ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2017.COPYRIGHT NOTIFICATION In Copyright. Reproduced according to U.S. copyright law USC 17 section 107. Contact dcc@ribrarv.uiuc.edu for more information. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Preservation Department, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2017LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 791.53 ot6bA BOOK OF MARIONETTE PLAYS With directions for constructing marionettes and stage; instructions for performing the marionette feats employed in the plays; and two fairy-plays to be used in connection with Tony Sarg's Toy Theatre.BOOKS BY TONY SARG Tony Sarg's Book for Children Tony Sarg's Book of Animals Tony Sarg's Wonder Zoo Tony Sarg's Alphabet Soldier Boy (with Felicite Le Fevre) A Book of Marionette Plays (with Anne Stoddard) In Preparation Tony Sarg's Book of TricksA BOOK OF MARpiSOETTE VIMS -A"NME STODTlAKli J&CO tONY SARG 13 GKEENEER&.M. PTJBUSBEK, JtEVTORKCOPYRIGHT, 1927 CREENBERG, PUBLISHER, INC. Second Printing The play versions given in this book are fully protected by U. S. Copyright. Permission is granted to the purchaser of this volume to produce any, or all, of these plays where admission is not charged, or at any performance for public benefit. The pres- entation of any material in this book for profit, or in any pro- fessional theatre where admission is charged, is expressly forbidden except by special arrangement with Greenberg, Pub- lisher, Inc., holders of copyright.19153 51 6 Jr To Muddie Glen—God bless her!TABLE OF CONTENTS PAQX Introduction by Tony Sarg . . xi SECTION I Red Riding-Hood: A Play in Three Scenes . 5 Jack and the Beanstalk: A Play in Four Scenes . .......21 Hansel and Gretel: A Play in Three Scenes 55 The Singing Lesson: A One Act Play . . 81 Rip Van Winkle: A Play in Six Scenes 97 SECTION II Suggestion for a Vaudeville Show . . .137! Tony Sarg Tells How to Make a Mario- nette ...... . . 141 Tony Sarg Tells How to Construct a Home- made Marionette Stage . . . .151' Notes Which Tell How to Perform Mario- nette Tricks Employed in the Plays . 155 ixx TABLE OF CONTENTS PADS SECTION III An Introduction to Tony Sarg's Toy Thea- tre .........., . 169 Red Riding-Hood: Simplified Version of Play, for Use in Tony Sarg's Toy The- atre .............173 Hansel and Gretel: Simplified Version for Use in Tony Sarg's Toy Theatre . . 187INTRODUCTION It is not my purpose in these introductory para- graphs to talk about the fascination of making and playing with marionettes, or to tell my readers that they need only construct a single doll, dress the little creature, and give him a chance to do his tricks, in order to fall under the spell that invests these quaint beings—although that is true enough!—for I am assuming that those who read this book are already susceptible to the lure of the marionette. Rather, I wish to tell you something about the book itself. Marionettes, as most people know, fall into three classes. One type consists of a head and an empty dress, slipped upon the hand of the per- former, who animates the puppet with his thumb and two fingers—it is to this type that Punch and Judy belong, and the famous marionettes of George Sand. Another type is the doll operated from below, by means of rods, or the legs of the figure itself. The third type, the true marionette, is a puppet operated from above by means of strings, or wires. To this third class belong my own dolls (with the exception of those designed xixii INTRODUCTION for the Toy Theatre, of which I shall speak later) and virtually all modern "artistic marionettes," as well as the figures used in the traditional dramas of the Italian marionette stage. In professional marionette production a scaf- folding is erected above the stage, which provides a double platform, on which the operators, or "puppeteers," as they are called, must stand to manipulate the dolls. This scaffolding is called the "bridge." ' < The crossed bits of wood, which the puppeteer holds in his left hand, and to which the strings of head, hands, back and breast are attached, con- stitute a device, known as the "controller"; and the stick, held in the right hand, to which leg strings are attached, is known as the "foot con- troller." It is by means of these controllers that the dolls are animated. The puppeteer must learn not only to manipu- late the little figures, but to speak the lines for the doll he is operating, suiting the action to the spoken word. This takes much practice, of course. The five plays, printed in Section I, are written for the third type of puppet, the stringed mar- ionette. All of these plays give opportunity for those feats which marionettes perform best; and I would suggest that those who write their own marionette plays, should bear in mind that theINTRODUCTION xiii more opportunities the play affords for the kind of action in which marionettes excel, the better the play 1 Animal-puppets are always attractive and may be counted on to win the favor of the audience. That is another suggestion for the amateur play- wright. I have myself produced most of the plays in this book, including the Vaudeville performance. The original plays of "Jack and the Beanstalk" and "Rip Van Winkle" were written by other authors, hence lines and action are different, but many of the characteristic marionette-tricks are the same as those used in the original pro- ductions. As the professional stage is rather elaborate and not necessary for home-production, a simple stage for amateur use has been suggested in the pages which follow the plays; and full directions have been given for constructing it and for making and operating marionettes. Many people ask about the height of the dolls used on the professional marionette-stage. I pre- fer a two-foot puppet for my own performances, but would suggest a smaller doll for home pro- duction. The ambitious amateur, who is clever with tools, may make a professional stage for himself,xiv INTRODUCTION if he so desires; or may have a carpenter make one for him, but the simpler stage will be found satisfactory for drawing-room entertainments. Notes, which give directions for performing the more complicated marionette-tricks employed in the plays, are appended to the book. The plays, themselves, fall naturally into four classes: "Red Riding-Hood" is a good play for beginners, because it contains no difficult feats for the marionettes to perform. "Jack and the Bean- stalk" and "Hansel and Gretel" come next. These plays require more skill in operating the dolls than "Red Riding-Hood," but they are simple to produce. "The Singing Lesson" is entirely simple, with the exception of the little singer, Lucy, whose rather complicated mechanism and operation are explained in the notes. "Rip Van Winkle" and the "Vaudeville Show" require the skill of the professional, or the expert amateur. Directions for making a puppet smoke a pipe, dance, play the accordian, etc., are given in the notes; also, for the feats of the juggler, who gives a performance with a ball. Section II of the book is devoted to the Toy Theatre, which I have designed and put on the market, in response to letters from hundreds of children, who are too young, or have not the skill, to make and manipulate typical stringed mario- nettes.INTRODUCTION xv This little theatre is complete, with stage, scen- ery, puppets, stage-properties and lighting ar- rangements. The dolls are operated from below and move about the stage in grooves, made for the purpose. Two fairy-plays, simplified versions of "Red Riding Hood" and "Hansel and Gretel," ar- ranged for the Toy Theatre, are included in the book; and full directions for operating dolls, plac- ing scenery, etc., are inserted in the text. It may be said here, that the Toy Theatre is so simple that a child may produce these plays charmingly without previous experience, or prac- tice. Full particulars about the Toy Theatre will be furnished by Greenberg, Publisher, Inc., 112 East 19th Street, New York, the publishers of this book. TONY SARG.SECTION IRED RIDING-HOOD A Play for Marionettes in Three Scenes (Based on the Fairy Tale) Scene I. Outside Red Riding-Hood's House Scene II. The Forest Scene III. The Grandmother's House CHARACTERS IN ORDER OF APPEARANCE Goodman Riding-Hood Goody Riding-Hood Red Riding-Hood Tommy Tucker, the Dog The Wolf The GrandmotherRED RIDING-HOOD SCENE I Outside Red Riding-Hood's House. Dooryard with trees. Cottage right. Tree-stump centre. goodman riding-hood is discovered, chopping at the stump. He whistles as he chops. Enter goody riding-hood. goody Well, husband, you seem to be busy. goodman Yes, wife. Just getting warmed up for the day's work. Forty or fifty strokes with the axe on the old stump and I am ready to chop the whole day through. I have to cut down the hemlock near Granny's house this morning. goody Granny is ill. She sent the miller's boy to tell us about it. You might look in and see how she is, if you are chopping over that way. I am sending Red Riding-Hood to take her a basket of comforts. 56 A BOOK OF MARIONETTE PLAYS goodman That's good. Granny is a fine woman and we ought to do all we can for her. But I must be off. Goodbye, wife 1 goody Goodbye, then. And bring me home a basket of chips for kindling. goodman I will, if I remember it. Goodbye! (Exit goodman r.) goody Men are provoking sometimes. (She calls.) Red Riding-Hood! Red Riding-Hood! (Enter red riding-hood with a basket on her arm.) 1 goody You must be starting for Granny's house, daughter. I see you found your little basket. I packed it, first thing this morning. red riding-hood What is in the basket, Mother? Anything for me? goody Well, there is some mutton-broth for Granny, 1Note I, Page 155.RED RIDING-HOOD 7 and a bottle of blackberry cordial. That will be good for her. And some strawberry jelly. RED RIDING-HOOD Strawberry jelly? I like that. GOODY I made some sandwiches for your luncheon; and I baked some little cakes for you, too. RED RIDING-HOOD Pink frosting? GOODY Yes, pink frosting! I know you like that kind. RED RIDING-HOOD Um, um! I love pink frosting. GOODY Brush up the hearth for Granny and ask her if there is anything you can do to make her comfort- able. RED RIDING-HOOD Yes, Mother. Oh, I know what will please Granny. I will have Tommy Tucker count for her.8 A BOOK OF MARIONETTE PLAYS goody Tommy? Count? What will that dog do next? red riding-hood '(She whistles to her dog.) Come, Tommy, Tommy, Tommy! (Enter tommy tucker, the dog.) red riding-hood Count for Mother, Tommy. Sit up now, so. (tommy sits up on his hind legs.) Now, ready 1 One! (tommy raises one paw.) Now, Two! (tommy raises both paws.) Three! (He barks three times.) Four! (He barks four times.) There! Good dog! Good old Tommy! goody Well, I never! You are a smart dog, Tommy Tucker. tommy Woof! red riding-hood That means "yes" I suppose. goody Well, my dear, you'd better be starting— though I don't know that I like the idea of your going through the forest alone.RED RIDING-HOOD 9 REE* RIDING-HOOD Why not, Mother? GOODY Because it is a queer place, the forest. There are strange things there—things I don't like. RED RIDING-HOOD You are funny, Mother. There are flowers in the forest; and birds; and berries to pick. The trees whisper so sweetly together, I always think they are telling each other secrets. I love the forest. GOODY Well, don't linger by the way. Go straight to Granny's house; and don't stop to talk with any- one. RED RIDING-HOOD Oh, I won't meet anybody. GOODY Don't be too sure of that. But there 1 I am a foolish woman to think of such things, I suppose. Run along and don't forget to tell Granny I made the blackberry cordial myself. RED RIDING-HOOD No, Mother. Goodbye, Mother.IO A BOOK OF MARIONETTE PLAYS GOODY Goodbye, Red Riding-Hood. Be a good girl. RED RIDING-HOOD Yes, Mother. Come along, Tommy! (Exit RED RIDING-HOOll and TOMMY.) GOODY Well, well, well! One never knows! CURTAINSCENE II The Forest. Birds are singing.1 Butterflies flutter about. A rabbit runs across the stage; tommy tucker chases him, barking furiously. (Enter red riding-hood.) red riding-hood Tommy! Stop it! Come here, you bad dog! That rabbit is just as good as you are. You leave it alone, do you hear me ? Bad dog! (tommy crawls on his stomach.) red riding-hood All right, if you're sorry. And if you're very, very good, maybe—just maybe- tommy Woof! red riding-hood Maybe, I said—maybe I'll give you a cake. 1 Bird-whistles may be bought at the toy-store. ii12 A BOOK OF MARIONETTE PLAYS TOMMY Woof! Woof! RED RIDING-HOOD Do you want-? TOMMY {He stand up and begs.) Woof! (Enter the WOLF.) TOMMY {He growls.) Urrgh! Grrgh! WOLF Good morning, little girl. Fine morning, isn't it? RED RIDING-HOOD Yes, sir. WOLF And what might your name be, pretty little girl? RED RIDING-HOOD My name is Red Riding-Hood, sir. WOLF Ah! And where are you going this fine morn- ing?RED RIDING-HOOD 13 RED RIDING-HOOD I am going to my Granny's house. She is sick. WOLF Does your Granny live near here ? RED RIDING-HOOD Right over there. You can see the chimney through the trees. WOLF Yes, yes. I see it. That's a nice little basket. What have you in your basket, pretty little Red Riding-Hood? RED RIDING-HOOD Lots of good things. Broth and blackberry cor- dial for Granny. And jelly. And cakes with pink frosting. Those are for me. WOLF I like cakes. I like jelly. But I like little girls better. You are a nice, tasty looking little girl, Red Riding-Hood. Simply delicious. RED RIDING-HOOD Come, Tommy. TOMMY Urrgh! Grrgh!14 A BOOK OF MARIONETTE PLAYS WOLF A juicy little girl. Good enough to eat! RED RIDING-HOOD I must be going. WOLF I'll be going, too. Perhaps we shall meet again, Red Riding-Hood. (Exit WOLF.) RED RIDING-HOOD That's funny. Mother sometimes says she would like to eat me up, too—but it sounded dif- ferent, someway. I don't like Mr. Wolf—do you, Tommy? TOMMY (He growls.) Urrgh! Grrghl CURTAINSCENE III The Grandmother's House. An interior with a bed. The wolf is discovered in bed, with the Grandmother's cap and spectacles on. Knocking is heard at the door. wolf Who's there? red riding-hood {Outside.) It is Red Riding-Hood, Granny, come to wish you good-morning. Let me in, please. wolf Lift the latch, open the door and walk in. (Enter red riding-hood and dog. tommy growls.) red riding-hood How are you, dear Granny? Mother sent you a basket of goodies. Oh, Granny I wolf Well? is16 A BOOK OF MARIONETTE PLAYS red riding-hood You look so strange, Grandmother. What big ears you have! wolf The better to hear you with, my child. red riding-hood Wh-what big eyes you have, Grandmother 1 wolf All the better to see you with, my child. red riding-hood But—but—Grandmother—what a big nose you havel wolf All the better to smell you with, my child. red riding-hood (She is crying.) And what—what big teeth you have, Grandmother 1 wolf (He springs out of bed.) The better to eat you with, my child! (He chases red riding-hood, tommy attacks him.)RED RIDING-HOOD 17 red riding-hood {She screams.) Oh, oh, oh! (Enter goodman riding-hood with axe.) goodman What is going on here? (He strikes the wolf with the axe.) Take that, you wicked wolf! And that! And that! (He kills the wolf, who dies with groans of agony.) red riding-hood Oh, Father! Father! Dear, dear Father! goodman Don't be frightened, daughter. The wicked wolf is dead. (Enter the grandmother.) red riding-hood Granny! grandmother Why, Red Riding-Hood! Why, son I What has happened here ? goodman Mother! Where have you been? Red Riding- Hood came to see you and the old wolf would have eaten her up, if I had not come when I did.18 A BOOK OF MARIONETTE PLAYS GRANDMOTHER The saints be praised. (She kicks the dead wolf.) And my cap and spectacles, too! I felt so much better this morning, I just nipped out to buy a pound of tea. RED RIDING-HOOD Oh, I am glad the wicked wolf is dead. GRANDMOTHER We are all glad. He was the worst person in the forest, that wolf. GOODMAN Well, he got what he deserved. Wicked people always come to a bad end. CURTAIN1 ,V' i"wl fyrikftuf* * w A ****&*»JACK AND THE BEAN-STALK A Play for Marionettes in Four Scenes (Based on the Fairy Tale) Scene I. A Road Scene II. Jack's House Scene III. The Giant's House Scene IV. Same as Scene II CHARACTERS IN ORDER OF APPEARANCE Jack, a Boy Buttercup, a Cow A Fairy God-mother Jack's Mother Janey, Jack's Sister The Giant The Giant's Wife The Hen-that-lays-Golden-Eggs A RoosterJACK AND THE BEAN-STALK SCENE I A Road. Birds are singing. Butterflies flutter about. A pair of rabbits run across the stage and play leap-frog over large stone, right. Enter JACK, driving BUTTERCUP. He has a stick in his hand. He seats himself upon the stone and the cow snatches a mouthful of grass. JACK Well, Buttercup, old girl, we'll rest a bit. BUTTERCUP Moo I Moo! JACK Good old Bossy! Whatever will we do without you? 2324 A BOOK OF MARIONETTE PLAYS buttercup Moo! jack You cows have an easy time. Dinner for you, everywhere the grass grows. Now, suppose sau- sages and bread-and-butter grew alongside the road. Jiminy! I wish they did. I'm hungry. buttercup Moo! (Enter fairy god-mother.)] fairy Good morning, boy. jack 'Morning, ma'am. fairy That's a fine cow you have. jack Oh, yes, ma'am. She gives lots of milk, and cream an inch thick. She's a very good cow. fairy So I see. buttercup (She nods her head for "yes.") Moo!JACK AND THE BEAN-STALK 25 JACK Just hear her. That's old Buttercup's way of talking. FAIRY Buttercup. That's a nice name. BUTTERCUP Mool FAIRY Where are you going with your fine cow? JACK Well, Mother said I must take her to market and sell her. FAIRY Sell such a fine animal? Why? JACK Well, you see, we have to sell her. We are poor; and there is no food in the house. And we haven't anything else to sell, except poor old Buttercup. FAIRY My, my 1 That's too bad. Do you know I have taken a fancy to that cow—I have, indeed. Per- haps I might buy her myself.26 A BOOK OF MARIONETTE PLAYS JACK What a piece of luck! But I'll have to get a lot of money for her. Mother said so. FAIRY Hm! You seem a nice boy; and Buttercup is a very nice cow; I might give you something—well, something rather remarkable. JACK What is it, ma'am? FAIRY Listen to me—carefully. It is something that will make you rich, if you follow my instructions. Will you do exactly as I say? JACK Indeed, I will. Just tell me what to do. FAIRY (She holds out her hand.) Do you see what I have in my hand? JACK Why—why—they look like beans—pretty colored beans. FAIRY So they are! Magic beans, a handful of them.JACK AND THE BEAN-STALK 27 You must plant these beans; and then a magic bean-stalk will spring up—up clear to the sky. JACK It will? A magic bean-stalk? FAIRY At the top of the bean-stalk lives a giant, a wicked old fellow and very, very rich. You must climb up the bean-stalk and go to his house. JACK Whewl FAIRY I will meet you at the giant's house and tell you what to do. JACK Oh, crickeyl FAIRY You shall be rich—I promise it. But one thing you must remember. All the riches in the world will do you no good, unless you keep a good heart and share your good fortune with the needy. JACK Yes, ma'am. Will you really give me those magic beans for old Buttercup ?28 A BOOK OF MARIONETTE PLAYS FAIRY Yes, I will, boy. I like you. It isn't everyone I would give these beans to—in exchange for a cow. (She gives JACK the beans.) JACK Thank you, thank you, ma'am. You are ever so good and kind. FAIRY You may drive the cow home for me. Straight down this road and first turn to the left. You'll see a little crooked house. It is red; and the roof has ears like a cat's. You can't miss it. JACK Yes, ma'am. FAIRY There's a barn at the back. Take the cow in and tie her to the feeding-rack. JACK Yes, ma'am. FAIRY Well, I'm off. This is my busy day. Goodbye, boy.JACK AND THE BEAN-STALK 29 jack Goodbye, madam. (Exit fairy god-mother.) jack (He whistles.) Whew! Come on, old girl! {He jumps on buttercup's back and rides off.) curtainsa w SCENE II Jack's House. The scene is an exterior, a cot- tage with door-yard. Jack's mother is discovered, sweeping the garden-path. {Enter JANEY.) JANEY Mother! Has Jack come home yet? MOTHER No, your brother has not come home. JANEY What did he go out for, anyway? To sell the cow. MOTHER 30JACK AND THE BEAN-STALK 31 JANEY Not our darling Buttercup! Oh, I can't bear it. Why, why must we sell Buttercup ? MOTHER Because there is no food in the house. No bread, no tea, no sugar; and no money to buy any. JANEY (She bursts into tears.) Oh, dear! Oh, dear! Oh, dear! I love Buttercup and now some one else will have her. Some other little girl will pol- ish her horns and kiss the dear little black spot on her nose. MOTHER And some other little girl will drink the creamy milk and eat the nice butter and pot-cheese I used to make for you. JANEY Can't we sell something else to get money for tea and sugar? MOTHER What is left to sell? Everything has been sold already, except the beds and the cooking-kettles. The spinning-wheel is gone and even the churn.32 A BOOK OF MARIONETTE PLAYS There's nothing left except the cow that any one wants. (Enter jack.) jack Hello, Mother! Hello, Sister 1 mother Well, son. What luck did you have? jack Oh, the best of luck. I met a little old woman on the road, a little, wee, tiny woman. She had on a gray dress and a pointed hat; and she made me feel—oh, quite strange. She looked—do you know, Mother?—as if she knew everything in the whole wide world. janey She sounds like a Fairy God-mother. jack Perhaps she was. mother What I want to know is about the cow. Did you get a good price for her? jack Oh, yes, Mother! You see, the Fairy God-JACK AND THE BEAN-STALK 33 mother bought her. And she told me about a giant, who lives at the top of a great, tall bean- stalk. He's very rich, she says, and if I climb up the bean-stalk- MOTHER Whatever is the boy talking about? Have you taken leave of your senses, Jack? JACK No, Mother. But the Fairy God-mother said- MOTHER Drat the Fairy God-mother. How much money did you get for the cow? JACK Well, you see- MOTHER Speak up. What did you get? JACK I got—I got these beans. They are magic beans, Mother. MOTHER Oh, you wicked boy! You have sold our beau- tiful cow for a handful of beans!34 A BOOK OF MARIONETTE PLAYS jack Well, you see- mother Was there ever such a stupid and ungrateful child! What are we to do now? May the saints help us! jack Well, you see- mother Not another word from you, you miserable boy. (She spanks him with the broom.) Perhaps that will teach you a little sense. jack {He is crying.) B-but she t-told me to p-plant the beans. mother Well, plant them then. They are no good to anybody, as it is. (Jack starts to plant the beans.) janey Let me help you, brother. Oh, what pretty beans! Red ones—violet, blue. And here's a yel- low one. (The bean-stalk shoots up.) 1 ^^Note II. Page 156.JACK AND THE BEAN-STALK 3s jack Ooo-oh! janey Goody, goody! (jack climbs the bean-stalk.) jack Goodbye, Mother! Goodbye, Janey. I'm going up to visit the giant, like the Fairy told me to! mother May the saints preserve us! curtainSCENE III The Giant's House. An interior: chair, left; stove, centre; large kettle on floor, right. the giant is discovered, sprawled in the chair. He is asleep and snores. The giant's wife is stirring something in a pot on the stove. Knocking is heard at the door. giant's wife Come in! {Enter Jack.) jack Good morning, ma'am. Is the giant at home? giant's wife Sshh! You'll wake him. 36JACK AND THE BEAN-STALK 37 jack Oh, I see. Whew! How big—but please excuse me. I did not mean to be rude. giant's wife Who are you, boy? jack My name is Jack. giant's wife And how did you get up here? jack I climbed up the bean-stalk. giant's wife That was a foolish thing to do. You should have stayed at home. Don't you know that my husband eats little boys ? jack Boys ? He eats them ? giant's wife That's just what he does. A nice, fresh, live boy is the dinner he relishes most.38 A BOOK OF MARIONETTE PLAYS jack Oh, dear! I wish I hadn't come. giant's wife He eats them raw. Cooking spoils the flavor, he says. jack Oh, dear! I want to go home! (He begins to cry.) giant's wife Sshh! You should never have come. I don't know what to do with you. There! He's waking up. You'd better hide somewhere. Pop into this kettle—quick! (jack jumps into the kettle.) giant . (He wakes, stretches and sniffs noisily.) Ho, yum! Wife, I smell fresh meat. giant's wife It must be the stew I am cooking for your din- ner. giant It doesn't smell like stew. Fee, fi, fo, fum! I smell-JACK AND THE BEAN-STALK 39 giant's wife Now, don't say that! Please don't. A crow just flew over the house with a bone in her mouth. It's that you smell. giant It doesn't smell like a bone. It smells delicious. It smells like Boy. giant's wife Nonsense I You eat too many boys, anyway. That last one disagreed with you. giant I do like a juicy, tender Boy. Just a little salt— that's all. I love to crunch their brittle little bones. (He sniffs.) Fee, fi, fo, fum! I smell- giant's wife Now, don't say that. Please don't. You know how I dislike it. (Enter the hen-that-lays-the-golden- eggs. jack sticks up his head and ducks down again.) hen Kut, kut, ke-daw-kut!40 A BOOK OF MARIONETTE PLAYS giant's wife There! She has laid another golden egg. Just hear her bragging about it. hen Kut, kut, ke-daw-kutl giant Goodl How many does that make? giant's wife About seven hundred, I think. giant Seven hundred eggs of solid gold, and our hen lays another golden egg every day! We are rich, wife, and getting richer and richer. hen Kut, kut, ke-daw-kut! giant's wife Yes, with our hen and our bags of gold coins, we are rich indeed. (Exit hen. jack sticks up his head.) giant I am the richest giant in the world. I can buyJACK AND THE BEAN-STALK 41 anything I want—except a boy for dinner. I have to catch those. giant's wife Well, riches won't buy everything. giant The butcher ought to keep the kind of meat I like. Then I could have a boy, whenever I want one. giant's wife There's no use being discontented. You have your gold and your hen-that-lays-the-golden-eggs, and your harp-that-plays-of-itself. What more do you want ? giant Nothing is any good, if I can't have what I want for dinner. giant's wife I'll fetch your harp. That will amuse you. It is upstairs—I'll get it in a minute. Don't let the stew burn, while I am gone. (Exit giant's wife.) giant I don't want any stewl (He kicks the chair with his heels and42 A BOOK OF MARIONETTE PLAYS flounces about, jack sticks up his head.) (Enter fairy god-mother. She waves her wand before the giant's face.) fairy Sleep! Sleep, wicked ogre. May your dreams be of snakes. (The giant snores.) May imps tease and torture you! (To jack.) Quick, boy! Before the hateful creature wakes. Do as I tell you and you shall never want for anything again, (jack jumps out of the kettle.) jack What shalU do, madam? fairy Run into the next room, where the bags of gold are. Take as much as you can carry; and catch the hen-that-lays-the-golden-eggs. That is important. She will lay a golden egg every day— and then you will be rich forever and ever. jack Thank you, madam. (Exit jack.), fairy (To sleeping giant.) Sleep, sleep, great, snor-JACK AND THE BEAN-STALK 43 ing mountain of pigs' flesh. May needles pierce you! May red-hot irons burn you. {Enter jack with a bag of gold and the hen under his arm.) jack I have them, ma'am. fairy Remember what I told you about being kind and generous, and helping needy folks. jack I'll try, ma'am. I will really. fairy Goodbye, boyl Go now—quickly. jack Thank you—dear Fairy God-mother! (Exit jack.)] fairy (To giant.) So 1 You have lost your gold; and your hen-that-lays-the-golden-eggs, old snorer. Everybody gets what he deserves. (She kicks the giant.) curtainSCENE IV Same |as Scene II. janey and her mother are discovered, seated on bench by door of cottage. Bean-stalk, right. janey I wish I had some one to play with. If only Jack would come home. mother My poor boy I It is three hours since he climbed up that terrible bean-stalk. {She bursts into sobs.) janey I am hungry. I wish I had a cup of milk. Or some sausage. Or even a piece of bread. mother Heaven knows where our next meal is coming from. (The bean-stalk begins to shake.) janey Look, Mother! Look at the bean-stalk! 44JACK AND THE BEAN-STALK 45 MOTHER Maybe Jack is coming down. JANEY There he comes! There comes Jackl Hello, brother 1 I see you. MOTHER My dear boy! {Enter JACK, climbing down the bean- stalk, with hen and bag of gold.) JACK Good luck, Mother! Good luck, Sister! MOTHER Oh, son, I have been terribly worried about you. How glad I am to have you safe home again. JACK See what I have brought you. JANEY What is it? Do let me see. JACK A bag of gold. And a dear little hen that lays a golden egg every day. I took them from the wicked giant.46 A BOOK OF MARIONETTE PLAYS MOTHER Praises be to the saints. Gold! We shall never be hungry again. JANEY It's a sweet little hen. It's a lovely little hen. Aren't you, little henny-penny? HEN Kut, kut, ke-daw-kut! JANEY Isn't she darling? HEN Cluck, cluck, cluck-cluck! JANEY She's talking to me. MOTHER White bread and sausage for my children every day! JANEY And a pink dress with ruffles! JACK A pony for me 1JACK AND THE BEAN-STALK 47 janey And we can buy dear old Buttercup back again. buttercup (Off-stage.) Moo! Moo! janey That sounds like Buttercup's voice. It is her own darling moo! jack Maybe the Fairy God-mother has sent her back. I'll go and see. (Exit jack. The hen and bag of gold are removed from his hands off-stage.) mother A bag of goldl I'll buy a new spinning-wheel and a new churn. janey And I'll have a dolly. mother And a brass preserving kettle I janey And a blue sash!48 A BOOK OF MARIONETTE PLAYS mother A black silk dress; and a jet brooch—maybe. (Enter the hen with a rooster.) mother Well, did you ever? Our hen has found a little husbandI janey The smart little thing. It didn't take her long, did it? hen Craw, craw, craw, craw. rooster Cock-a-doodle-doo I Cock-a-doodle-doo I hen Kut, kut, ke-daw-kutl (They keep it up.) mother That's no ordinary pair of fowls. (The hen and rooster fight, then make it up.) hen Craw, craw, craw, crawlJACK AND THE BEAN-STALK 49 ROOSTER Cock-a-doodle-doo! jack {Off-stage.) Here, chick, chick, chick, chick! (Exit hen and rooster flying.) mother What's the world coming to, anyway? I hardly know whether I am on my head or my heels. And to think I scolded my boy for selling the cow for a handful of beans! (Enter jack with buttercup.) Jack Here she is. janey Precious old darling. Did you come back to Janey? buttercup Moo! (She kicks up her heels.)] jack She wants to dance. mother I do, myself. I declare, I feel like a four-year- old.SO A BOOK OF MARIONETTE PLAYS JACK Come on, Buttercup. Let's show them how happy we are. (jack and buttercup dance.1 janey and the mother keep time with hands and feet.) curtain 1Notc IX. Page 162.SkprnUtibe* 4 Trtttc* \ Cfm$r(react •HANSEL AND GRETEL A Play for Marionettes in Three Scenes (Based on the Fairy Tale) Scene I. A Cottage Scene II. A\ Forest Scene III. The Witch's House CHARACTERS (They are given in the order in which they appear.) Gretel, a Little Girl Hansel, Gretel's Brother Prince, Hansel's Dog Step-mother of Hansel and Gretel A Goblin A Ghost A Witch A Cat Gingerbread Children1 m n □ nctu HANSEL AND GRETEL SCENE I Interior of a woodsman's cottage. A table is laid with a meagre meal. Three chairs are drawn up to the table. Gretel is discovered, sweeping. She sings as she works. (Enter hansel with prince, his dog.) hansel Hello, Sister! Has Step-mother come home yet? gretel No, she has not come. It is past noon, too. I wonder what is keeping her. I'm hungry. hansel SS56 A BOOK OF MARIONETTE PLAYS gretel Yes, I am nearly starved. Dinner is on the table, everything is ready, and I have swept the floor while I was waiting. See how clean it is! And now I must put away the broom. (Exit gretel with broom.) hansel (To the dog.) Are you hungry, too, old fellow? prince Woof! hansel Oh, you are, are you? Well, then, here is a piece of bread for you. You want it, eh? Then you must speak for it. prince Woof! Woof 1 Woof! hansel That will never do. Sit up like a good dog. There! Now, speak! Speak, I say. prince (He sits up and begs.) Woof! Woof! Woof! hansel Good boy! Good fellow! Here is your bread. (He gives a bit of food from the table to theHANSEL AND GRETEL 57 dog.) Where are your manners? Can't you say 'Thank you!'? prince Bow! Wow! hansel Very good. Now, say your prayers. (prince does not wish to say his prayers and walks around the room impishly on his hind legs.) hansel Prince! Come here, Prince! Say your prayers! Say your prayers, now! (prince jumps up into a chair, places his front paws on the back and rests his head upon them in the traditional attitude of a dog "saying its prayers." He growls and mutters until hansel gives the word of re- lease.) hansel Amen! (The dog jumps down and prances about joyously. Enter gretel.) gretel How hungry I am! hansel (He walks about the table, peering into the58 A BOOK OF MARIONETTE PLAYS dishes.) Hm! Goose-liver sausage, onions, milk and bread. I say, Gretel, let us eat our dinner now and not wait any longer for Step-mother. GRETEL She will be angry—but I do want my dinner. HANSEL Oh, come along! She can't do more than punish us, can she? GRETEL All right, then. (They seat themselves at the table and eat.) HANSEL Um-m-m! But this is good! GRETEL Hansel! I wish we could go to the forest. HANSEL Why? GRETEL Oh, because it is so dark and mysterious—and it frightens me so much. HANSEL Girls are the sillest things! You want to go toHANSEL AND GRETEL 59 the forest because it frightens you. There is no sense to that. GRETEL There are lovely flowers in the forest and ber- ries to pick. But there are other things, too- strange, strange things! HANSEL What do you mean? GRETEL Little men, brown as earth, who live under the ground; and fairies with crowns on their heads; and—witches! HANSEL Witches? I don't believe there are any witches in our forest. GRETEL Oh, yes indeed, brother 1 An old witch lives there who catches children and makes them into gingerbread—especially if they have been naughty. She has a great big oven to bake the children in. HANSEL Pshaw I I'm not afraid of any old witches—in the forest or anywhere else. I'm no fraidy-cat. Let's go. I think it will be jolly.60 A BOOK OF MARIONETTE PLAYS gretel Yes, won't it? And we may as well go at once, for we have eaten all the dinner and left not a scrap for Step-mother. hansel Jiminy! Won't she punish us? gretel Yes—if we are here! Oh, I am crazy to go.~ff~ makes me want to dance just to think of it. (She hums a tune and twirls about.) Remember that dance we learned at the fair ? Come on, Hansel. hansel How does it go? gretel Watch me and do as I do. This way—and this way—and this way! (She shows hansel the steps.) hansel All right. {The children dance1 boisterously and the dog, excited by the uproar, jumps over the table, up-setting the dishes. Both children fling themselves into chairs, laughing noisily, hansel claps his heels on the table and 1Note IX. Page 162.HANSEL AND GRETEL 61 gretel tilts her chair so far hack that she tips over. They shout with mirth.) (Enter the step-mother.) step-mother What is all this racket about? What do you mean, shouting around here fit to wake the dead, as if there were no work to be done ? Answer me, Gretel! gretel (She is confused.) We were just dancing a little, Step-mother. step-mother Dancing 1 Is this a time for dancing, when your father and I have to work our fingers to the bone to put bread into your mouths ? Dancing, indeed! I'll teach you to dance, you lazy huzzy! (She strikes gretel.) And you, Hansel—what are you doing? Nothing useful, I'll be bound. (She reaches for hansel, but he dodges back of the table.) Come here, you good-for-nothing! (She catches sight of the table.) Oh, you wicked children! You have eaten all of the dinner and broken the dishes. hansei; I don't care! I was hungry.62 A BOOK OF MARIONETTE PLAYS step-mother You were, were you, you sauce-box? Now you shall have a whipping, as sure as your name is Hansel! (She catches hansel and whips him. Both of the children cry.) Take that, you naughty boy. And that! And that! Now, get out of the house, both of you, and stay out until you can behave yourselves! Out you go! (She kicks the dog.) Get out! Out of here, I say! (Exit hansel and gretel, still sobbing. The dog follows them.) step-mother Oh, my goodness, were there ever such trouble- some children! curtain *SCENE II The Forest. It is growing dark. Enter the chil- dren with wreaths of wilted flowers on their heads. The dog follows dejectedly. They sink down wearily upon the ground. HANSEL Oh, how tired I am! We have walked a thou- sand miles—just about. GRETEL And all our pretty flowers are withered. Oh, how my legs ache! HANSEL I wish I hadn't eaten so many apples. Wow! GRETEL • It is growing dark. Hansel—do you think we are lost? 6364 A BOOK OF MARIONETTE PLAYS HANSEL Oh, no, sister, for I had a bit of bread in my pocket and I crumbled it and dropped the crumbs as we walked, so we could find our way home. All we have to do is to follow the crumbs straight back to our own house. GRETEL Let us start, then, for it is getting late. ( They rise and look about the ground, for the crumbs.) I do not see any crumbs. HANSEL I cannot find any, either. GRETEL Then we are quite lost! What can have become of the crumbs? HANSEL The birds must have eaten them up. GRETEL What shall we do? I wish we were home. Brother, we were very naughty. HANSEL Never mind—we will both be good when we get home again. We will never be disobedient any more.HANSEL AND GRETEL 65 gretel Never! (Enter the goblin.) gretel Hansel—look! What is that? (The dog growls.) hansel Where? What? gretel (1She points.) There! That little man. goblin (He turns a hand-spring.) How's that? Pretty good, eh? gretel Very nice, sir. goblin What are you doing so late in the forest, maiden ? gretel We have lost our way and it is growing dark— and I do wish we were home! goblin Lost your way, did you? Tee-hee! {He laughs66 A BOOK OF MARIONETTE PLAYS in a crackling voice.) Tee-hee! That's a good one I hansel I do not see anything good about it. goblin Good or bad, it is all the same to me. Want to see me jump? {He jumps like a monkey into the tree. The dog runs around the tree barking.) hansel That was a line jump, Master Goblin. How did you do it ? goblin Try it yourself, boy. It is as easy as anything. (hansel tries to jump, but falls to the ground. The goblin laughs delightedly.) gretel I think you are mean to laugh at poor Hansel. goblin There's lots of mean things in the forest— things on two legs and things on four, and things with no legs at all. {He jumps to the ground back of gretel, gives her a push that sends her sprawl- ing, then leaps on the back of the dog, who runs of stage howling with the goblin on his back. He returns, whining.)HANSEL AND GRETEL 67 gretel (She picks herself up.) How spiteful and un- kind! (Pairs of glowing eyes begin to shine in the shrubbery.1 The stage is now quite dark.) gretel Brother—what is that? (Both children tremble with fright. The dog growls.) hansel They look like eyes, Sister—burning eyes, star- ing at us out of the dark. gretel Hansel! I am so frightened. Perhaps they are wolves and will eat us up.' hansel If only Father were here! gretel ( To the dog.) You will look after us, good old Prince, won't you? (A ghost appears and wails dismally.) 2 gretel Oh! Oh! What is that? Oh, Hansel! *Note III. Page 157. 2 Note IV. Page 157.68 A BOOK OF MARIONETTE PLAYS hansel Hold my hand, Sister. I am afraid. (The ghost disappears. Sweet voices are heard, singing a lullaby. The eyes immedi- ately disappear.) gretel Hark! What sweet voices. They comfort me. Do you think good fairies are coming to take care of us? hansel I do not know, but I am not afraid any more. Wow! But I am sleepy. gretel So am I. Let us lie down on this bed of moss and go to sleep. (To the dog.) Down, Prince, old fellow, and make a pillow for usl (The chil- dren lie down with their heads pillowed on the dog.) hansel When it is morning the sun will tell us how to find the way home. curtainSCENE III The Witch's House. The scene is an exterior. The house is made of candy and ornamented with cakes and tarts. To the left is an oven 1 and to the right a cage, joined to the house by a fence of gingerbread children. hansel, gretel and the dog are discovered sleeping in the same position as at the curtain of Scene II. It is morning and the birds are singing. hansel (He wakes.) Where are we, Sister? gretel It is morning—morning in the forest I I wish we had some breakfast. hansel {He rises and spies the witch's house.) What xNote V. Page 158. 6970 A BOOK OF MARIONETTE PLAYS a funny little house! I am sure there was not any house here when we went to sleep. gretel Perhaps it is enchanted and can move about as it wishes—I have heard of such things. Oh! Oh 1 It is made of candy. See, brother, the dear little house is all built of caramels! And the windows are barley-sugar! Oh, how nice, how nice! (The dog prances about joyously.) hansel And the roof is made of taffy! gretel And the fence is gingerbread! See the posts— they are gingerbread children. hansel Here is our breakfast, Gretel, and a good one, I say! (They break of bits of the house and begin eating.) Chocolate! Yum! (He gives some to the dog.) Here, Prince, this is for you. gretel Um-m! Nuts in this. (the witch appears at a window, unseen by the children.)HANSEL AND GRETEL 71 witch Munching, crunching, munching, Who's eating up my house? (The dog growls.) gretel Did you hear that, Hansel ? hansel It was only the wind. I have often heard it howl that way in the trees. Taste this—it is good. (They fall to eating again.) (The witch sails around the house on a broomstick and off-stage again.) witch Munching, crunching, munching, Who's eating up my house? gretel The Witch! Hansel! It is the old witch who makes children into gingerbread! What shall we do ? See—here is the oven! And here is a terrible cage! Oh, Hansel, let us go away at once. hansel I am not afraid of the old witch—but we'd better go, just the same. (Enter the witch, followed hy her cat.72 A BOOK OF MARIONETTE PLAYS The dog flies at the cat and tries to bite her. The witch kicks him. The cat spits and claws.) witch (To the dog.) Hi, you! Stop that! gretel Down, Prince! Down! Come here and behave yourself. witch Oh, you dear children, what has brought you here? You have come to pay me a visit, eh? That's good—that's very good. (To gretel.) What's your name, my sweet little girl ? gretel My name is Gretel—and this is my brother, Hansel. We are lost in the forest. witch That is even better. You are a nice, plump little girl, Gretel—a tasty little girl. Hm! "Sugar and spice, and everything nice, that's what little girls are made of!" gretel Come, Hansel, we'll be going.HANSEL AND GRETEL 73 witch Not so fast, not so fast, my dear—perhaps I shall have something to say about that. Let me see—(She turns to hansel.) Let me see! This one needs fattening. hansel I want to go home! (He weeps.)] witch Don't cry, little boy. Ye shall have cakes and tarts, sugar and citron, raisins and almonds—all you can hold of them. Ya! Oh, how nicely we shall fatten up this little boy 1 hansel (He wails.) I want to go ho-ome! witch (She opens the door of the cage.) Just step in here, dearie. hansel I don't wa-ant to 1 gretel (To the dog.) Go for her, Prince 1 Bite her, Prince! (The witch shoves hansel into the cage. The dog jumps for her and she pushes him,74 A BOOK OF MARIONETTE PLAYS also, into the cage and slams the door, and fastens it.) witch (To hansel.) There you are, sweetheart. Now, all you have to do is to eat and eat and eat—and get fatter and fatter and fatter. (hansel weeps bitterly.) gretel Let my brother out, you horrid old witch 1 witch Come now, dearie, that's no way to talk. (She pokes gretel. ) Just right you are—fat and sweet! I am going to bake gingerbread to-day, my little girl, and the stove over there is heating for it. Just creep into the oven—will you?—and see if it is hot enough for the baking. hansel Gretel 1 Take care! Don't you do it! Don't, Gretel! gretel (To the witch.) I do not know how to open the door. witch I will open it for you—like this. (She opens the oven door.) Now, in with you!HANSEL AND GRETEL 75 gretel (iShe hangs back.) I am too big to get through that narrow door, madam. witch Stupid goose! Why, the door is quite large enough for me! Just look—I could get into it myself. (The witch stoops over to show gretel how to get into the oven, gretel, who is behind her, gives her a push which sends her tumbling into the oven—and slams the door. The fire burns up brightly.1 The witch howls in agony.) both Hooray 1 Hooray! (gretel liberates hansel and the dog from the cage. The gingerbread children begin to move.) gretel Come out, dear Hansel! And you, too, darling old Prince! The old witch will burn up as she deserves to do. hansel Good, sister! You are a clever girl. 1 Note V. Page 158.76 A BOOK OF MARIONETTE PLAYS gretel (She sniffs.) I smell gingerbread burning. ( The gingerbread children come down from the fence.) first child The spell is broken! We are free I second child The old witch baked us in her oven—and now we are alive again! Hooray 1 Hooray 1 third child Thank you, Gretel! Thank you, Hansel! The gingerbread children all thank you! gretel Oh, how glad I am the old witch is dead. How glad I am! children Hurrah 1 Hurrah! Hurrah! The old witch is baked to gingerbread! Hurrah! (hansel and gretel dance.) 1 curtain 1 Note IX. Page 162.□ THE SINGING LESSON A One-Act Play for Marionettes CHARACTERS Professor Lavendar, a Singing Teacher Lucy Lavendar, his Daughter Tippytoes, a Butler Lawrence Lightfoot, Lucy's LoverTHE SINGING LESSON Drawing-room of Professor Lavendar's house. The professor is discovered, seated in an arm- chair. Back of the chair is a screen. Left is a ■piano with bench. Back-stage is a secretary-desk. professor {He sneezes.) Ah-choo! {Enter lucy carrying a glass.) lucy What, Father! Sneezing again? I believe you are taking cold. professor Ah-choo 1 lucy I've brought you some medicine. It will do you lots of good. Come, now—take it. That's a dear. {She hold the glass to the professor's lips.) professor Bah! Brr 1 Very bitter. 8182 A BOOK OF MARIONETTE PLAYS LUCY Yes, I know it is nasty, but that can't be helped. Did you get your "forty winks" this afternoon? PROFESSOR No, I didn't. This accursed sneezing kept me awake. LUCY The medicine will make you sleep. It is an herb- tea. I made it myself. PROFESSOR Humph! Well, I will try to take a nap, any- way. And when I have rested, it will be time for your singing lesson. LUCY Yes, I should hate to miss my lesson. What a fortunate girl I am, to have my own father for a singing-teacher. PROFESSOR Thank you, my dear. You may well say "for- tunate," for have I not trained some of the best singers in Europe ? Assuredly so. But now I shall try to rest. LUCY All right, Father. Sleep well 1THE SINGING LESSON 83 (Exit lucy. The glass is removed front her hand off-stage.) professor Daughter! Oh, Lucy! (Re-enter lucy.) lucy Yes? professor If the tailor calls for his reckoning while I am taking my nap, the money is there in the desk. Give it to him, please. (Enter tippytoes.) lucy Oh, in the desk? (She goes to desk, raises lid and looks in.) Very well, Father, I will attend to it. tippytoes Mr. Lightfoot to see Miss Lucy. professor Lightfoot? Did you say "Lightfoot"? tippytoes Yes, sir. professor That blackguard!84 A BOOK OF MARIONETTE PLAYS LUCY Oh, please, Father. PROFESSOR Show Mr. Lightfoot out, Tippytoes. My daughter is not at home to Mr. Lightfoot. TIPPYTOES Very good, sir. (Exit TIPPYTOES.) LUCY (She weeps.) You are breaking my heart, Father. PROFESSOR Haven't I told you not to have anything more to do with that good-for-nothing—that gambler! Now, you listen to me, Lucy. I positively forbid him the house. LUCY Oh, dear! Oh, dear! What shall I do ? So hand- some! So distinguished! Such a fine figure of a man! Oh, dear! Oh, dear! (Exit LUCY, weeping.) PROFESSOR "Handsome," indeed! "Distinguished," indeed!THE SINGING LESSON 85 "Fine figger of a man I" Humph I {He goes to the piano and plays angrily.) Spend-thrift 1 Nothing to do, but throw away his money at the gaming- clubs! Still, if she wants him— {He plays drowsily and loses the notes.) Ym-m-ml How sleepy I ami It must be Lucy's medicine. {He goes to arm- chair and seats himself.) A good girl, Lucy! I wonder if she really wants that scoundrelly Light- foot. Oh, well. Maybe she will forget him. Still— if she doesn't-! {He sleeps.) {Enter lightfoot. He carries a cane.) lightfoot {He approaches the professor, who is snor- ing.) My word! {He calls softly.) Lucy! Oh, Lucy! {Enter lucy.) lightfoot You were not far away, sweetheart. Heard me right away, didn't you? lucy Oh, my dear Lawrence, you must be mad to come here like this. Father is very angry with you. I am afraid you will wake him—and then there will be a terrible scene.86 A BOOK OF, MARIONETTE PLAYS LIGHTFOOT Never mind him. He is fast asleep as a dor- mouse. LUCY How did you get in? Father told Tippytoes to show you out. LIGHTFOOT Through the window. That silly butler of yours —Tippytoes, or whatever his name is—said you were not at home, but I knew better; so I waited until nobody was about and—let myself in—to find out what was the matter. What is the matter, Lucy? LUCY Something terrible has happened. (She weeps.) LIGHTFOOT Don't cry, sweetheart. It can't be so very ter- rible. LUCY But it is! Father has forbidden you the house. He says you spend too much money at cards. LIGHTFOOT I'll leave off gambling altogether, if the oldTHE SINGING LESSON 87 gentleman will consent to our marriage. I swear I will, Lucy. lucy Lawrence! You are so wonderful. lightfoot We'll manage the old boy somehow. lucy Do you think we can? (A door slams.) There 1 I told you so. Somebody's coming. Quick—hide, before he wakes upl There—behind the screen. (lightfoot hides himself.) Lawrence! I'll be right outside the door—listening! (JB*iVlucy.) {Enter tippytoes.) tippytoes {He bends over the professor.) Yah! Old Fuss-an-feathers! Takin' a nap, are you? {He goes to the desk and raises the lid. lightfoot peers around the edge of the screen, tippytoes finds and flourishes the bank-notes.) Hooray! Enough to buy a whole barrelful of ale! (Exit tippytoes. He falls over the piano- stool and makes a clatter.) professor {He wakes.) Well, well, well! I must have88 A BOOK OF MARIONETTE PLAYS been asleep! I have been asleep. That's good! I must tell Lucy. (Enter lucy.) lucy Father! I heard a noise in here. Did you fall? professor No, no. I have had a good nap. I never waked up once. lucy Oh, I am glad! Are you feeling better? professor A little, I think. (He coughs.) lucy Poor Father! I'll get you some more medicine. professor Oh, no, no, no! {He goes to the piano.) Time for your lesson, daughter, (lucy takes her place by the piano. The professor strikes sev- eral chords.) Suppose we try the breathing exer- cises first. Now—slowly—inhale! Expand the chest! One, two, three, four, five, six, seven, eight, nine, ten! (lucy inhales.) 1 Now, exhale! Slowly now,—let it out! One, two, three, four, 1 Note VI. Page 158.THE SINGING LESSON 89 five, six, seven, eight, nine, ten! (lucy exhales.) Now the scales, (lucy sings scales.) Very good, my child, all but the top note. Where was your breath ? And again, for the millionth time, please try to remember that what goes up, must come down! lucy Shall I try it again? professor Yes, yes,—but lift the palate as you go up I Tongue pointed against the teeth, as you come down! (lucy sings scales again.) All good, but the last tone. Where was your breath? Again! (lucy sings again.) Very good. Let me see, what was the song we practised last lesson ? lucy Oh, don't you remember, Father? It was "The Last Rose of Summer." professor {He turns the pages of a music book on the rack.)Let me see—let me see—here it isl Now, then—ready! (lucy sings.) Excellent, my dear. Your voice is improving. (Enter tippytoes.)go A BOOK OF MARIONETTE PLAYS TIPPYTOES Ahem! PROFESSOR Well, Tippytoes, what is it? TIPPYTOES The tailor for his bill, sir. PROFESSOR What's that? Tailor? Oh, yes, I know, I know. I'll fetch the money. (He goes to the desk, raises lid, and looks in.) It's not here—it's gone! Lucy, what did you do with the money for the tailor ? LUCY Nothing, Father. The money must be there. I saw it, after I gave you your medicine. Let me look. (She goes to the desk.) Why—why—it is gone 1 Where can it have got to ? PROFESSOR It's been stolen—that's where it has gone! LUCY Stolen? Oh, you don't mean it! Oh, I am so frightened! Oh, I shall faint 1 TIPPYTOES What shall I tell the tailor, sir?THE SINGING LESSON lightfoot {He jumps out of his hiding-place, brandishing his cane.) Tell the tailor, you thief? Tell him you stole the money! Tell him I saw you take itl You rogue, you scape-gallows! tippytoes I never touched it! I never did! lightfoot {He beats tippytoes with his cane.) Villain! Black-leg! Take that! And that! And that! tippytoes Ow! Ow! Yow! Help! Murder! {Exit tippy- toes. lightfoot follows, beating him as he goes.) lightfoot (Off-stage.) Eureka! Here it is! You never touched it, eh ? How came it in your pocket, then ? professor Bless my soul! Perhaps I have misjudged Light- foot, after all. lucy Oh, Father! He is wonderful.92 A BOOK OF MARIONETTE PLAYS professor Wonderful ? Humph! lucy Isn't he splendid? Isn't he just too clever for anything? professor Well—he has done me a good turn. That's true enough. lucy They say one good turn deserves another. You know the proverb, Father. (Enter lightfoot.) lightfoot The tailor has the money, sir. I found it in that wretch's pocket and gave it to him myself. Tippy- toes is locked in the hall closet. professor I thank you, Mr. Lightfoot. I thank you very much indeed, (lightfoot bows.) lucy Father! "One good turn—" you know. professor Perhaps the best way I can show my apprecia-THE SINGING LESSON 93 tion, Mr. Lightfoot, is by withdrawing my ob- jections to your suit for my daughter's hand. lucy Father! You darling! lightfoot 1 can never thank you sufficiently, sir. Oh, Lucy! lucy Oh, Lawrence! professor My blessing on you both I lucy Isn't it lovely! Isn't it joyful! I simply must dance to show how happy I feel. lightfoot Yes, let us dance. professor I will play for you. (He seats himself at the piano and plays, lucy and lightfoot dance a minuet.) 1 2 Note IX. Page 162. curtain 2W/V&. *-3. rBcent%rikttc6t6 # A^flGw&c 1/*d&r H>am< SMoy/ef ^3h*, *y ,&fr r *2W* tan Wirrklc doy Af/'oCofai /after 30 *> - *>} 1 & 7^ A? --«J£ hw,i^ %J%Hem jV/fe/tcft—RIP VAN WINKLE A Play for Marionettes in Six Scenes (Adapted from Washington Irving's story "Rip Fan Winkle") Place: A Dutch Village in the Kaatskill Moun- tains Time: Before the Revolutionary JVar and After Scene I. Outside the Royal George Inn. Morning Scene II. Dame Van Winkle's Kitchen. Late afternoon of the same day Scene III. A Glade in the Kaatskill Mountains. Evening of the same day Scene IV. Same as Scene III. Twenty years later Scene V. Outside the Union Hotel, formerly the Royal George. An Hour Later. (Same as Scene I, with slight changes) Scene VI. The Common-Room of the Union Hotel. Immediately afterCHARACTERS IN ORDER OF THEIR APPEARANCE Derrick Van Bummel, a School-Master, Brom Dutcher, a Farmer Nicholas Vedder, Proprietor of the Royal George Inn Dame Schuyler, a House-wife Grunty, Rip Van Winkle's Pig Wolf, Rip Van Winkle's Dog Rip Van Winkle, a Shiftless Fellow Dame Van Winkle, Rip's Wife Judith, Rip's Daughter Ghost of Hendrik Hudson, Discoverer of the Hudson River Ghosts of the Crew of the "Half-Moon," Hendrik Hudson's Ship A Little Girl A Little Boy Jonathan Doolittle, Proprietor of the Union Hotel, formerly the Royal George Willem Schenck, a Farmer Rip Gardenier, a Baby Village Band (Three Musicians; drum with cym- bals, flute and horn) Voices Note: Two puppets are needed for Rip Van Winkle, Nicholas Vedder and Judith, showing the changes during twenty years. RIP VAN WINKLE SCENE I Outside the Royal George Inn. Morning. The inn is in the Dutch style, built of yellow bricks and having latticed windows. Benches are set under large tree. A sign bearing portrait of King George 111 hangs over the door. nicholas vedder, brom dutcher and der- rick van brummel discovered. Nicholas smokes a pipe;1 van bummel reads a newspaper. derrick I see by the paper that Peter Vanderdonk's barn was struck by lightning last night. brom You don't sayl Was there any damage? 1 Note VII. Page t6x. 9798 A BOOK OF MARIONETTE PLAYS DERRICK There was, indeed! Burned to the ground. But all the stock was saved; they led the horses out, with grain-sacks tied over their heads. NICHOLAS Well, well! That's hard on our good neighbor. BROM It was a bad storm. A tree was struck up our way—that big elm-tree at the crossroads. NICHOLAS {He puffs leisurely.) Old Hendrik Hudson is at his tricks again. BROM What is that story, Nicholas? Why do all the old folks talk about Hendrik Hudson, when there is a thunder-storm? NICHOLAS {He puffs.) My grandmother used to tell the tale, when I was a boy. She used to tell me that the ghost of Hendrik Hudson, who discovered our river and all this country hereabout, lives in the mountains yonder, where he can keep an eye on his domain; and she said the ghosts ofRIP VAN WINKLE 99 the crew of the "Half-Moon"—that was Hud- son's ship, you remember—keep watch with him. BROM But what has that to do with thunder-storms? NICHOLAS My Grandmother said old Hendrik and his crew amuse themselves, playing nine-pins. When you hear thunder, that's the balls a-rolling. DERRICK Nine-pins? Ridiculous. BROM Thunder does sound like balls a-rolling, doesn't it? NICHOLAS There was a man once, who got lost in the mountains during a thunder-storm. He saw old Hudson's ghost, my granny said, with all his crew. Playing nine-pins, they were, and drinking liquor, and all as solemn as a church. Not one of them said a word—just rolled the balls and guzzled down the drink. BROM Wasn't he afeared?ioo A BOOK OF MARIONETTE PLAYS NICHOLAS I should say so. Old Hendrik offered him a drink, too, but he was too wise to take it. Anyone who drinks with Hendrik Hudson will sleep for twenty years. That's the story, anyway. DERRICK These old-wives tales are too absurd! Does anyone believe such nonsense nowadays? NICHOLAS My grandmother believed it. Most of the old folks do. BROM I shouldn't want to meet old Hudson's ghost —not I! (Enter DAME SCHUYLER.) DAME SCHUYLER Well, neighbors, I see you a.re setting the world straight, as usual. Have you heard the news? DERRICK It takes a woman to know the gossip. DAME SCHUYLER You bench-warmers here at the inn are the big- gest gossips in the village. Woman, indeed I I have a mind not to tell you anything.RIP VAN WINKLE 101 BROM Don't mind Derrick, neighbor. What's the news? Tell us—there's a good soul. DAME SCHUYLER Well, your friend, Rip Van Winkle, is in trouble again. DERRICK That's no news. Rip is always in trouble. DAME SCHUYLER His cow got loose. You know what a tumble- down fence Rip has around the pasture-lot. Well, she broke through and ran all over Dominie Van Schaick's garden. She ate all the peas and bean- vines, and trampled the onion-bed. They say the dominie threatens to have the law on Rip. NICHOLAS You don't say! DERRICK Rip is a careless fellow. All of his fences are falling to pieces and his garden has run to weeds. BROM There's nothing in his garden, but a patch of Indian corn and a few potatoes. Terrible shift- less, Rip is.io2 A BOOK OF. MARIONETTE PLAYS DERRICK He'd rather go hunting, or fishing, than work, any day. DAME SCHUYLER Well, I must say, I like Rip Van Winkle. He is always obliging. Only yesterday, I was that busy with the churning, that I hadn't time to run down to the store for a pound of tea. Rip was passing by and offered to get it for me. He is always ready to do an errand for a neighbor. It's more than my husband would do. BROM Or to help with the husking; or making cider, or getting up a frolic. Yes, Rip's a good fellow. Easy-going, of course. White bread, or brown, it is all the same to him. DERRICK He would rather starve on a penny, than work for a pound. NICHOLAS What can you expect of a man, who has a wife like Katrina Van Winkle? There's a woman I can't abide. DAME SCHUYLER That woman! I wonder how Rip can bear toRIP VAN WINKLE 103 live with her. She has the worst tongue this side of the Kaatskill mountains. Catch my husband putting up with it. DERRICK A tart tongue is the only edged tool that grows sharper with use. NICHOLAS Scold, scold, scold! Nag, nag, nag! If I had a wife like Rip's, I would beat her—that I would. {He puffs furiously.) BROM Poor Rip! He's a hen-pecked husband, sure enough. DAME SCHUYLER I must be going. There's bread to set this morning—and I must run in to Dominie Van Schaick's to see how much damage Rip's cow did to the garden. Goodbye, all. BROM I'll go along with you. (Exit DAME SCHUYLER and BROM DUTCH- ER.) NICHOLAS {He calls after them.) Stop and tell us, when104 A BOOK OF MARIONETTE PLAYS you have another piece of news, Dame Schuy- ler! (Enter grunty, rip van winkle's pig.) derrick That woman is a gossip. She'd better stay home and see to her house. nicholas Isn't that Rip's pig? derrick Yes, it is. The pig-pen must have fallen to pieces, too. (Enter wolf, rip van winkle's dog. wolf chases the pig, who runs about the stage, squealing, and upsets the school- master. Nicholas laughs. The dog chases the pig of-stage.) derrick (He picks himself up.) That cursed pig. nicholas Don't be upset, Master Van Bummel. (He laughs.) (Enter rip van winkle.)RIP VAN WINKLE 105 rip Good morning, neighbors. Has any one seen my dog, Wolf? nicholas The school-master saw your pig, Rip 1 He was all upset about it. {He goes into a fit of laugh- ing. ) rip Grunty out again? Well, well, I do have bad luck. But I don't see anything funny about it. {He whistles. Enter wolf.) Here, Wolf 1 Where have you been ? Come here, boy 1 (wolf jumps up on his master, rip seats him- self and the dog lies down at his feet.) nicholas How's the world, Rip? Fish biting pretty good? rip Never better. I caught a fine mess of trout this morning. You fellows miss the best fun in the world by not going fishing. Birds singing, grass all dappled with green-gold shadows, trees blowing, blue sky and a fluff of white cloud drifting— there's nothing like it. Why, sometimes, I don't catch anything—and it doesn't matter at all!106 A BOOK OF MARIONETTE PLAYS derrick Humph! (Enter brom dutcher with an accor- dion.) 1 brom Say, Rip! There's going to be a barn-dance down at Sutphen's place. What say, you and me should do our turn, the same as we did at Van- derdonk's husking last fall ? rip Suits me, Brom. I need a little spry stepping once in a while, to forget my troubles. brom What say we practise a bit? rip That's a good idea. Let me see; how does she go? (brom plays the accordion and rip dances.) 2 nicholas Well done, man! All the maids at the frolic will be making sheep's-eyes at you, old humbug! 1 Note VIII. Page 162. 2 Note IX. Page 162.RIP VAN WINKLE 107 derrick If you would put half as much energy into farming, as you do into dancing, you'd get along better, Rip. nicholas Here comes your wife, man. (Enter dame van winkle, rip tries to hide.) dame van winkle I see you, Rip. It's no use hiding from me. What do you mean, sir? The pig is out and you here, idling away your time. Well? Why don't you say something? (rip shakes his head.) What's the matter with you? Are you dumb? There's no wood cut for the stove; and the garden is full of weeds—but oh, no, you can't do any work; you must go fishing or shooting, or sit by the hour gossiping with these old women, here. You are the good-for-nothingest man in these mountains, Rip Van Winkle. And what an honest, hard-working, God-fearing woman like myself ever married you for, is more than I know! nicholas (He smokes angrily.) Tut, tut, tut! Bridle your tongue, woman.io8 A BOOK OF MARIONETTE PLAYS dame van winkle Not one word from you, Nicholas Vedder—or you, either, Brom Dutcher. Don't you open your mouth. It's you, both of you, that encourage my husband in his shiftless ways. What do you do all day, but dawdle away your time? And you teach Rip to do the same, more shame to you. (To rip.) Get along home with you! Do you think I can stand here all day, you lazy lout? (rip shakes his head sadly. Exit rip and dame van winkle, still scolding.) brom Shrew! (nicholas smokes furiously.)] curtainSCENE II dame van winkle's kitchen. Afternoon of the same day. dame van winkle is discovered, sweeping. Enter judith with wolf. She is hum- ming a tune. dame van winkle Do stop that humming. It makes me nervous. judith Yes, Mother. dame van winkle And don't bring that dog into my kitchen. Just look now. He has tracked up my clean floor. (wolf's ears and tail droop.) Paw-marks all over! (To wolf.) Get away, you worthless hound. You are just as bad as your master. (She threatens wolf with the broom. He cringes and hides himself in the corner.) 109no A BOOK OF MARIONETTE PLAYS judith Please don't scold Wolf, mother. He is a good dog and I love him. dame van winkle Where is your father? judith He went out to chop some wood for the stove. dame van winkle And a fine time it is to be chopping wood—six o'clock in the evening and a shower coming up. {Lightning shows at the window and there is a rumble of thunder.) 1 Was ever a poor body so distracted! How am I to get supper, when there is no kindling split and no wood either? (She sweeps angrily, judith starts humming again.) Didn't you hear me tell you to stop that hum- ming? judith Oh, dear! Everything I do is wrong. (Light- ning and thunder.) dame van winkle My grief! It's going to be a bad shower. 1 Note X. Page 163.RIP VAN WINKLE iii JUDITH Old Hendrik Hudson is playing nine-pins. Hear the balls rolling? DAME VAN WINKLE Where did you get that silly story? From your father, I'll be bound. JUDITH I think it is a pretty story. I like it. DAME VAN WINKLE Just like your father to fill your ears with such trash. (Enter RIP VAN WINKLE with his gun on his shoulder. WOLF barks a welcome.) DAME VAN WINKLE More mud. JUDITH Is it raining, dear father? Did you get wet? RIP No, Judy. The rain has not started yet, but we shall get it in a moment. The sky is black. DAME VAN WINKLE . I thought you went out an hour ago, to cut112 A BOOK OF MARIONETTE PLAYS wood for the stove. Where is it? And what are you doing with that gun ? rip Well, you see, wife, I thought I would shoot a squirrel for supper. Squirrel pot-pie is a tasty dish. I thought you might like it. dame van winkle Where is the squirrel? (She taps angrily with her foot.) rip I had no luck at all, wife. There was not a squirrel to be seen. dame van winkle Just as I thought. And where is the stove- wood? rip Well, you see, I couldn't cut wood and shoot a squirrel at the same time, could I ? dame van winkle So you didn't cut any wood 1 But you want your supper just the same, you lazy loafer! Who's to cut the wood? I'm to cut it, I suppose. (rip hangs his head. wolf growls.)RIP VAN WINKLE 113 dame van winkle Quit that growling. judith Oh, mother. Please don't be so unkind. dame van winkle Hold your tongue. (To rip.) Now, I tell you, Rip Van Winkle, this is the end—the end, I say. I'm through with you and your shiftless ways. Yes, and your dog, too, that tracks up my kitchen with his dirty paws. I'm through with you! You can get out of my house tonight—and stay out forever. judith Please, mother, don't. Don't send father away. dame van winkle Mind your own business, Judy. (To rip.) Why don't you say something? What are you standing there for, as dumb as an egg? Get out, I say, and take your dog with you. ( Thunder and lightning.) rip Come, Wolf! dame van winkle Never set foot in this house again—never, Ij 14 A BOOK OF MARIONETTE PLAYS say. (wolf growls.) Here, you! Get out! (She kicks wolf. Exit rip and wolf.) judith Now, what have you done! Oh, my poor, dear father! (She throws herself across the table, sob- bing. Thunder and lightning.) curtainSCENE III A Glade in the Kaatskill Mountains. Evening of the same day. There is a large rock at the left and a smaller one, right. The stage is dark. Thun- der rolls repeatedlyf then dies away. It becomes gradually lighter and rip and wolf. are dis- covered. rip's gun lies on the ground. rip Where have they gone? A moment ago they were here—Hendrik Hudson and his crew! I saw them. Playing at nine-pins, they were. And now— nothing. Vanished quite away. Am I awake, I won- der? (To wolf.) Did you see them, boy? Did you see old Hendrik Hudson and his men? wolf Woof! {He wags, vigorously.) "5u6 A BOOK OF MARIONETTE PLAYS RIP I was never so surprised in my life. To think of it—me, Rip Van Winkle, to see such a sight 1 (Thunder rolls.) At it again! It will be a fine tale to tell Nick Vedder and Brom Dutcher, when I get home. And the school-master, too, who doesn't believe in old Hendrik and his nine-pins. It's a joke on him, I say. WOLF Woof! Woof! RIP I agree with you. When we go home—but we have no home to go to, Wolf, my boy. WOLF Woof! {He slumps dejectedly.) RIP My wife is a hard woman. WOLF {He growls.) Urrgh! Grrgh! RIP That woman's tongue is like a hammer. Noth- ing but nagging and scolding from one day to another.RIP VAN WINKLE 117 wolf Urrgh! Grrgh! rip Poor Wolf! Your mistress leads you a dog's life; but so long as I live, you shall not lack a friend. (He sighs.) My little Judy is a good girl. She loves her father. (Thunder rolls.) hendrik Hudson's ghost (Off-stage.) Rip Van Winkle! Rip Van Winkle! RIP Somebody's calling me. hudson Rip Van Winkle! rip I'm all of a tremble. (Enter Hendrik Hudson's ghost with a flagon in his hand. He is clad in antique Dutch costume.) hudson Rip Van Winkle!ii8 A BOOK OF MARIONETTE PLAYS rip Aye, Master Hudson, it's myself. What might you want of me ? hudson (He points back of the rock.) Follow me! rip Yes, sir, Master Hudson. I'm coming. (Exit hudson and rip behind rock.) wolf (He howls.) Oooo! Oooool hudson (Of-stage.) Drink! voices (Off-stage.) Do not drink! Do not drink, Rip Van Winkle! (wolf bolts off-stage in terror.) (Re-enter rip and hudson. Both have flagons in their hands. They click them to- gether, toast each other without words, and drink repeatedly.) rip Best drink of Hollands I've had in years. (He seats himself on ground.) But it makes my headRIP VAN WINKLE 119 spin. Round and round—that's the way it goes. Lord, I'm drowsy. (He stretches out.) I feel— I feel as if I could sleep for twenty years 1 (He sleeps and snores.) hudson (He bends over rip and laughs.) Ha, ha, ha I (Heads of the crew of the "Half Moon" appear above the top of the rock.) crew of half moon (They laugh like an echo.) Ha, ha, ha! curtainSCENE IV Same as Scene III. Twenty years later. rip is discovered, sleeping on the ground. Heavy breathing is indicated. He has become an old man, with a long white beard. His clothes are in rags; and his gun, covered with rust, lies be- side him. rip {He wakes and sits up.) Ah-h! Ah-h! How stiff I am. I have been asleep a long time. How my joints crack 1 I must have taken cold, sleeping so long on the damp ground. (He rises with diffi- culty.) Oh, my back I I've got rheumatism. Ah-h! (He whistles for his dog.) Wolfl Wolf! Come here, boy! (He whistles again.) Where is that dog? He must have run home. (Whistles again.) But I have no home now. Well, I'll go down to the village. Nick Vedder will give me a bed. (He looks around.) Everything looks different, some- how. (He calls.) Wolf! Wolf! (Exit rip, calling wolf.) curtain 120SCENE V Outside the Union Hotel, formerly the Royal George. An hour later. Same as Scene I, with slight changes. The sign is replaced by one bearing a portrait of George Washing ton in buff and blue, wearing a cocked hat and carrying a sword; and a flag-pole, flying the Stars and Stripes, is erected in place of the tree, which formerly shaded the door. The benches have been removed. Enter rip van winkle, with his old musket over his shoul- der. He stops and looks at the sign. A little boy and girl follow him. BOY What a funny old man! 121122 A BOOK OF MARIONETTE PLAYS GIRL Sshh I He will hear you. BOY Oh, no, he won't. People'as old as he is, are deaf. They don't hear anything. Did you ever see such a long beard ? He's a regular old-timer. GIRL His coat is ragged. He must be a beggar. BOY Look at that gun! I'll warrant that gun is twenty years old; maybe more. They don't use that kind nowadays. Rip Children I Can you tell me where to find the Royal George Inn? BOY {He shouts, thinking RIP deaf.) I never heard of it, sir. This is the Union Hotel. It's the only one in our village. Rip That flagon of Hollands must have addled my poor wits. It was here yesterday, the Royal George. . . . wasn't it now?RIP VAN WINKLE 123 BOY Oh, no, sir. How could it be ? GIRL Come along, brother. The old man is crazy. RIP And where are the benches? And the big tree? BOY There isn't any big tree here, sir. And no benches, either. RIP Yesterday there was a big elm tree—right there. What flag is that? BOY Oh, come now! You are surely joking. You must know the flag of the United States. RIP United States? I never heard of the United States. What's their flag here for, in an English colony ? BOY That's too funny. Don't you know about the Revolution, old man—the war that set us free124 A BOOK OF MARIONETTE PLAYS from England? Where on earth have you been keeping yourself? rip It's very confusing. I can't seem to make head nor tail of it. {He examines the sign.) This is not King George. boy I should say not! That's General George Washington. Don't you know about him, either? rip I never heard tell of him. He was not here yes- terday. girl Do come, brother. I am afraid of crazy folks. {Enter a dog, which resembles wolf. He jumps on the children.) girl Down, Rover! Stop jumping on me. You'll get my dress dirty. rip It's Wolf 1 Come here, boy. (The dog growls at rip. ) girl How funny! The old man thinks Rover is a wolf.RIP VAN WINKLE 125 rip Wolf! Come, boy. (The dog growls again.') My very dog has forgotten me! {He pauses.) I may as well go in, anyway. (He knocks on the door.) Nick! Nick Vedder! curtainSCENE VI Common-room of the Union Hotel. Immedi- ately after. Jonathan doolittle and willem schenck are discovered, playing chess. schenck Check! doolittle I'll take that bishop, man. schenck Check-mate! You are sewed up in a bag, Jona- than. doolittle So I be. {Knocking is heard at the door.) rip (Off-stage.) Nick! Nick Vedder! doolittle Come in! (Enter rip van winkle.) 126RIP VAN WINKLE 137 DOO LITTLE This is a tavern, old man. No need for knock- ing. RIP Is this the Royal George? DOOLITTLE Lord, no, man. We don't hold with such names nowadays. No "Royal Georges" here. SCHENCK George Washington is good enough for us. RIP (He looks around.) This room. It is different from what it was yesterday. DOOLITTLE This is the Union Hotel—Jonathan Doolittle, proprietor. At your service, sir. And who might you be ? RIP I hardly know who I be. I used to be Rip Van Winkle, a native of this village—and a loyal sub- ject of the king, God bless him t DOOLITTLE Do you mean to say you are a Tory?128 A BOOK OF MARIONETTE PLAYS RIP Tory? I never heard of them. DOOLITTLE What are you doing here? We want no Tories, nor spies, in this hotel. I give you fair warning of that. RIP Excuse me, sir. I meant no harm. I only stopped in to ask about my neighbors, for I cannot seem to find any of them. DOOLITTLE What neighbors? RIP Where's Peter Vanderdonk? DOOLITTLE Why, Vanderdonk is dead and gone these eighteen years 1 SCHENCK There used to be a wooden tomb-stone in the graveyard that told all about him, but that is rotted and gone long ago. RIP Ah I Where—where is Brom Dutcher ?RIP VAN WINKLE SCHENCK He went off to the army at the beginning of the war. Some say he was killed at Stony Point. DOOLITTLE And some say he was drowned in a squall at the foot of Anthony's Nose. I don't know. He never came back to the village, anyway. RIP Van Bummel, the school-master—where is he? DOOLITTLE He went off to the war, too. He was a great militia general—we are proud of Van Bummel. He's in Congress, now. SCHENCK Yes, Van Bummel is a great man. RIP War! Congress! Militia! My poor head is in a muddle. Does nobody know Rip Van Winkle? God knows, I'm not myself! I am somebody else. I was myself last night, but I fell asleep on the mountain—and they have changed my gun; and everything is changed; and I am changed! I can't tell what my name is, nor who I am.130 A BOOK OF MARIONETTE PLAYS schenck Crazy! Poor old man I (Enter Nicholas vedder, a tottering old man.) nicholas Rip Van Winkle I rip Who—? It can't be—it is—Nick Vedder 1 (They embrace.) nicholas Welcome home, old neighbor. Where have you been these twenty long years ? rip I don't know what you mean by twenty years. Last evening I went up to the mountain with my dog, Wolf, and there I saw old Hendrik Hudson and his crew, a-playing nine-pins. I never thought to see such a strange sight. He gave me a drink, old Hendrik did, and I lay down to sleep. When I awoke, everything was different. nicholas Man alive! Don't you know what has hap- pened to you? You have slept for twenty years— that always happens to them who drink with Hendrik Hudson 1RIP VAN WINKLE 131 rip Have I been sleeping for twenty years? (Enter judith gardenier, with a baby in her arms.) judith Good-afternoon, all. Is my husband here? doolittle No, Judith. Peter Gardenier has not been here all day. Rip Young woman— (The baby cries.)\ judith Hush, my lamb! Hush, Rip 1 The old man will not hurt you, little fool I Excuse the baby, sir. He is afraid of strangers. rip What is your name, young woman? judith Judith Gardenier, sir. RIP What was your father's name?132 A BOOK OF MARIONETTE PLAYS JUDITH Poor man, his name was Rip Van Winkle. It's twenty years since he went away from home and he has never been heard of since. His dog came home without him—but whether he shot himself, or was carried away by the Indians, nobody ever knew. I was only a little girl at that time. RIP Your mother? Where is she? JUDITH Mother died only a short time ago. RIP Dead! JUDITH Yes, poor woman. She had a high temper and it was the un-doing of her. She flew into a fit of passion at a New England peddler, who came to the door selling tin-ware—and broke a blood- vessel, poor thing. RIP Judy! Judy! Don't you know your father? JUDITH Father! (They embrace.) Dear, dear father. Welcome home, dearest father.RIP VAN WINKLE 133 RIP Judy! You are a woman grown. JUDITH Yes, father. And married to the best man that ever was. Peter Gardenier. You remember him, don't you? RIP I mind Peter Gardenier well. I used to carry him on my back, when he was a little fellow. JUDITH And this is little Rip Gardenier. I named him for you, father. Shake "day-day" to your grand- dad, son. (The baby waves his hand.) RIP Bless the boy! JUDITH We have a good farm and a snug, well- furnished house. You must live with us, dear father. Peter often talks of you. He will be as glad to welcome you, as I am. DOO LITTLE Master Van Winkle, this is a great day for all of us. Every man, woman and child in this village134 A BOOK OF MARIONETTE PLAYS will want to see the man who drank with Hendrik Hudson and slept for twenty years. Yes, and to hear the story from your own mouth. But first, let us have a glass of toddy in honor of our friend's home-coming. (He calls off-stage.) Here, boy, mix us some rum and water. And have it hot, mind you! (All seat themselves.) schenck An excellent idea, Jonathan. rip Thank you, Master Doolittle. Maybe a glass of rum will make me feel like myself again. (Enter the village band. There are three musicians. Drum, with cymbals, horn and flute.) 1 doolittle Good afternoon, men. (To rip.) Our village band, here, Master Van Winkle, drops in to the hotel afternoons to tootle a bit and pass the time away. They will play some patriotic airs, sir, to familiarize you with what's been going on, as you might say. rip You are all kind—very, very kind. (The band plays "Yankee Doodle.") curtain 1 Note XI. Page 164.SECTION IIBattto uayQrC^*0 1i m Snak*. CfatfHer/*, I h C%wn «W < ^hef&rmftt£ %fep£atct?\SUGGESTION FOR A VAUDEVILLE SHOW An amusing Vaudeville show may be given by presenting marionettes in some of their charac- teristic "stunts," in the manner of the accepted theatrical Vaudeville. For example, with a record on the phonograph for two banjo players, two puppet banjo-players may perform thus: (See drawing on page 136.) A female puppet singer1 with a rising-and- falling chest may give the audience a song, ac- companied by a little player at a toy-piano. This is the same act which is employed in the play called "The Singing Lesson." Hindoo snake-charmers, one a tom-tom player, one a flute-player (Chinese flute) may perform with a Japanese paper snake in a basket. A clown may do tricks with a clever dog. A shy little-girl marionette may recite "Mary Had a Little Lamb," forget her lines and end with tears. A juggler 2 may perform feats with a colored ball. iNote VI. Page 158. 2 Note XII. Page 164. 13?138 A BOOK OF MARIONETTE PLAYS An Oriental dancer1 may give a life-like dance. A performing elephant may go through amus- ing antics. Any number of other acts may be added, as they suggest themselves to an ingenious puppet operator. A phonograph, or musicians behind the scenes, will furnish appropriate music for these numbers. 1Note IX. Page 162.A 011 3 ^ 4nW < | 9 a I s/.ohntf& J ArrVe fo-cpsf^ SiCM+t,* loVe ~fTC f&ctdc&A. •hrisfaC /ft 4w>* ^AefUiit^ Irunkfib*. fl*adL S£itu/CUa< Corn&tK*c( /junk-fib* J? ScU tru+t ^Tta&cJ' £o$j- tnnrct ut d<«y &%iJF % 0.({TONY SARG TELLS HOW TO MAKE A MARIONETTE Modelling the heads appears to give amateur puppet-makers the most trouble, so I will take up that question first. Do not try to carve the heads from wood—I strongly advise against it. Wood Plasteline, which may be bought in a tin at the hardware store, is an ideal substance for modelling puppet-heads by hand. It is a soft wood-pulp putty, which becomes as hard as oak, when exposed to the air. To make a puppet-head, twist together two pieces of wire; one the width of the head re- quired (A) having two small loops at the ends to which the head-strings are to be attached, and the other (B) which has a loop, by which the head is to be fastened to the body. The two pieces (A and B) will look like this, before being covered with Wood Plasteline. (See drawing.) When covered with Wood Plasteline only the loops should show. {See drawing.) My advice ,is to model an egg-shaped head with a nose only, not attempting to model eye-brows or lips, but depending upon the painting of the 141142 A BOOK OF MARIONETTE PLAYS face for your effects. I advise water-color for the painting. For eyes, cut two black-headed pins in half (to make the pin short enough) and stick them into the Plasteline before it hardens. The wigs of dolls from the Ten Cent Store will furnish hair, which may be glued on; or un- ravelled silk, or rope may be used. Or one may buy coils of red, black, yellow or white hair, from which wigs may be fashioned, at a Theatrical Make-up store. For the shoulders, secure a piece of wood like this (See drawing) and bore through it a small hole (A) where marked. Put a piece of wire through loop in the neck of the head you have modelled; twist it so that it forms another, smaller loop, and pull the two loose ends through the hole in the shoulder- section marked A. Then bend the two ends (B and C) side-ways and secure both ends tightly with adhesive tape, as shown in the illustra- tion. Use another piece of wood for the hips. At- tach this hip-section and the head-and-shoulder section to a middle-section of cloth, or muslin, which forms a hollow stocking for the middle part of the puppet. The attaching may be done with small tacks. This hollow middle-section gives flexibility to the doll, helps it to bend and alsoHOW TO MAKE A MARIONETTE 143 aids it in walking, one of the most difficult feats for a marionette to perform naturally. The legs should be whittled from a round piece of stick and provided with carefully made joints at knee and ankle. The top of the leg is of cloth, stuffed with cotton, with a cloth end, by which the leg may be attached with tacks to the hip-section. It is advisable to make the joint pieces out of strong leather or trunk-fibre, to avoid break- age. The arms are hollow sleeves, attached to the shoulders, and having a hand at the end. For hands it is advisable to build a small copper-wire skeleton (see drawing) then wind thin tape around the fingers to give them body, at the same time leaving them free for bending into any position necessary for expression, or to facili- tate the picking up of an article—another difficult action for a puppet to perform. Paint the hand with pink water-color after binding, add a touch of shiny shellac for finger-nails, and the folds of the binding will become practically invisible. No wire skeleton is necessary for the feet, which should be modelled of Wood Plasteline, preferably in the exact shape the shoes are to be. High-heeled shoes are not recommended. Small loops should be made wherever a string is to be attached, as shown in the accompanying illustration.144 A BOOK OF MARIONETTE PLAYS Gmtfrolkr in fofi- Jartcf A<** S/r^*£S 2?^nZ[*^3C/c GnMk* ^sf-oleAi5r ever t(k bf CortMkfi nfjut -nsf on Mtt ~-fwtOmirelfcr f>fa&£ &9+r f* €} & Hfy»M h%6t~(vto*UHOW TO MAKE A MARIONETTE 145 So much for the marionette himself 1 And now for the means of operating him. My marionettes are animated by a device, called a "controller," an invention of my own. The main controller (held in the left hand of the operator) is made of two strips of wood in the shape of a cross. One strip may be about a foot long and the other nine inches. The ends are carefully cut into with a fret-saw (See A, B, C and D) to allow the strings to be attached; and near figure A, there should be a peg, or nail, standing upright, to which the "foot controller" (E) is attached, when not in use. The foot controller (held in the right hand) is a separate strip of wood, about eight inches long, to which the knee strings are fastened; and which has a hole (F) bored in the centre to fit over the peg near figure A. When the doll is not walking, the puppeteer slips the foot controller on to the peg, thus freeing his right hand to assist in moving the head and hand strings. (See illustration.) Near B and near C (main controller) there should be a small hole, through which a piece of cord with a knot on each end should be run. This should form a loop large enough to allow the hand of the puppeteer to be slipped under it; and is used for hanging up the puppet, when not in use. The stringing of the doll should be done with146 A BOOK OF MARIONETTE PLAYS black carpet-thread; or, better still, with Japa- nese silk trout-line. The principal strings are those from either side of the head; from the centre of the back; from the hands; and from the knees. Hand- strings should be attached to the middle of the hand, not to the fingers. These are sufficient to animate the arms, as well. All these strings, with the exception of knee-strings, are attached to the uuciaf Carihrotl**; /*»f <«- ****** «r»' , t+f*ur0mc#iP~) *!nu. iCrtfcHOW TO MAKE A MARIONETTE 147 main controller. Those from the sides of the head are attached to the ends of the arms of the cross; those from the hands are fastened to the short end of the cross; and the back-string is fastened to the opposite end of the long piece of the cross. {See illustration.) The knee-strings are fastened to the ends of the foot-controller. Continuous practise in operating puppets is what brings results. My advice to the beginner is to start by seating a doll on a chair the right size for him, and try to make him move his head and body without falling off the chair. To accomplish this, lift the main controller in such a way that the back-string becomes taut and all the others loose. That will cause the doll to lean forward. Then turn the head by tilting move- ment of bar to which head-strings are attached. As bar is tilted up and down the head will turn from side to side. Marionettes do not walk well, but walk they must! When the foot-controller is twisted back and forth, first one foot of the doll lifts, then the other; and this, together with a forward move- ment of the main controller, is the way that walk- ing is accomplished. Little by little, with much practice, one learns to operate marionettes skillfully; and discovers for one's self what their range of accomplish-i48 A BOOK OF MARIONETTE PLAYS ments is. Surprises are in store for the experi- menter; as he becomes expert in manipulation, he will discover undreamed of possibilities in the dolls. An additional string here and there, and a few additions to the controller, will enable them to perform many astonishing tricks. There is hardly a limit to the possibilities of marionettes in the hands of a skilled puppeteer. The reader will probably not be surprised to learn that some of my own marionettes are man- aged by as many as twenty-six strings to a single doll. Puppet-animals are always attractive and their antics are sure to please the audience. Toy-animals may be converted into puppets, by loosening and jointing-up stiff heads, legs and tails, so that the animal is as flexible as the human marionette. It should be strung in such a way as to give virtu- ally the same action as the doll. (See illustration.) Every animal is different, so no definite rule can be laid down. The puppet-maker must use his ingenuity in working out his four-footed mar- ionettes.If Smalt c&gb lOiaf&d in forming pfattfbrmr* fltifract£ Xevf*&o*f Las rvfocf thfiff Cltorvndi/>*/<©• .TONY SARG TELLS HOW TO CON- STRUCT A HOME-MADE MAR- IONETTESTAGE Marionettes can perform on the simplest kind of stage. A card-table is a good foundation for a home-made puppet-stage. Place the card-table in a door-opening. Take four pieces of wood six or seven feet long and about one inch in thickness, and fasten them, up- right, to the legs of the card-table, as shown in the accompanying illustration; then take two ad- ditional pieces of wood about 5^2 feet in length and fasten these on the tops of the uprights. A good way to fasten them, is to use clamps, which may be bought at the hardware store. (See draw- ing.) 151152 A BOOK OF MARIONETTE PLAYS Drape the stage with velveteen, or some non- transparent material, as shown in illustration; taking care to drape the front of the table and the part of the door-opening which shows above the stage, as well. It would add to the attractiveness of the stage if a large, much-ornamented gilt picture-frame were attached to the two front uprights, to form a proscenium-arch. This will give the effect of a real stage in miniature. The stage-curtain is fairly simple. Secure a round stick, or wooden curtain-pole (A and B), and tack to it your curtain (which should be made of non-transparent material) as shown in illustration. Run an iron rod through the lower hem of the curtain. A nail should be driven into each end of the curtain-pole (A and B) in such a way that it will run freely in a screw-eye, which is screwed into each of the front uprights (see drawing) or into the frame, if a frame is used. Place the pole in the screw-eyes, roll up the curtain by hand and then attach a piece of cord on curtain-pole (C) pref- erably through a hole, which has been bored. Then let curtain unroll itself and, as it does so, the string (C) will roll itself around C end of pole—and you can pull curtain up and down at will. {See drawing.) Back drops may be made of card-board, paintedA HOME-MADE MARIONETTE STAGE 153 in such scenes as the play requires; or simply of silk, velveteen, or other material, gracefully draped. It is advisable to use as few properties as the action of the play requires, or only such as are necessary to the attractiveness of the scene. The strings of the marionettes are likely to become tangled, if there is anything for them to catch on, and the amateur will do well to suggest his scene in the flat back-drop, rather than with non- essential properties. If the strings become tangled, lower the curtain, until they have been untangled. Two portable electric-lights, one placed on each side of the stage, will furnish effective lighting. Colored silks or gelatines placed in front of these lights will give excellent results: red, for firelight; green or blue, for moonlight, etc. Stringed marionettes are operated from above the stage, so a strong kitchen-table should be pushed close to the back of the card-table-stage for the puppeteers to stand on, while they are operating the dolls. (See illustration.) Arrangements must be made, too, for hang- ing up dolls required in the play, within easy reach of the table where the puppeteers are standing. A hat-rack would be useful for this purpose. A phonograph, also back of the stage, may be used to furnish the music.154 A BOOK OF MARIONETTE PLAYS Somebody in the audience should be instructed to turn out the house-lights at the sound of a gong, or bell; and to turn them on again at the end of every scene. Programs may be used; or a puppet-announcer may give the audience the necessary information. This puppet has an opportunity to cause a lot of merriment, calling people in the audience by name, directing attention to the fact that marionettes act better if the applause is good, etc. A little preliminary "joshing" helps to put the audience into the right mood for the show.NOTES (Directions for performing marionette tricks em- ployed in the plays.) note i. (Red Riding-Hood) When walking a doll, it is advisable to lift the hand-strings from the front of the controller, and hang them over the ends of that part of the controller that holds the head-strings. By this means the hands will be lifted to a horizontal position. As the strings should always be attached through the middle of the hand, there remains a bit of protruding hand, which is useful for carry- ing baskets with handles. In this case, it is advis- able to bend the fingers slightly upwards, thereby insuring safety for the basket.156 A BOOK OF MARIONETTE PLAYS note ii. (Jack and the Bean-stalk) The bean-stalk is made by folding a piece of green material like a handkerchief, only with ad- ditional folds. A special kind of material, used for making artificial leaves, can be bought at the arti- ficial-flower-maker's shop; otherwise, green felt may be used. Cut out folded material in the shape of leaves (see drawing), and attach string to top leaf. Fix a weight to lowest leaf. At given mo- ment, pull string slowly and bean-stalk will rise. faNOTES 157 Hold at slant, so Jack, held close to bean-stalk, will give appearance of climbing. note in. (Hansel and Gretel) The burning eyes may be shown by means of a pair of electric torches, bound together with adhesive tape, and their reflections cast on the back drop in a conspicuous spot. Darken the stage for this effect. Or eyes may be painted on a silk back-drop, in such a way that they only show, when a flash- light is held immediately behind them. note iv. (Hansel and Gretel) Ghosts may be made by attaching flimsy chiffon158 A BOOK OF MARIONETTE PLAYS to a grotesque head and pair of hands. (See drawing.) NOTE v. (Hansel and Gretel) The oven should show a typical grate-door with openings. These openings should be cut out S/