Wurri Vizier seizes Ghurri-Wurri by the scruff of the neck Vizier points off left with his scimitar The Court and Ghurri-Wurri begin to run, Nubian first, then Ghurri-Wurri, then Vizier, then Wazir. The running is entirely vertical in movement, no ground being covered at all. 20 THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Musically, ac- Lights out cented eighth [In the darkness, the runners notes i n 2/4 move downstage without time, presto losing step. A plain drop Cymbal crash is lowered behind them] Cymbal crash Lights on. SCENE IV — W a z i r rhythm, The runners increase their crescendo and speed throughout the scene acceleramento Ghurri-fVurri slips to his knees Vizier, without losing a step, jerks him back on his feet Ghurri-Wurri, pointing left, resumes running Wazir points left When the runners have reached their maximum speed The lights go out In the darkness the Wazir's court and Ghiirri-JVurri exit and take their places at the right ready for Scene V The Shepherd and Goat take their places Lights up Cymbal crash Cymbal crash 21 THE SHEPHERD IN THE DISTANCE The Music Wind Instrument Begin Princess rhythm Tap Tap Stringed instru ment Drum roll crescendo Princess rhythm Tap Wazir rhythm Tap Tap SCENE V [A plain drop] The Pantomime^ etc. The Shepherd is discovered well to the left, piping for the Goat Goat is dancing Goat stops to listen, looks off to the right Shepherd looks to the right Goat crosses to extreme right, bows Princess and retinue enter They halt The Shepherd kneels to the Princess, then dances for her The Goat becomes alarmed All turn and look to the right Goat, on all fours, offers his back to the Princess Shepherd induces Princess to sit on Goat's back Goat exits, followed by Prin- cess' retinue Shepherd folds his arms Wazir's Court and Ghurri- Wurri enter from the right They halt Wazir points to Shepherd 2-2 pp. THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Tap Vizier brandishes his scimitar Drum roll Nubian approaches Shepherd Drum crash Nubian falls Drum roll Wazir shakes his fists Crescendo Points at Shepherd to Vizier attacks Shepherd with scimitar Shepherd grasps scimitar They struggle, convention- ally, one, two, three, four, five, six Drum crash The Shepherd falls Drum roll The Vizier waves his scimitar aloft Drum roll Wazir exults Tap Nubian rises Tap Wazir points to the right Tap Vizier points at Shepherd with scimitar Tap Nubian seizes the Shepherd Wazir rhythm Wazir' s Court and Shepherd exit at the right, ignoring Ghurri-Wurri, Nubian and Shepherd first, then Vizier, then Wazir. [All cross be- hind the drop to left of stage ready for Scene VF Drum crash Ghurri-Wurri stamps his foot Drum roll Shakes his fists after them 23 THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Drum roll Runs to left and shakes his fists at the Princess Drum roll Runs to right and shakes them at the Wazir Runs to center and shakes them at the audience Cymbal crash Lights out Ghurri-Wurri exits The drop is raised Cymbal crash Lights on SCENE VI — [The Wazir's garden. No characters on scene] Wazir rhythm Nubian enters from left, hold- ing the Shepherd Wazir and Vizier follow Tap JVazir takes his seat, smirking Tap Wazir orders Shepherd thrown down at the right Drum crash Nubian complies Tap Vizier orders Nubian off right Wazir rhythm, Nubian hurries out fast Wazir rhythm, Re-enters, staggering under slow a ball and chain [the chain of papier-mache and the ball a balloon] Drum crash Drops these beside the Shep- herd 24 THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Clank, clank Rivets chain to Shepherd's leg Tap Rises Tap Vizier orders Nubian off, left Wazir rhythm Nubian exits left Tap Vizier sits Tap PVazir moves a chessman Tap Vizier moves a chessman Tap Shepherd, in a gesture of de- spair, finds the telescope He looks into the "Distance" "The "Distance" is shown as in Scene Y Stringed music Princess and Goat discovered in conference, Goat has an idea: He points to the Shepherd, then to the Wa- zir, then to the Princess, and executes an ancient dance movement, which is contemporaneously de- scribed as the "shimmy" The Princess claps her hands and exits, followed by the Goat Tap Shepherd lowers the t e 1 e - scope [The "Distance" vanishes] Tap Shepherd is puzzled 25 THE SHEPHERD IN THE DISTANCE The Music Stringed music The Pantomime^ etc. Princess enters from the left, veiled and carrying a scarf in her hands Goat enters with her, goes at once to the Shepherd Princess poses at center JVazir and Vizier turn, smirk- ing Princess dances Wazir leers and strokes his beard ends dance beside Chords, agitato Sand blocks Chords Sand blocks Princess rhythm on wood drum Tap Tap Princess rhythm his arms with her with Princess Vizier She ties scarf Wazir is convulsed laughter Princess binds Wazir's arms with her veil Vizier is convulsed with laughter The Attendant enters from the left with a box on which a skull and cross-bones are conspicuous Princess takes two pills from the box She pops them into her pris- oners' open mouths The Attendant exits as she came 26 THE SHEPHERD IN THE DISTANCE The Music The Pantomime^ etc. Sand blocks Wazir and Vizier swallow vigorously Drum crash They lay their heads upon the chess table and die Tap Princess beckons to the Shep- herd Tap Shepherd points to his fetters Tap Goat attacks the ball and chain Drum crash He "bites" the ball [bursts the balloon] Tap He "bites" the chain String music Princess, Shepherd and Goat dance in a circle Lights out Cymbal crash Princess and Shepherd and Goat ready at left for next scene The drop is lowered Cymbal crash Lights up SCENE VII — String music Princess and Shepherd dance Cymbal crash across, followed by the Goat, who is playing on the Shepherd's pipe Princess and Shepherd, be- hind the drop take their places on the platform Lights out [The drop Is lifted] 27 THE SHEPHERD IN THE DISTANCE The Music Cymbal crash String music Cymbal crash Cymbal crash The Pantomime^ etc. Lights on [The Wazir's garden with the middle section of the drop lifted to show the "Distance"] Shepherd and Princess discov- ered in the "Distance" posed in a kiss Lights out [The drop is lowered] Lights on The Maker of Sounds rises, yawns cavernously, bows very slightly and exits [Curtain^ 28 The Portmanteau Plays BY STUART WALKER Edited and with an introduction by Edward Hale Bierstadt Brooklyn Eagle: "All of the plays in these attractive maroon volumes are literary without being pedantic, and dramatic without being noisy. They are a genuine addition to the steadily growing list of worthwhile plays by American dramatists. Stewart & Kidd are to be con- gratulated on presenting them to the public in such attractive format." Vol. 1— Portmanteau Plays Introduction The Trimplet Nevertheless Six Who Pass While the Lentils Boil Medicine Show Vol. 2 — More Portmanteau Plays Introduction The Lady of the Weeping Willow Tree The Very Naked Boy Jonathan Makes a Wish To be Issued shortly Vol. 3— Portmanteau Adaptations Introduction Gammer Gurton's Needle The Birthday of the Infanta "Seventeen" Each of the above volumes handsomely bound and illustrated. Per volume net, in Silk Cloth $2.50; % Turkey Morocco S8J0 Stewart & Kidd Company Publishers Cincinnati, U. S. A. A Notable Achievement European Theories of the Drama An Anthology of Dramatic Theory and Criticism from Aristotle to the Present Day, In a Series of Selected Texts, With Commentaries, Biographies and Bibliographies By BARRETT H. CLARK author of "Contemporary French Dramatists," "The Conti- nental Drama of Today," "British and American Drama of Today," etc., etc. A book of paramount importance. This monumental anthology brings together for the first time the epoch-making theories and criti- cisms of the drama which have affected our civilisation from the be- ginnings in Greece down to the present day. Beginning with Aristotle, each utterance on the subject has been chosen with reference to its importance, and its effect on subsequent dramatic writing. The texts alone would be of great interest and value, but the author, Barrett H. Clark, has so connected each period by means of inter-chapters that his comments taken as a whole constitute a veritable history of dramatic criticism, in which each text bears out his statements. Nowhere else is so important a body of doctrine on the subject of the drama to be obtained. It cannot fail to appeal to anyone who is interested in the theater, and will be indispensable to students. The introduction to each section of the book is followed by an exhaustive bibliography; each writer whose work is represented is made the subject of a brief biography, and the entire volume is rendered doubly valuable by the index, which is worked out in great detail. Prof. Brander Matthevs, of Columbia University, says: "Mr. Clark deserves high praise for the careful thoroughness with which he has performed the task he set for himself. He has done well what was well worth doing. In these five hundred pages he has extracted the essence of several five-foot shelves. His anthology will be in- valuable to all students of the principles of play making; and it ought to be welcomed by all those whose curiosity has been aroused by the frequent references of our latter-day theorists of the theater to their predecessors Aristotle and Horace, Castelvetro and Scaliger, Sidney and Jonson, d'Aubignac and Boileau, Lessing and Schlegel, Goethe and Coleridge." Wm. Lyon Phelps, of Yale University, writes: "Mr. Clark's book, 'European Theories of the Drama,' is an exceedingly valuable work and ought to be widely useful." Large 8vo,joo pages. Net,$^.oo; ^ Turkey Morocco, Net,. ti2. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. Four Plays of the Free Theater : "The Fossils," "The Serenade," "Francoise' Luck," "The Dupe." Authorized Translation with Introduction by Barrett H. Clark The Contents of this Volume are : Preface by Brieux Antoine and the Free Theater, by Barrett H. Clark. The Fossils, by Francois de Curel. Rather short three-act play, first produced in 1892. Time, the present. A problem play of family pride and desire to perpetuate itself. Characters: The Duke de Chartmelle, Robert de Chartmelle, Nicolas, a Farmer, a Country Neighbor, a Servant, Claire de Chart- melle, Helen Vatrin, a Nun. The Serenade, by Jean JuUien, a Bourgeois Study in three rather short acts; first produced in 1887. Characters: Theo- dore Cottin, Calixte Poujade, Maxine Champanet, Prosper Poujade, Dumoulin, Fournier, Nathelie Cottin, Genevieve Cottin, Celina Roulard, Leocadie, Dumoulin, Clemma, Dodo. Francoise' Luck, by Georges de Porto-Riche. Medium length, one-act comedy; first produced in 1888. Characters: Marcel Desroches, Guerin, Jean, Francois, Maseleine. The Dupe, by Georges Ancey, a comedy in five short acts; first produced in 1891. Characters: Albert, Madame Viot, Adele, Marie. Handsomely bound and uniform with S. 6? K. Dramatic Series, Net, $2.50. Ya, Turkey Morocco, Net, $8.^0. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. SHORT PLAYS By MARY MacMILLAN To fill a long-felt want. All have been successfully pre- sented. Suitable for Women's Clubs, Girls' Schools, etc. While elaborate enough for big presentation, they may be given very simply. This volume contains ten Plays: The Shadowed Star has six women, one boy; may all be taken by women. Time, present. Scene, in a tenement Christmas Eve. One act, 45 minutes. The Ring. Costume play. Time, days of Shakespeare. Three women, seven men. Scene, interior. One act, 45 minutes. The Rose. One woman, two men. Time, Elizabethan. Scene, castle interior. One act, 30 minutes. Song introduced. Luck. Four short acts. Time, present. Interior scene. Seven women, six men. Comedy. Entre' Acte. Costume play. Time, present. Scene, interior. Two women, one man. Contains a song. One act. A Woman s a Woman for A' That. Time, present. Interior scene. One act, 45 minutes. Three women, two men. Comedy. A Fan and Two Candlesticks. Costume play. Colonial times. Scene, interior. Two men, one woman. One act, 20 to 30 minutes. Written in rhymed couplets. A Modern Masque. Time, present. Scene, outdoors. Fan- tastic, written in prose and verse. Costume play in one act, 30 minutes or more. Four women, three men. The Futurists. One-act farce, of the first woman's club of the early eighties. Interior. Forty-five minutes. Eight women. The Gate of Wishes. One-act fantasy. Outdoors. Half hour. One girl, one man. Singing voices of fairies. Handsomely bound and uniform with S. & K. Dramatic Series, izmo. Cloth, Net, $2.30; K Turkey Morocco, Net, $8.^0. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. m"^^ A9&^ ■•'"I MORE SHORT PLAYS By MARY MacMILLAN Plays that act well may read well. Miss MacMillan's Plays are good reading. Nor is literary excellence a detriment to dramatic performance. This volume contains eight Plays: His Second Girl. One-act comedy, just before the Civil War. Interior, 45 minutes. Three women, three men. At the Church Door. Fantastic farce, one act, 20 to 30 minutes. Interior. Present. Two women, two men. Honey. Four short acts. Present, in the southern mountains. Same interior cabin scene throughout. Three women, one man, two girls. The Dress Rehearsal of Hamlet. One-act costume farce. Present. Interior. Forty-five minutes. Ten women taking men's parts. The Pioneers. Five very short acts. 1791 in Middle-West. Interior. Four men, five women, five children, five Indians. In Mendelesia, Part I. Costume play, Middle Ages. Interior. Thirty minutes or more. Four women, one man-servant. In Mendelesia, Part II. Modern realism of same plot. One act. Present. Interior. Thirty minutes. Four women, one maid-servant. The Dryad. Fantasy in free verse, one act. Thirty minutes. Outdoors. Two women, one man. Present. These plays, as well as SHORT PLAYS, have been pre- sented by clubs and schools in Boston, New York, Buffalo, Detroit, Cleveland, New Orleans, San Francisco, etc., and by the Portmanteau Theatre, the Chicago Art Institute Theatre, the Denver Little Art Theatre, at Carmel-by-the-Sea in California, etc. Handsomely bound and uniform with S. & K. Dramatic Series. i2mo. Cloth. Net, $2.^0; }4 Turkey Morocco, Net, $8.^0. STEWART & KIDD COMPANY Publishers Cincinnati, U. S. A. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. Form L9-50»n-4,'61(B8994s4)444 OTHERS TO FOLLOW STEWART & KIDD COMPANY Publishers- Cincinnati, U. S. A. 17*15 LlKKA«Jr trNTVERSlTY 0^ Ci«ayFORNUL UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000 681 345 5